Since last post we have been end of year social and we have had the last of the competition rounds – the trophy rounds. One more speaker at the school and then we are off photographing (weather dependent hence some of the apparent repetition, see website closer to each date):
- Bath (18th July)
- Colliters Brook Farm American Car Evening (24th July – yes, on a Wednesday night) OR Weston bike night on 25th (see club website closer to the day)
- Portishead Marina on 1st August
- Colliters Brook 7th August
- Bristol Harbourside 15th August
- Weston Bike Night 22nd August (or Colliters Brook on the 21st, inverse of above)
- Weston Classic Car Show 27th or Old Severn Bridge walk over 29th.
Bit automotive heavy but that’s driven (pardon the pun) by what is on those nights or thereabouts and are travel friendly to hereabouts.
The competition rounds are always provocations to thinking about our own photography, from what we would have done given the subjects and compositions of others to, maybe, emulating or doing similar stuff of our own choosing.
Congratulations to the winners (see website and Facebook for details).
Speakers nights also do this for us, at least the ones that are about what we can do within our budgets and don’t involve paddling up the Orinoco River on a leaky bamboo raft. Somehow Brislington Brook doesn’t seem to quite compete on those terms, though the wild life can be occasionally challenging.
Being evening shoots on our road trips, the sun will be low and as the weeks roll by softer, earlier. This is, of course, a time of day preferred by many – especially those with a love of the Golden Hour and an aversion to getting up at the crack of dawn. Just polling up and picking off the beauties of nature’s bounty as they present is one way of doing it, but a little pre-consideration goes a long way.
As the sun sets and the golden hour gives way to the blue (or precedes it as sunrise) there will be more and different opportunities, crowd blurs, light trails, bokeh heavy street scenes and so on. There is something special about an indigo sky – it last but a few minutes – but there are lots of opportunities to take advantage of whilst the blue hour lasts and again being ahead of the game helps.
The blue is a function of the sun being below the horizon, either going down or coming up and the wavelengths of light. It is deeper, richer than the blue of the day. The blue of the morning tends to last shorter than the blue of the evening, but you pays your money and you takes your choice.
One thing that we will find is that the longer our exposure then the longer the image will take to write to the card, usually the equivalent of the exposure – I have known it longer. This time can be limited by going into our camera’s menu’s and turning the in camera noise reduction off.
It also presents a great opportunity to experiment with blur as I mentioned above. This can be in the clouds, in water, in light trails of passing vehicles, or even passing pedestrians. By necessity the lower light levels, combined with lower ISO’s to get the best quality and also a movement effect in a still medium, will mean longer exposure times.
A variation of this interesting effect can be had by using a flash gun but setting our camera/flash synch to second or rear curtain. This especially when you are using a longer exposure and it can be done outdoors or in. Both moving and still elements combine, isolating the lonely figure in the crowd, for instance, or recording a brief history of movement and expression.
Do remember to set it back to front or first curtain though, or subsequent shots will be effected and we don’t always hit on the reasons when it’s been a time between flash sessions.
Multiple exposures, taken to put together an HDR or High Dynamic Range image in post production, are also an option in the blue hour. These are especially relevant when there are areas of light and dark that are not normally rendered in a single image being outside of that particular sensor’s ability to impress data at those extremes.
Now there are pros and cons to using HDR software as opposed to techniques like exposure blending (basically using luminosity masks) but that is for another day. This is just a heads up on the fact that we are not just limited to what we compose in camera. There are enhancement opportunities at a very particular time of day.
A tripod is the order of the day, though not always required, it will get you the sharpest results. A shutter release or timer setting on the shutter is also an idea to reduce shake and keep images sharp.
Lenses should be set to manual once you have focus and don’t be afraid to indulge in long exposures. Smaller apertures are good for keeping the shutter open longer and producing more depth of field. F16 and smaller will also get you a star effect on street lamps and alike.
