Editing this week. Not it in your ed, you understand, but giving 8 images to 30 ‘togs with the aim of seeing what they would come up with in a limited time. Now with this opportunity and the general sharing attitude within the club there were common themes but no two sets of images shown were anyway near the same in detail. Views were shared and how-to’s extended. This is an important point. Whereas Adobe was, by and large, the most commonly used suite in the room, that did not engage everyone’s imagination the same way. The (unfortunate for some) truism that a no-expense-spared camera body and even more expensive lens doesn’t make a poorly conceptualised image a great one extends to the range of photo-editing suites. Proficiency in composition enables more to be got out of the tools in both cases.
If you don’t know where you are going you will probably find yourself somewhere else is a much quoted aphorism in this blog. Visualisation is the first step in making a successful image, more often, than “Sheer dumb luck” (see the previous two blog posts) and imagination is the fuel for the engine of visualisation.
The broader concept which we are progressing here, at the beginning of 2018, is the development of ideas. There are two basic positions which we can take, previously termed by yours truly as the Get-It-Right-In-The-Camera-ista and Ye-Acolyte-Of-Photoshop. More of the former than the latter myself, both points of view have currency, depending on where we are in the pursuit of an image. The more options we give ourselves in the first instance (Get-It-Right-In-The-Camera-ista) the more we are going to have to work with in the second (Ye-Acolyte-Of-Photoshop). Proficiency in both does not guaranty a good shot. If we cannot see the picture in the first place you are not going to get your best shot. If we don’t compose the elements in the frame it is unlikely to be very appealing.
Repetition is a very good teacher, but with the important caveat that we pay attention to what we are doing differently this time – madness lying in doing the same thing over and over again expecting a different result. And for that we need to know what we are working towards and being open to new opportunities as they present themselves. Setting ourselves a project is an excellent development tool.
Initially setting a photographic project needs a brake on the ambition. Make it small, give it a defined beginning and end and give yourself the time to complete it. A two, three or seven day project is a good start if this is all new to you. Take one subject and give ourselves a three to seven days to shoot as many variations of the theme as we can manage. Inside or out. Table top is a really good place to start, the important thing is that we think and think critically about the images we are taking and explore variations.
There are books that do some of the work for you by giving tasks, some easier than others, the idea being we go out and shoot the assignment given to us and print and mount the best one in the book. We can go more DIY and use photocorners or some other mount and a reasonable size note book, something we can write our ideas and reflections on. There are plenty of lists out there for projects we can work through. The thing is not how good is it, but how do I change this for another story? Practical measurements can be taken from the Exif data but the key is much more likely to be in re-ordering the elements in the frame or making the light fall a different way.
What quickly becomes evident is that having a clear end in mind is a good place to start. The journey is where the learning takes place. An essential, when doing this sort of thing over time, is to take notes. The artist’s sketchbook is a centuries old instrument that is a fantastic development tool. It’s for photographers too. The contact sheet, not only a film phenomenon, also has great value but as an extension to a sketchbook rather than a substitute.
So why go to such lengths when we can go back through our photographs, especially those of places we have visited frequently? Well, I am not a very prolific photographer and the hard drive on my lap top contains 49,000 image files, all backed up on an external drive since you ask, with about 10% of those on Flickr in albums. The Flickr account makes it quite easy to go through similarly themed images and I do, occasionally, revisit some of the images on there and re-edit as an experiment, especially the ones from when I was getting back into photography about 5 years ago. Even so I keep a notebook for the odd thought that occurs or note on a method and writing this blog helps put context around what we do each week at club. The lesson from that is volume needs structure if it’s going to be useful. Too much choice is as grievous as too little.
Then there is the reworking of the angles as we looked at when talking about Moving and Zooming in mid-January. Point of view is very important. A picture of a cat or a dog at their level (i.e. ground level) is very different than one taken looking down which reduces the power of the subject in the frame (the opposite is true of looking up, which is why so many Chief Executive pictures are taken from a lower angle and tell us a lot about the person being photographed). Reworking the angles of the light falling on the subject is a key way to affect the mood of a picture.
