Tagged: Bridge

August 2016 -New Season Approaches

Blog has taken a bit of a break these last three weeks – what do you mean you haven’t noticed? – so this week is a little bit of a digest of things that have crossed my viewfinder. Over this period the club has been up to Gloucester for a very pleasant evening and a model photo-shoot around the docks, Bath for stroll around the Royal Crescent and Severn Beach for the sunset. Our thanks also to models Ashleigh Claire, Keith Bristow, Carl Hawkins and Alice Jordan for their endurance and patience at the Gloucester Docks shoot, which from Facebook seems to have generated some interesting shots. Not quite as billed (the theme was originally going to be Victorian) but it was an entertaining evening nonetheless and we had the space largely to ourselves and another photographer and model who were doing a shoot. There was also an American car meet going on and all in all it was an interesting, if slightly humid couple of hours.

 

But the humidity of Glos. docks was nothing compared to a windless evening in Bath, which seemed to pile heat upon heat. Severn Beach was a little more civilised even if the evening did end in rain. The fact is we don’t very often get extreme weather in this part of the UK, for which we should be grateful, but still half a dozen people have lost their lives on the coasts around the UK in the last ten days or so. In fact the climate and geology of the UK is particularly stable yet still manages a huge variety of land, sea and urban views. But it’s not without its dangers.

 

One of those is people taking exception to you taking photographs. In this country the level of paranoia around children and photography is on the increase. I met with this some years ago – taking photographs of my own children. Now I am a reasonable man but telling me (wrongly) what I can and can’t do vìz a vìs the photographing of my own children in public, does rather try my patience. It always pays to be polite though and I am sure I was a lot more polite than I seem to remember being.

 

Scare stories are will always generate interest, trouble is when people act erroneously on them. And, of course, different countries different rules – over the weekend it has emerged that the “Burkini Beach” photographs of the armed French Police enforcing the law have led to the former Mayor threatening the prosecution of social media users sharing pictures of them doing so. Now the reasons for doing so are complicated and the reason for the Burkini ban is tied up to do with the 84 deaths on Bastille Day in the City of Nice, where the photos were taken. The point is, whatever you may think of these rules (a) ignorance is no defence and (b) your opinion of them does not change the law.

 

So, simply put, find out what these rules are before you take the camera out of its bag and stick with them. This Facebook Page is a good place to start.

 

On a more cheerful note the 2016-2017 season starts at the club on 1st September and we are kicking off with an event called my summer, where members bring in photographs they have taken over the summer and present them. That’s a sort of hint.

 

There is a lot on the programme again this year and we urge all members to participate as widely and as often as possible – it’s sort of the whole reason for the club after all. One issue that has arisen and needs addressing. The evenings where we use models on the basis that they get the images we take in return for their time do require that we honour our side of the bargain, whether we as individual photographers, think they are good enough or not. It doesn’t take much time and it is only fair. We can now use the photo entry system so that can be covered among its many other attributes, I believe, as it can be set up relatively easily, so no excuses really. Give up your best three (at least) and let the model worry about whether they are good enough or not.

 

We are fortunate in having such an active club but we also recognise and welcome new members. There has always been someone around to answer questions and there is quite a breadth and depth across the club and members always seem happy to give freely of their time. Long may it remain so. The programme for September includes: Photo’s we have taken over the summer break; Q and A session; A talk that looks distinctly chilly; and a photo mini marathon, ever popular. That is all in the next five weeks (photo-marathon and photo-marathon judging taking place in consecutive weeks).

 

So, what is your goal for this season? It’s always a good idea to have and we learn more when we have an idea of what success looks like. It might be to get yourself off auto/programme, not actually sins in themselves but the tool is making decisions for you creatively and artistically. There will be plenty of opportunities within the club schedule to practice that and to ask people about how they do it and why they do it that way. You might want to set yourself a one a day project over 7, 28 or 365 or some other number of days. Or take on some macro or portrait projects, the point is there are lots of opportunities and there is a lot of experience in the club, you can call on. Essentially next season is what you make of it, and the club is what you make of it, the opportunities are there for the taking.

 

Good luck!

17th July 2014 – A Bridge Not Too Far

Temporarily peripatetic, the last meeting was a photo-shoot at the Clifton Suspension Bridge and a photo-shoot with a twist.  And maybe a shout. Allison had arranged a little surprise in the  form of the Filton Orphans Scooter Club, the weather co-operated gloriously and Mark S. lost a lens hood. Did anyone happen to pick one up? Well attended (despite the horrors of trying to find a parking space in Clifton of a sunny summer’s evening – two wheels do have their advantages) it looked to be a happy and productive couple of hours. Club thanks to Allison and to everyone who made the event possible. Next Thursday we meet at the Charlotte Street Car Park in BATH;  that’s Bath NOT Queen Charlotte Street in Bristol. 7:30, photo-walk. See you there.

 

So, I got to thinking (dangerous habit, don’t recommend it, certainly not without a crash helmet): as one who needs to improve, how can I take advantage of our temporarily homeless state? We have talked before about the role of structure (on the blog: Proper Prior Preparation Prevents Poor Photography) so maybe time I got my head in gear and choose an element to concentrate on at the Bath photo-walk.