White balance is a matter of choice but if shooting RAW you can change the white balance easy enough so just leave it in auto. ISO, start at your lowest and experiment. Blue hour can get some really interesting shots so don’t be afraid of experimentation – it will pay dividends!
Reflex Open Competition Round 4 last meeting and congratulations to the award winners and I hope everyone took something away from the evening. Our judge was Roger Mallinson, the man to go to if you want to know about making audio visual presentations and a returnee to judge at Reflex and many thanks to him for his time and effort. As usual the winners will appear on the club website in due course.
“There is no special way a photograph should look“ – Garry Winogrand.
Even a themed competition will tell you that and whereas there are things that work as a general rule, the tools of composition, and sharpness, as we have quoted before, is a “Bourgeoise concept” (maybe). It does rather make you wonder what club competitions are for.
Well the first two clues are in the name club competition. It is about members of the club, first and foremost. Members having a framework into which they can receive feedback. And it is about competition, that is to say a test of skill and ability against other like minded individuals. They coexist but, depending on our choices and personalities, one side will be more important than the other. Recognition is both a middle point and the backbone that connects the two extremes.
If no two pictures are the same how do we differentiate between two pictures on merit? The tools of composition give us a clue, more particularly how they are used and abused, but there is no one accepted system, though some sort of system is required to be consistent.
No two judges are the same and that is a good thing. All our judges are fellow photographers and have their own development route. OK we have all sat there and thought, on occasion, what are they on and where do I get some? when our carefully crafted images totally fail to convey their message. The fault does not lie with the viewer. It is still a good thing if that failure comes with an explanation. Better yet one that we can apply to the next similar situation.
If we don’t fail, at least occasionally, and have an inkling of why we fail then we will not learn. It all comes back to that word “Because”. There is no way a photograph should look. There are individual tastes and opinions and that will apply to any judge the same as to the rest of us.
Lets come back to that idea of sharpness and its evil twin blur as one example. Generally, when looking at a photograph, one of the first things that strike us is can we see it clearly. It is important because I, for one, can see blurry things just by taking my glasses off. Rather like a number of my fellow club members, I paid rather a lot of money specifically to do the opposite and see things in focus. Focus is a thing and having something sharp within our depth of focus is generally desirable.
If there was a single way of producing an acceptable image all images must either be all in or all out of focus. We would then be free to challenge this convention or rule in the pursuit of artistic interpretation. Hold on. Wait one. That’s exacly what we do on occasion. It is one of the most popular nights we have for practicals on the calendar. It’s called light-painting.
Blur can be creative when it is deliberate and controlled (or we can pass it off as that). We generally differentiate blur from focus as one is produced by movement and one by mechanical physics. Ultra wide and expensive prime lenses producing very limited acceptable focus and blury (often sold as dreamy) backgrounds are all the rage. Bokeh is a thing too and now deemed as a selling point in a lens. Figure to ground is an established art principle of grouping things together visually (visited recently in our tour around Gestalt theory) where the subject is seperated from but relational to the background (and or foreground).
Creative blur is an accepted technique. That is it is deliberate and measured in its application to a suitable subject. The idea of photo-dynamism is over a century old and is linked to a wider art movement known as Italian Futurism, though photography was initially rejected by the Futurists for being static.
It has several variants we might use. First up we have the deliberate de-focusing effect. Bokeh originated from this in Japan and became a form all of its own but was always an incidental to taking photographs with points of light in the background. Defocusing works best in colour, with large blocks of identifiable shapes such as flowers, people, painted walls etc. It also works well when shooting against a bright background. Where to stop defocusing is a personal call, again there is no fixed point, but it’s fun to do.
Next up we have panning. We talked last week about taking panoramas, basically a linked series of photographs of something from a fixed point that usually extends beyond the horizontal field of focus of our lenses regardless of there orientation. This uses the same movement idea but within the same period of exposure. By necessity this involves longer shutter speeds but doesn’t have to be on a tripod,.though a pair of steady hands is useful. Keeping the focus and speed in synch on the subject is one option, but the other is to slowly follow the subject through keeping it identifiable but blurred.