Basically if we want to improve there are plenty things put there that we can do for ourselves, or we can share with others. Feedback is the breakfast of champions, according to Ken Blanchard, a management consultant rather than a photographer, but nonetheless we have first to create something to reflect and feedback on.
Here’s something or nothing. Did you realise that we, as photographers, take images in additive (Red, Green, Blue or RGB) and print in subtractive (Cyan, Magenta, Yellow, Black or CMYK, the K stands for Key) colours? Explains, partially, why we have printer profiles I suppose, but as the last session was about editing and the previous was about composition and we have talked about colour space before, which impacts on what we will be talking about here, it seems proper that we talk about colour in a little more depth.
It matters way beyond photography though. In a much quoted survey, “92.6 percent said that they put most importance on visual factors when purchasing products. Only 5.6 percent said that the physical feel via the sense of touch was most important. Hearing and smell each drew 0.9 percent.
When asked to approximate the importance of color (sic) when buying products, 84.7 percent of the total respondents think that color (sic) accounts for more than half among the various factors important for choosing products”.
Source: Secretariat of the Seoul International Color Expo 2004
“92% Believe color (sic) presents an image of impressive quality
90% Feel color (sic) can assist in attracting new customers
90% Believe customers remember presentations and documents better when color (sic) is used
83% Believe color (sic) makes them appear more successful
81% Think color (sic) gives them a competitive edge
76% Believe that the use of color (sic) makes their business appear larger to clients”
Source: Conducted by Xerox Corporation and International Communications Research from February 19, 2003 to March 7, 2003, margin of error of +/- 3.1%.
Colour perceptions and the way that colour works is vastly important, yet most photographers, even the ones who know about the colour wheel and might even know some colour theory, don’t always use it to the maximum advantage probably because we take the environment that we are capturing as outside of our control. Studio work excepted, where control is, can be, total. It will help us to be aware of why colour and shape attract us in the first place and a little understanding of colour theory, including the psychological and emotional effects of colour, can be made to go a long way.
Using colours effectively can have a big impact. we can use it to draw the eye, tell a story or change the mood. HDR often suffers from being what I call beige, that is the colours are muted and squashed together in spectrum which certainly gives them a look, but not necessarily a pleasant one. Shooting in RAW really helps here because if you desaturate to black and white and get a very grey image then it is telling you something. Altering the sliders for individual colours has an effect, even in black and white, and can help balance things more to your taste. Why RAW? Because RAW gives you more. More data to affect the final outcome. JPEG isn’t terminal here it is just limiting.
Whilst we are on the subject of sliders, saturation is more often than not the guilty party. Saturation is the intensity of a colour. Value, which is related is the brightness or darkness of a colour, gives you the same saturation but it effects the visibility of that colour on screen. Between them you can get a range of shades. Highly saturated colours are very shouty. A whole image made up of saturated colours can be overwhelming unless very skilfully applied.
The idea that certain colours complement each other is as old as the ideas of colour and art go and nature cottoned on the signal properties of colour long before humanity came along. What follows is a jaunt around the colour wheel from a solo trip to several in company. The simplest colour harmony is one where a single colour predominates. Monochrome. Best for single subjects and striking effects, How photographic in principle can you get? It can be a wash of sepia or a cyanotype, the striking light of the rising or setting sun, or a single colour like a red, a pink, a green a yellow or any other colour that works. The next circuit is one in the company of near neighbours, analogous harmonies. These are the colours that are adjacent to each other on the wheel, the ones either side of the primary colour we are looking at. It tends to create feelings of comfort in the viewer, no jarring opposites to clash with our senses. Any landscaper or natural photographer will tell you it is most often found in nature.