 

So, no sooner than I decide on this noble quest than I come upon the first dilemma. Where to start? Taking the hobby a little more seriously and applying the ideas of critiquing one’s own work still leaves me with more than a few avenues to explore. Well, start with  the glaringly obvious, even if that takes tea amounting to several pints in volume and two similar equipment failures in three days of the glad-I-am-doing-this-as-a-favour-not-as-a-business sort of thing, need to collide first.  The equipment failures were both lights, and the second was more serious than the first because that shoot cannot be done again for various reasons.

 

The first was a simple blown bulb when I was showing a friend of mine – after lugging the table top stuff, camera and tripod on the motorbike a hundred miles to do so with the added bonus of a nail through the virtually new rear tyre and a non repairable puncture –  the possibilities of recording the techniques he uses to build models. He might also sell them as they are taking up a fair bit of space. No worries, I packed a spare, like a good boy scout. No, I packed an empty box, like an idiot. Back to a one light strategy and a couple of other adjustments. Got the point across and made the point of taking my trusty compact camera just to prove you don’t need an expensive DSLR to do this. Result is he is now building a combined spray booth and light tent apparatus.

 

The second was taking some shots of another hobby group at a location I have been to once previously and which has a black floor and a black backdrop. Two (cheap and cheerful) flash guns on simple remote triggers to balance out the over head lights, which make the shadows quite heavy (even with a reflector) under the eyes so two guns make life a lot easier. Relatively straight forward. Eventually get the balance about right when one of the flash guns goes ffft. Change batteries from the third flash gun no result. Change to third flash gun which decides, after several previous occasions of faultless performance, that it doesn’t want to play with the triggers tonight (this was actually at 02:30 am, not my peak time for tolerance of uncooperative mechanicals). Hey ho. One light, get the light closer, reduced power point at the floor seems to do the trick but have to under expose to keep some of the detail (which is actually important detail for these shots).  OK switch to RAW (yes I usually shoot JEPG). Check with chap who is doing the post processing which I don’t have time to get involved with. Not sure that his editing programme will handle the Sony version of RAW as it is a tried and trusted copy of a programme (i.e. somewhat old) and that is a problem I have encountered before. JPEG it is then, but contrast, brightness an curves seem to render things OK (I checked on a couple when I eventually got home).

 

So as a photographer we either point and shoot and get disappointed or we make adjustments more to our tastes (and possibly still remain dissatisfied, though probably less so). There is a lesson here for yours truly to absorb (along with stupendous amounts of tea). The basics are common (come on Ian you are not far off a conclusion here) so, concentrate on the true basics. How do we do that? Well ….. shoot manual? That is how I learned on an Exa Thagee my dad bought very second hand circa 1971 (with a 50mm and 135mm lens) using 80 ASA print and then 25 ASA slide film (ASA = ISO to the uninitiated). You could even do macro on it by loosening the retaining screws on the 135 and sliding the assembly out a little (do not try this on a modern lens or you will likely find yourself with a modern lens kit where your pride and joy used to be).

 

Manual mode forces the issue. You have to think of the composite elements of your photograph. You can go fully manual and switch the autofocus off, but I am not sure that helps other than in situations where the system is overwhelmed or, more usually, underwhelmed. Either way not  whelmed. With manual mode your starting point can be exposing primarily for highlights, or mid-tones or shadows. Doing so is an invitation to think more intently about metering and explore the metering modes. These are the sort of things that mean you can become more consistent in the way you get your results. This then helps with the times when the conditions aren’t ideal or otherwise exceptional. You have a known and measure starting point from which to make your adjustments.

 

I normally shoot Aperture Priority because of the depth of field control it facilitates with relative little faffing about.  I shoot AP almost exclusively, but now out of habit rather than conviction. So changing that is relatively easy, fundamental and a good learning opportunity. It also concentrates attention, if I am not mindful, on the camera body not the image. The image is what I am after, not the camera body, so we are back to square one pretty quickly if an actual picture element isn’t what I am trying to capture in manual mode. That for me is what separates someone on the way to becoming a photographer from someone with all the gear and no idea. You are attempting to achieve a “good” image, not a “good” camera. It’s the fan-boy thing (and let’s face it kit obsession is a very male trait) getting in the way of the job.

 

Another decision, another prodigious amount of tea, then. Well yes, but only because I like tea. After a couple of minutes going through the options the thing that grabs me strongest, actually the first thing I think of but give the rest a go in order to try and dismiss it, is contrast. Not just the difference of light and dark, but (possibly) of tones, textures, situations. What, exactly, I dare say I shall find out on the photo-walk, next Thursday. Charlotte Street Car Park, Bath. 7:30 pm. See you there.

 

 

IN THE NEWS (again)

The world of stock photography takes another turn with the launch of an app by Dreams Time that encourages people to share their “In the moment” images (3mb and above) according to this article in Amateur Photographer. It offers both further opportunity for new and existing entrants to the market but also accelerates the destruction of the existing market. Whether this is an act of “Creative Destruction” remains to be seen but it will almost certainly make getting a foot in the market that much more chaotic if not actually more difficult. Dreams Time claims 8 million users, so the supply side is taken care of but careful curation is still a service to the industry (and a revenue opportunity). Timely then, that  the latest Photoshop Express development that brings RAW, among other things to the free version of the photo editing programme and is available for iOS and Android.

 

Ian G.