Thirdly we have the deliberate shake of the camera during the exposure, up and down or left to right. This doesn’t have to be violent to give an effect but it is best if slightly exaggerated. A fourth variation is to rotate the camera during the exposure around a fixed point.
So five variations that we can try and combine into a little project and maybe use to generate entries in the next round of ROC.
Last meeting was our annual thumbing of the collective nose to Cartier-Bresson’s fear of the contrived, the Creative Round. In that all of photography, from one point of view, is contrived, we can take comfort in a Sontagian view that Photography is a “Promiscuous way of seeing” and here are we. It is also another way to open the arguments between the Get-it-right-in-the-camera-ista’s and Ye-accolytes-of-photoshop, but we won’t.
Congratulations to the winners, (Check out the Facebook page or the website) this in some ways is the hardest round of all to to enter, not least because the definition of what we mean by creative is quite fluid. It stems from an original thought or vision. This gives us less chance to take the image we want by accident, the surrealist streak in photography if you will, as it tends to involve a lot of planning and preparation. The flip side of this is that the deliberation it involves is good for us in all the other forms of photography, because it is a productive habit.
“A skilful photographer can photograph anything well” according to John Szarkowski. So that doesn’t mean just slapping on a filter over an existing photograph and calling it creative, though there is nothing to say that you cannot. Passing a superficial inspection is one thing but the photographs that hold the attention are rarely going to be constructed that way. Skill in photography is as much about practice and deliberation and attitude as it is in any other form. The trick for the hobbyist is not to make it a burden, but to enjoy and enjoy learning.
It’s why having a theme works for our development. Yes it is fun (for us, the rest of the family can feel a little left out) to take a camera everywhere and photograph what takes our fancy or arrests our attention, but when we narrow ourselves down we concentrate on looking, and looking for associations with this idea, which we are using to organise our output. A photograph.
It brings us back to that deliberate frame of mind again. This is also something that helps when we feel that we have plateaued in our development. It can be frustrating to not quite get what we visualised, but also it can be the brain’s way of telling us time to try something different. To create a random element in that, basically to set the challenge, use the theme link above and use this preset random number generator to pick a topic from those 328 themes; get a camera; your least used lens or least used camera even, and get right on it.
There is something to be said in rekindling the simple pleasure of just taking a photograph in a spare five minutes. It can be as simple as arranging things to hand on a desk or a table and practising the basics of composition, because nowhere is boring when you have a camera in your hand.
To give a couple of examples:
Whilst waiting for the potatos to boil I took about four frames of a satsuma and a couple of apples, altered saturation and played a bit with curves and made them presentable if not earth shattering images. Of course, if I wanted to become rich I should have taken photographs of the spuds.
Waiting for a relative to get ready I was struck by the incidental arrangement of my Works ID badge and glasses on a side table. Nudged things around very slightly, took it, cropped it square, painted a bit of blur on it. Quite like it. Doubt I will see it hanging in the Royal Society of Arts any time soon, but hey, I got a small sense of achievement out of it.
Same occasion at the other end of the trip, I was waiting in a coffee shop and set myself the challenge of getting the branded coffee cup and the illuminated sign in the window. A bit of cup shuffling, bit of Dutching (avidly watching all those 60’s Batman shows as a kid finally paying off), applied a saturated, bluish, filter to tone down the harsh lighting, job done. No need to buy a new dickie bow for any award ceremony on its account, but that’s fine. I had observed, visualised, framed, captured and post processed in under two minutes, made a photograph that gave me a small sense of having done something, enjoyed doing it and the result. All this by taking a camera to (some) things that make you go Hmmm.