Things start to get a little bit more complicated with the triadic. Think of a clock with hour, minute and second hands permanently at a 120 degree separation, so pointing, for instance at 12 4 and 8 on the dial or 1,5 and 9, 2,6 and 10 etc. It can be quite difficult to pull off but it is very striking. The one we have all probably heard of is the complementary, opposite sides of the colour wheel through the full 360 degrees (well, logically 180 degrees as you have then covered everything in the full circle but that might be being picky). They really are the two colours that go best with each other but rarely, very rarely, do they work when in equal amounts. There needs to be an imbalance, probably in favour of the less strident of the two colours (green, if red and green, blue if yellow and blue for instance) because the other way round throws the whole scene out of balance because of where the eye is drawn.
So why leave it there, why not complicate it by using split complimentary colours? Well why not. Similar to the basic complimentary, what it does is split the range of one end of the opposites between two analogous colours, it’s an hour earlier than the triadic on our imaginary colour watch, so 12 is complimented by colours at 5 and 7 o’clock (red by blue and green for example) 1 by 6 and 8, 2 by 7 and 9. But, I know, that is not complicated enough for you, well, sir, madam, out the back and for very special customers only, we have the tetrad. Now this comes in two flavours. The rectangle and the square. Basically four corners arranged around the wheel or two sets of complimentary colours. Again the application should be in favour of the weaker colours or you will get a mess. And if that doesn’t produce something close enough to a dog’s dinner then you can try the adjacent tetrad, same principle but the complementaries are immediately next to each other on the wheel. Multi colour schemes are extremely difficult to control but might be found in the built environment. For those you have to trust your eye or make it the story of the image.
So, in your studio, light tent, bokeh creations or in the wild, but MOST particularly in post production, don’t over-do the saturation; use high contrast values to get the viewing eye’s attention; use colour harmonies (there others in addition to the ones we have looked at) to maximise impact.
One very good resource you want to look at if you want to take this forward is the remarkably informative and flexible Adobe colour (OK Color) wheel.
N E X T M E E T I N G
Portrait Evening: Photographing a couple of models with studio lights and backdrops.
Speaker Clive Haynes FRPS led the evening on Topaz and it is as well to reiterate that this isn’t just an Adobe compatible plug in, but that there are a number of editors that is designed to work with, and there are fourteen or so different plug-ins Topaz offer. Adobe, of course dominate the market, but all the plug ins are available at a discount via Clive’s website. From the afters this was one of those presentations that hit home at some fundamental beliefs about photography.
On the Facebook Group there was a lot of talk about what is worth editing, reflecting last week’s theme of editing and how much of it can a photograph have before it becomes a piece of graphic design. This week we are going to look into who owns an image, and this is linked to last week’s discussion on editing and on the Mighty Book of Face discussions from this week.
A year ago a San Franciscan judge decided that, under American copyright law, a monkey could not own the rights to a picture it had taken because it was not human, even though it pressed the shutter. A new definition for “Chimping” this was not (the practice of taking a shot then reviewing it on live view and going ooh and ahh and pulling faces. Another reason to go mirrorless). It is, under English law (and not a few other jurisdictions), a question of personality, and though “Naruto” the Black Crested Macaque in question certainly seems to have bags of it in the way most of us think of personality, in law it is the capacity to hold legal rights and obligations within a legal system. This is what enables firms to go to civil law over disputes in contracts and so on.
Now you’ve seen the picture in question, I am sure, it became known as the Monkey Selfie. David Slater “took” the picture, in that he provided the materials, set up the shot and patiently waited for the Macaques to partake. Macaques have no legal personality and therefore cannot give their consent, nor withhold it to be photographed, nor profit from doing so. If the Macaque was owned by a person (it couldn’t in the UK by members of the general public, there are legal issue preventing this) or other body that has a legal personality then that animal would be their property and the prudent photographer would be careful to get a property release.