All these were shot and processed and uploaded to Flickr via my decidedly mid-range mobile phone, which has three times as many pixels as my first digital camera had, two very capable editing apps and a link to the internet, all in something that fits in the palm of my hand. The fact is, for a very high percentage of the day I have access to a camera. Yes I prefer to shoot with my camera body and detachable lenses, yes I can potentially do more with it, but the equipment isn’t the point, making the image is. And no one knows what camera was used and very few actually care.
Restriction is as much an opportunity as a wealth of opportunity. This can be shooting with a different lens or one you don’t use very often, a different camera (including your phone camera if you don’t use it very often) close ups (not necessarily macro), wide angles (making sure to include something in the foreground) there are plenty of variations. A simple one is to deliberately frame a portrait and a landscape version of the same image, being careful to compose the best image in each.
As we gave him the first word we will give him the last, in the interests of symmetry, a noble subject for an image. Henri Cartier-Bresson said of taking a photograph that the thinking should be done before and after the taking of a photograph. Make that gap your Zen Moment. Take that time just to enjoy being a photographer.
2017-2018 Season Round One of the Open Competition (DPI) was an evening of considerable variety. The prints will be judged next session. Congratulations to Wendy Goodchild for her winning entry and thanks to our judges, multiple award winning husband and wife team Peter Brisley and Sue O’Connell, who are back next session to judge the prints. We have had to split the judging for this round because of the volume of DPI’s in particular, but the number of print entries, gratifyingly, is also up. Our thanks to our judges for being so accommodating.
What was striking was the variety of subjects and styles on display. This we can take as a good thing because we get to see other people’s interpretations of subjects we have almost certainly chanced our arms at in the past. There is also an advantage, not immediately obvious, in watching our and fellow club members progress over the course of a season. Thinking about what we do is an important part of developing our art. There is a difference between someone who has taken 10,000 photographs and learned from their mistakes and someone who has taken one set of mistakes and repeated them 10,000 times (with several, increasingly expensive, kit upgrades in the interim, no doubt). There is a difference between a photographer and a-bloke-with-a -camera after all. Well, most of the time, if not for everyone and increasingly for next-to-no-money whatsoever.
Yet we cannot get anywhere meaningful without the effort. There really aren’t “bad” cameras anymore. Ditto lenses. This rather points to the photographer as the weak link in the chain. At some point we want to be more than just the button pusher. Creativity requires effort and lots and lots and lots of practice. Not a blinding revelation and not the first time it has been mentioned on this blog, but certainly it is a truth of learning. Anything we learn pretty much follows that pattern. We know this so why not use it?
Critique, like we get in competition rounds, but not exclusively restricted to that, is a good source of fuel for our development. Structured in its delivery and used as a starting point, or rather a restarting point, if we were to take that image and again and apply the observations we have been given, would the image be more effective at relaying its story?
Like or dislike of an image is natural and almost instant. When sorting through a large number of images for editing or weeding a good rule of thumb is if it doesn’t hold your attention for two seconds (or more) bin it. Critiquing requires we go beyond the immediate reaction. Even the most experienced of judges can suffer a failure to understand. A good judge will be honest about this – and we are also our own judges so I am not just talking about club photo competitions – and give us a reason or set of reasons why not. But it will be structured and it will provide information we can consider the next time we have the camera out. The key is the word because. This is, absolutely, the key.
For sure critique needs a framework to be meaningful and for sure it is subjective, but there is no one method, and every time we look at it we take a slightly different path to reflect this. This might give the impression that it is not very effective. Yet no artist ever develops without nurturing one. The same way as having a purpose in taking the pictures we want rather than the pictures that present (that’s not to say we shouldn’t be open to the unexpected) is part of the same process.
Look at the opportunities the club presents. Practicals for sure, are pretty obvious. Ditto the competition rounds. Speakers are a chance to get ideas from, to look for alternatives and also to interact with the material presented, to say I like that because … or I don’t like that because … I would alter that … I will try that … how did they do … Whatever else, you cannot beat a bit of deliberate action.
And take lots of pictures.
And look at lots of pictures. There are plenty of sites on the web to give us ideas. Flickr, 500px and other general sites to more specific and curated ones, like the Magnum Agency and the stock photo sites like iStock or Shutterstock, or social media groups like those to be found on Facebook or sites like Instagram. Look, but look critically.
Given the travails that we went through to get last meeting off the ground, loosing not one but two judges at very short notice, then Bristol traffic conspiring to wedge the prints in an immovable traffic jam on the other side of town, just when things looked like they might be going right leads one to wonder just what the universe was telling us. Absolute sterling work from the Competition Secretary, Mark O’Grady, frustrated by circumstance. Big thanks from all of us Mark, for going above and beyond. Then – and British readers of this blog will want to make sure that they are resolutely braced before taking this bit in – the tea urn went missing. Still we got somewhere in the end.
So, why does a club have competitions? There are, of course as many reasons for that as there are club members. Recognition, acclamation, ideas, feedback, discussion something to fill a hole in the calendar, are just a few of the headlines you could write a whole blog and more on each. No, don’t panic, I am not going to. When children draw they don’t have a concept of consequences, is this good or is this bad? Right colours? Does it look like it should? and so on. What they produce is intensely personal and very honest. As we grow older we learn notions of correctness and benefit and we unlearn the naiveté that made making pictures fun. Even of the abstract we come to demand technical proficiency. We corral our imagination.
In time we improve or abandon the pursuit according to circumstances and according to what we want. We buy a camera because we want to record a special occasion, a holiday or maybe our own children or children we are close to, a few of us because we are curious about pictures and want to get better at making them. Now- a-days, rather than buy a camera specifically we are much more likely to turn to our phones. The pictures we want to make are generally those we can create without the many hours and mess involved in painting, never mind the fine motor skills, which some turn into is photography art debates (Yes move on). Cameras and pictures are so much a part of society these days that picture making is pretty much second nature.
Most of those pictures being taken at this very moment are dull, boring, technically flawed and mean something only to the person who will forget they took it by tomorrow. They are constructed for different purposes. We decide to get better at this sort of thing and, suddenly, (nearly) everyone else’s pictures look better than ours. That can be a spur or it can put us off. Access to the ways of doing things is a lot easier now than it was, there are blogs and video channels aplenty as well as the more traditional routes through books and courses galore that blend all these. That, however, can make matters confusing rather than easier. So we know about the tools of odds, of thirds, of lead lines and negative space, symmetry, foreground interest and the effect of focal length, and the importance of balance and we know all about the exposure triangle. In fact we can know a lot about a lot and can still make pictures that lack impact.
The problem, at least in part, is that we have all these tools and rules but they are tools and rules of thumb. Certainly they exaggerate elements of the arrangement of the objects in the frame and hold others back but we keep coming up against the idea of technically proficient but subject deficient – and other people’s photographs still look better than ours. It is self doubt that becomes, once one has learned the basics, the biggest drag on learning. Sometimes we cannot see for looking. Sure, we need a mind open to development, open to seeing other people’s work, looking at other pictures in that picture but the frame of mind has to be positive and the habit has to be always looking for the picture – even when you can’t carry a camera. The habit is the thing that enables everything else, the letting go of the half-expectation of finding something to photograph and replacing it with the opportunities to see something to photograph.
That can be where club competitions come in. Yes we want to test our metal against others, but we also need feedback. No we don’t always agree with the judge, but we need to be able to say why. Yes the judging is subjective, yes its structure does mean certain types of photography may not fare as well, but it is a structured feedback on pictures that are anonimised and it is something that you can work with if you choose. The more experienced judges should come with a wider perspective anyway and whereas they will have their likes and dislikes – some of them strong – the perspective they are showing is a start.