Now this isn’t the time nor the place to go into the pro’s and con’s of this case but it does illustrate something that most of the internet (i.e. the people who use the internet) is either blithely indifferent to or unaware of. Someone made that picture you are looking at. When someone makes their living from that, copyright has particular weight. Unless they give you permission to use that photograph, either directly or through a Creative Commons License, or other form of explicit license deal then we do not have the right to own their and/or use their property.
Without turning this into a Politics lecture (for that you’d have to pay me) this actually goes deeper than a feeling of “Mine”, it is an absolute foundation of our society. Let me quote from Wikipedia (Academics look away now): “Depending on the nature of the property, an owner of property has the right to consume, alter, share, redefine, rent, mortgage, pawn, sell, exchange, transfer, give away or destroy it, or to exclude others from doing these things” (https://en.wikipedia.org/wiki/Property) . So regardless of opinions on Social Media (fancy that) demanding the right to exploit others work free of charge isn’t what the law in England and Wales licenses. Whether you agree with Pierre-Joseph “Property is theft” Proudhon or not is, as far as the law allows, irrelevant. We make property by mixing our labour (intellectual and or physical) with materials and by doing that create something that didn’t exist before and over which we have title (ownership free of valid claims by other parties). Then we can consume, alter, share, redefine etc etc it as we see fit within certain boundaries.
Fairly straightforward, at least until the lawyers get involved. There is a concept called fair use and there are questions of when others take your property as a starting point but make art of their own from it, such as sampling in music. Whose art then is it?
Artist Richard Prince was doing this with other people’s Instagram feeds and making $90,000 a pop out of it, a couple of years back (maybe still is) by altering the originals by posting a couple of words as comment underneath and then printing the whole thing. This did not please a lot of people, particularly those whose Instagram feeds he had mined for images, though others were quite accepting of it. No one sued of copyright infringement this time so its legality has not been tested. Civil law really is for the rich or otherwise well funded. Especially as he started “Rephotographing” other people’s work in 1975 and some of his work has gone for $1m or more, he would probably be in a position to afford to defend it. Indeed in 2008 he did just that and his defence of fair use (see above) was not accepted. Obviously this has not deterred him.
In fact this whole idea of other people’s stuff is quite problematic. An image can spin an idea, we might try to recreate that image or give it a new spin, either intentionally or through technical short-comings. We have in the UK the idea of freedom of panorama, which was under threat from the EU in its bid to harmonise European commercial law but was finally decided in favour of having one. If what you are taking is a view taken from common land it is not subject to copyright (though the manner you do it in might be in breach of other, criminal laws) and we have covered this before. If it involves street photography then you must not conduct yourself in such a way as to cause alarm. If it involves minors it is always best to get a responsible adult’s consent – first. If it involves making money from someone’s image or an image of something that they own you can save yourself endless by getting a properly formatted consent (you can get them as a phone app these days). Ditto if you are profiting from the image of the property of another person (it all goes back to title).
So, editing our images, well silk purses and sows ears metaphors aside – or why are you wasting your time in the first place? judgements – is a matter of personal taste, at least as far as the amateur goes, but how much, really, is it your image in the first place can be a complicated problem.
N E X T M E E T I N G
19th Jan 2017 19:30 – The Chairman’s Evening: I believe a camera will be required. Maybe a tripod too. Bring yours.
Colin Wall CPAG addressed us last meeting as the “Opportunistic Photographer” donating his fee to the Sight Savers Charity, as is his practice. Colin’s philosophy sits well with the club motto, “To us it’s not the camera but the picture that counts” (you knew that though, didn’t you?) and whereas there are many long conversations to be had around the topic, Colin preferred that his pictures prove the point and we gained some valuable insights to that line of thinking on the way. Although we may not be interested with what an image was made or indeed how it was made (though replicating looks and subjects and techniques is a great way to learn) there is still a fascination versus need thing going on the customer side of the counter. I don’t know of many photographers who can’t retroactively justify buying new-to-them kit. There is a need there that has to be fulfilled sooner or later.