If we can get into the habit of the feedforward loop we will do ourselves an enormous favour. Feedforward is when we take the experience of a previous occasion and use it to improve (control) a future event. Learning from the future ” Images of adaptive future behaviour, hitherto not mastered” (Wikipedia) or in our case getting the picture we see in our head as a Jpeg by design not accident, is something we can only do as design.
Next session is a 10 by 10 (or there abouts) where members talk about their own images, what they got from them, what they would do differently (among other things). Open to all members, bring some along and join in, especially our newer members, as we are all interested in photography and this is a good opportunity to share it.
Round 2 of the club competition last meeting and I shall link to the club website here where the winning entries will be posted in due course. Club thanks to our returning judge Roger Mallinson who got though 21 prints and 58 Digital entries in a prompt and informative fashion.
This week we are going to return to the studio as it were, and start to investigate light modifiers as previously promised. So, starting with the obvious, just what is a light modifier? Yeah, ok, it’s something that modifies light, a true but otherwise unenlightening answer which we need to look at in a little more detail. If we take the word modify we can use it in two senses:
- To change in form or character; alter.
- To make less extreme, severe, or strong.
With light the second meaning is a consequence of the first, it is also an inescapable consequence and though a tad obvious to some the conclusion is the same as the one that Mark and Rob gave us a couple of weeks back, that if you are going to do a lot of this then it is best to buy yourself a light meter. The reasoning is thus, every time you make an adjustment in intensity or distance (one and the same thing often times) then you are going to effect the elements of the exposure triangle and using the old saying: two measures to one cut as a guide, okay two measures to one slick in this case, means a lot of time effort and battery can be spared. For the occasional user then it is a case of trial and error. Eventually you will get to know your kit well enough to be reasonably accurate in your estimations.
There are basically two kinds of light modifiers which we can divide into soft light and hard light. Flash is the most likely entry point for a hobbyist into controlled off camera lighting. With flash we tend to use more of the hard modifiers, that is we use them more of the time, but both categories need considering.
The thing to remember, that is the thing not to get carried away with, is we modify light to enhance the subject. It is always about the subject, he, she or it, not about the modifier. Unless you are writing about modifiers I suppose. Still, that false conundrum aside we choose the modifier to light the subject, not the subject to show off the mod as a general rule. The subject is the thing. Always.
So this week we will start with soft modifiers. Another term for light diffuser, because diffused light gives soft shadows, that is the differences between light and dark look more a gentle grey than a stark black. Make no mistake we are using the light to create shadow. Shadow is the form of the statement we are making and without light there is no shadow.
So a soft modifier spreads the available light over a larger surface, that is, larger than the source itself . Smoothing the transition from light to dark on your subject the main use of soft modifiers is for key lighting in portraiture. The key light is usually the primary light source, the brightest and most important.
The two most frequently used soft modifiers are softboxes and umbrellas. Softboxes are normally vaguely pyramidal and lined with a silver, highly reflective material. They come in a variety of sizes and those sizes relate to how soft the light is, not how wide spread the light is. Yes, you are right, those two things are directly related. Most softboxes and umbrellas are used at a distance of two meters or less from the subject. Though there will be differences in the areas lit between any two given sizes, at these sort of distances they are minimal and really, really not the point. The point is how diffuse the light is, how soft the shadows are.
Softboxes are a studio staple but they can be very bulky, heavy, require more than one stand and generally take up a lot of space even when not being used and can take quite a time to set up. They are good for using with other modifiers though and also good at controlling light spill (basically light coming through at unintended angles which may or may not intrude on your desired effect).
A subdivision of the softbox is known as an Octa, octabox, octadome or octa softbox/dome . Octas, as we will call them, come either as an octagonal shaped softbox or as a hybrid softbox and umbrella. The angle and amount of light fall off is different to a softbox, but they do tend to be a lot more expensive and as bulky as softboxes.
There are further modifiers than can be fitted to a softbox or and octa. You can add grids (to give direction), flags (put shadows in), filters (control colour and intensity) to give you a greater control.
In case you are thinking, “Hey, I can make my own softbox” then I have to say, yes you can. The difference is in the quality control and the length of time that it is likely to last, but there is no reason why you can’t use tin foil and a cardboard box to put over your light source (flash gun rather than bare bulb, depending on the quality and exclusions of your house insurance and fire damage claims) and a plain shower curtain works wonders (make sure it doesn’t have blue tinge if made of plastic and yes it will melt over a hot bulb). Go ask YouTube, there are many different videos covering this.
Essentially umbrellas for modifying light as, opposed to keeping the rain off, come in two varieties: Shoot through and reflective. They are a little more untidy in the way that they deal with light, it will spill round the open edges. They are also prone to having a hot spot which may or may not prove a small problem. They are usually a lot cheaper than softboxes or Octas.
A shoot through acts like a lampshade, softening the light simply by putting a semi transparent material between light source and subject. A reflective umbrella is opaque, black on the outside with a highly reflective, usually silver, sometimes gold or maybe white interior. These are pointed at the subject so that the open side of the brolly is facing the subject and the flash unit faces the inside, away from the subject, to bounce light from all round the internal reflective surface from every attainable angle.
Umbrellas come in a range of sizes from small to huge (10 feet or more) and they are a low price, effective, portable light modifier. This makes them very popular. As already mentioned their biggest disadvantage is their tendency to spill light around the sides. Not a huge problem, normally, but one which does need to be attended to. Unlike softboxes there really aren’t any effective DIY options, but they can be bought pretty cheaply and so even if there was a DIY alternative the cost advantage would probably be very low.
Next week we will be looking at hard light modifiers and it is the club social, see website and or Facebook for details and Rob is doing a Bokeh session to boot.
ROC round 1 judged by Ralph Snook, a first tie judge for the club and thanks to him for his efforts. Results will be on the club web site http://www.reflexcameraclub.co.uk/
So, for a change, the second of our ocassional contributions from club members, this time Rob Heslop on “It’s not the camera it’s what’s in front of it”.
Having just upgraded a perfectly good camera to the next model up, which is basically the same except for a few functions I’ll never use, for absolutely no reason other than the shop presenting my with a fantastic offer, got me thinking about camera kit our and do we really need half of it or could our photography improve if we invested elsewhere? It’s easy to get swept up with the latest must have gear, magazines are full of reviews with photos taken in exotic locations by professional photographer which somehow lead us to believe that if we buy that bit of kit we will be able to take that photo. Then there are the debates on the Internet about the subtle differences between kits that lead us to believe that anything but the latest pro lens is just not worth having. Even club members harmlessly chatting about their newest toy or a guest speaker explaining what kit they used lead us to subconsciously question is our own kit good enough. All this creates a mindset of I need an xyz if I’m to take photos that are any good and I know I’m as guilty as anyone when it comes to falling for the marketing hype, but the “greats” never had half the kit we do, whilst that’s not to say they wouldn’t have used the technological aids if they had them, merely that they took mind blowing photos without half the equipment we have and it didn’t hold them back.
Which leads me to wandering is there a better way than fixating about the camera, perhaps if we want to take better photos we should instead invest more in what’s in front of the camera than the camera it’s self.
Over the years I’ve gone on various photographic ‘holidays’ around the UK and I use the term holiday in its loosest sense mind as who gets up at silly o’clock just to sit in a car in the pouring rain waiting for a sunrise that never comes before retreating to a cafe for breakfast. Then a couple of months back I took the next step and went international and for the price of a lens I headed over to that infamous photographic location; Iceland.
Having never been before and as this was primarily a photographic trip not your traditional holiday there was a great deal of planning in the local pub using the likes of Google maps and Flickr to pick places (and times) we wanted to shoot and subsequently places we would to stay in-order to get the conditions but foolishly we never planned places to eat, more on that later. The idea was simple; fly into Keflavik (the only international airport on the island) pick up a hire car and drive along Route 1 to the glacial lake, then make our way back taking photos on the way, simples .