Explaining to the significant other is a whole different aspect, of course. They may not, poor souls, understand the need. I find window shopping in camera shops quite easy when stony broke, find it quite easy to be price sensitive when the price tag feels like a lot. The most dangerous time to lurk around the nearest camera shop, I find, is when I can nearly afford it.
The how it was made thing Colin extended to post production. Certainly he feels that there is a division growing one we have related to before here on many occasions, as the Get-It-Right-In-The-Camera-istas versus Ye-Accolytes-Of-Photoshop. The photography magazines do seem to be getting fuller of obvious post production work and there are some that, whilst being quite stunning in their appearance do make me wonder whether the original has got lost in the production. Not that I wouldn’t mind better post production skills, certainly I find it absorbing, but sometimes I wonder if some people use RAW so they have to fiddle. At what stage does a photograph become a digital photogram? Cue everyone’s pet hate rants.
So how do you know when you’ve over processed? Well that is a leading question because one photographer’s meat is another photographer’s poison. The analogy works with tofu too, so vegetarians need not feel left out. I have had a competition judge tell me that an effect (sepia) was “slapped on” for no reason, but then ignorance is bliss, his and his alone, I uncharitably thought at the time, and also tell me that the background should have been blurred, on a tree that was about half a mile away across a body of water. Well no and maybe. The second could only have been done post process (I didn’t have the tools then anyway). So, yes it does have its uses but ultimately the success of a photograph is that first impression, the thing that draws you in. That is a matter of taste and tastes change over time. That doesn’t stop anyone, and I am not suggesting that it should.
Colin told us that attention to the basics of composition pays dividends. Yes it’s an old saw, but one that directly relates to the impact subjects have within the frame. When we frame an image we exclude as much as we include. We have to do the exclusion thing in order to achieve the inclusion thing. It relates directly to the impact that we create in that image. This is where the “I’ll fix that in post” thing comes in. A Get-It-Right-In-The-Camera-ista will tell you to move around, varying your angles through moving the subject left and right, up and down and in and out. Then when you have the best and if you can’t remove distracting objects from view, you go to post. Often it has merit, sometimes it is a case of fixing it in editing software. Looking for and framing shapes, textures and details are the things you do camera-in-hand. Strong diagonals and repetitive details, colour or black and white can be considerations too. The details take you beyond the merely documentary, or if being rude about it, point and shoot. He also mentioned something about policing the frame for distracting detail. Specifically he told us to beware bright spots, the colour red, faces and text as they can distract from the main subject. Even those people who wonder in and out of shot when shooting in crowds can be avoided by waiting, as even the largest crowds, as long as they are moving will have gaps appear in them. It can be a lot quicker than painstakingly airbrushing people out of your shot. Doesn’t count in Wedding Photography though. The crowd is rather the point ….
Ye-Acolytes-Of-Photoshop (True Believers Branch) will quite sensibly answer this with one word. Workflow. Workflow is the organisation of materials in such a way so as to transition efficiently and effectively from one sub-process to another in order to get a job done with minimum resources consistent with maximum impact. It starts in camera as the closer to the desired result the raw material is the less processing it needs. If you are processing a large number of photographs then you need to get this right, especially, but not exclusively, if you are being paid for it, you are effectively diluting your hourly rate, a thing called opportunity cost – that which you have lost by undertaking this choice. Taking this a step forward: for every hour you spend getting something wrong costs you three hours – the hour you spent getting it wrong; the hour you spend putting it right and the hour you lost when you could have been doing something more productive instead. So £18 rapidly drops below minimum wage.
So our thanks to Colin for a thought provoking evening and one given in a good cause. We look forward to seeing you again.
T O N I G H T ‘S M E E T I N G
Light Trails – the goodly number of us who attended the light trails session on the centre get to show and discuss our results. As long as you bring those pictures with you! Or its going to be a long evening ….
Skies, can’t live with them, can’t live without them, indicates some of the difficulty that the greatest source of light on the planet can present to photographers and may explain why some retreat on a more or less permanent basis to a studio where these things can be controlled. That, however is not the fate of the landscaper, the wedding photographer, the took-the-camera-on-holiday snapper, well, anyone who takes a photograph of, or in, the great outdoors. Pretty much everyone, then.
Dynamic range is the problem, luminance, the ability of a sensor to reproduce the extremes of blacks and whites in a photograph and everything in between. The human eye/brain combo has a dynamic range of 10-14 f-stops, about 1/1,000,000,000 times the faintest light to that of the of our local star in the middle of a bright and sunny day. DXO give the highest dynamic range of any commercially available DSLR at 14.8 stops. So how can that be a problem? Most modern DSLR’s and CSC’s appear to be within that 10-14 stop range so can emulate the human brain. Yes and no. The question is where the average that you are metering for lies in that range. Your camera does not possess the same dynamic processing capabilities as your brain which constantly adjusts to available light levels (and has been several million years in the development in doing so). What we see in an image is the capture of a moment. It is fixed. The exif data tells you that. What we see with our eyes is dynamically adjusted to what we “know” and changes constantly. In our brains the “shutter” is always rolling, not fixed.
That expectation can be shown in an image with a high dynamic range (that’s a clue) but necessarily arranged around the average the light meter has constructed or the camera instructed by the photographer. Those f-stops in the range have captured the information, we just need to rebalance the image to our expectations. That was the subject of our last meeting and Gerry Painter, Mark O’Grady and Nick Hale gave us some valuable leads on how, with some contributions from the floor, using both Adobe (Elements, Lightroom and Photoshop) and Smart Photo Editor how we can use that inbuilt dynamic range to our own advantage; and yes the same applies to JPEG and to RAW, just not in equal measure.
Broadly the latitude in a JPEG is plus or minus 2 stops over the “correctly” exposed average. With RAW that moves to approximately +/-3 stops. What the sensor can see, approximately, and what the eye can see, is not the same as the sensor records in straight numbers. There are a number of solutions that are available including HDR either from a single or multiple frames plus the various trips that we were shown using the tools available in the photo editing suites and we mentioned above. A single HDR image taken pushed to reveal the highlights and so then back to the original and push to the shadows then combine the three to cover a greater range is one way but if the range needs to be extended further then three separate shots can be used. To get the best out of this will usually require dedicated software such as Luminance HDR, which is free, or Photomatics or any number of similarly capable software, to blend the images into one.
There are, of course, other factors to consider, especially if you are blending two images, especially the quality/temperature of the light needing to match to make things convincing. That is convincing, not accurate – see the discussions of this over the last two posts. This was shown to be relatively straightforward, what doesn’t match between two images really stands out rather clearly and it is down to being a little critical of the outcome. Does this look as if it is one image, or does it look like more than one image crammed together. The hit and hopes do tend to stand out. As ever it is a matter of personal taste. It’s your photograph, what are you happy with?
Which brings us to round 2 of the ROC. Paul McCloskey was our judge and thanks to him for his insights and reflections on the night. The number of images commended was the highest to date and reflects not just a growth in quality but also one in diversity. The club moves from strength to strength. There was some conversation about what Paul saw and what some in the audience saw differently, as ever when we compare and contrast each other’s work, but that is both a good and necessary thing. The story we think we are sending out won’t always be the story that other’s think we are telling, and that can open us to other opportunities.
Results are as follows, those marked No Image Available mean exactly that. There was no image in the cloud folder for them.
Digital Print Images
Beauty and the Beast
No Image Available
No Image Available
No Image Available
Centre of Attention
The Big Bang Theory
Who Needs a Parrot?
Butterfly With No Name
It’s a Bird
Brecon Beacons – Falls
Sorry I’m Late
The Greek Goddess Ariadne
Congratulations everybody, a fine showing.
17 December Meeting SCHOOL IS CLOSED. REPAIR TO THE UPSTAIRS OF THE LANGTON COURT ON LANGTON COURT ROAD. Bring something festive to eat and lots and lots of prints of any size – it will be fun.