Keflavik, is on the western tip of the island meaning we flew along the southern coastline which gives an amazing view of the glacial ice, the black sandy beaches and of course the ocean, all hinting at what’s to come. The plan touched down on what I can only describe as the surface of the moon or maybe it was Mars either way I’m pretty sure I could see the Apollo capsule in the distance.
On landing we picked up our car and I was relieved that the choice extended beyond the red one or the blue one, before proceeding on one of the most challenging drives ever; not because it of the navigation (there is only one road) not because of the road conditions (they were better than the UK) not because of the other drivers (both of the cars we past were polite and courteous drivers) but challenging as we had to force ourselves to drive past some of the greatest photographic opportunities we had ever seen; I had a feeling that it was going to be very hard to take a bad photo.
That evening we arrived at Jokulsarlon the glacial lake on the south of the island, the lake was stunning with icebergs breaking off the glacier slowly crashing into each other before drifting out to sea. They were a sight to behold and presented a wealth of photographic opportunities, well worth the drive. The plan was to wait for sunset, get some photos and head over to our accommodation for the night. There is however a catch we had forgot to make plans for dinner and found ourselves hurriedly eating cold sandwiches and lukewarm soup for dinner before the only cafe for two hours in any direction closed for the evening. We discovered that in the winter the population along the southern edge of the island is less than 100 people and if I’m honest I don’t think it’s much more in the summer, so it’s no surprise that food is limited. Still after a hurried dinner, closing on time seemed to take priority over feeding the dozen or so tourists that had also fallen foul to the lack of places to eat, we settled down to some serious photography but soon realised that whilst it got colder sunset wasn’t going to happen any time soon, to be honest I’ve no idea if it even happened as we were worn out and exhausted long before the sun was.
The next day was spent on the road to Vik about a two hour drive according to Google maps or an entire day’s drive if you include photos stops. The landscape was epic with and endless feel but somehow constantly changing offering a dearth of photo opportunities and it was all ours, every so often we’d see the odd car drive by but for most of the time we could lie down in the road if we wanted, oh and we did even if it was just to get the right camera angle. Vik however was a real treat for photographers with it’s black sand beaches and stone monoliths rising out of the ocean it’s hard to see how you could take a bad photo but I probably managed luckily I also managed to take a few keepers, rather than wax-lyrical about Vik I’ll simply recommend doing a quick search for images on Google, Flickr or similar, as like the old saying goes a picture speaks a thousand words and even that isn’t enough to sum up the photographic opportunities.
The final day was spent driving back to Reykjavik trying to remember everything that was saw on route a couple of days previous. This was our first insight to the touristy parts of Iceland; Skógafoss and Seljalandsfoss Waterfalls, not to say these aren’t worth visiting from a photographic perspective, they are stunning but from mid morning on the crowds of day trippers on their coach tour excursions from the city started to build making photo opportunities more challenging, but they did at least mean food was more plentiful.
Then as quickly as we’d arrived it was all over and we were on the plane back to the UK. Sat in my seat my mind reflected back on the trip, the sites I’d seen, the photos I taken, and places I want to go back to, yet at no point did I find myself thinking if only I had that latest bit of kit. And that’s just it, despite what the adverts may imply having the kit on its own won’t magically lead to better photos and it won’t provide you with experiences or stories. So next time you find yourself starting to lust after that new piece of camera kit ask yourself would it be better to invest in your subject matter, it doesn’t need to be far flung and exotic, just give the subject of your photos the same attention as you give to the camera.
Thanks Rob, really interesting points and I am not at all jealous …
N E X T M E E T I N G
Week 10 – 3rd Nov 2016 19:30 – Practical “Reflex Reflects”. Creating images using various types of reflective surfaces and objects.
(Bring your cameras, tripods and lights/flashguns)