Next meeting at the School: January 7th 2016 – Chairman Maurice has the floor. Read up on your Little Red Books …
As we approach carnival season, Somerset style (see below) and the photo opportunities that creates, we spent last meeting huddled around various laptops editing in a handful of different editing programmes following on from Marko Nurinem’s virtuoso display last week. So there was Lightroom (of course) but also GIMP, Smart Photo Editor, Picasa, and Photoscape with CS2 (free from Adobe and all quite legal here is how to get it) ACDSee getting honourable mentions from new member Gary.
Now, you long term readers of this blog will know that the world divides into two camps, the Get-it-right-in-the-cameraista’s and Ye-Accolytes-of-Photoshop. As an avowed Get-it-right-in-the-cameraista I sure do a lot of editing. The argument is that the more you get it right for you in the camera the less fiddling around you have to do in post-production. In my case it comes from a youth spent shooting expensive slide film on a shoestring budget. In these digital days, when the hardware is still expensive but the marginal cost of the next image is a fraction of a penny, what that is really about is expanding the chances of achieving the image you want to capture. The principle categories in photo editing programmes are those that alter the fundamentals of the image and those that layer effects on. Of course the real world contains a bit of both usually, but the fundamental approach will be one or the other.
If you are shooting in RAW the images can seem a little flat and dull – remember that what you see in the viewfinder is either a reflected image of the actual light falling on your subject or, in CSC’s and compacts, effectively a jpeg. Sometimes a little cropping or erasing extraneous details make for a more satisfying final product. Maybe a shadow could do with lightening or a sky darkening to get back some detail, or a blemish on the skin would be more flatteringly removed from the portrait. Smart Photo Editor is the proprietary, paid for (£19.95 ‘on sale’ and a bargain stand alone and £34.95 as a Photoshop Plug in) programme I use and also Gimp and Picasa, both free. Others use other combinations, some paid for some free.
Your ambition may not quite extend to the do everything Photoshop (yet at least) and I will venture two reasons pecuniary why you may not, one more obvious than the other, viz: (A) you don’t have the set up or space or need for it to make the most of it and (B) Zombies. The former is more obviously expensive than the latter, and I don’t want to get into an endless and ultimately fruitless kit pornography rant, so ’nuff said, but the latter can have quite an impact on the pocket. Let me explain.
Fortunate as most club members are to be living in a city that has an “Official” policy for handling of a Zombie outbreak, that isn’t quite what I mean – though there are worrying sightings. Zombies are those little items, small denominations, that walk out of your bank account every month without much thought. In isolation they are not a lot. Their attraction is their affordability, the trade is made worth it by the perceived quality/quantity you get in return – at the point of purchase. You get a lot of things with Adobe’s Creative Cloud for photography for £8.57 a month, no doubt. A more detailed and flexible programme there is yet to be brought to market, though the gap may be closing. It is, I suspect, a lot more than most amateur photographers need, but it’s always nice to have some extra wumph under the bonnet. If it wasn’t no sports cars or sports bikes would ever get sold. For a vocal minority bragging rights are always the primary concern.
That, though isn’t quite the point. Are you going to pay (and keep on paying) £102.84 straight out on something you might need? No? But might pay £8.57 a month on something that is more than you need, something you can expand in to. It’s there and it ticks over and you get used to it. But, when is it just one item? When it’s a couple, or three, it grows. £20.00 a month isn’t a lot to spend on a hobby, say on editing and storage. £240 a year is not an inconsiderable amount to waste. Certainly less than a divorce lawyer when the other half finds out how much you really spent on that camera body. That’s halfway to a very decent new lens or a goodly second hand one even on £20.00 a month. The zombies keep on walking and are easy to add to, easy to forget. The costs add up. On the other hand it keeps you up to date and Adobe get a steady revenue stream, pirate copies are fewer and far between. Easier if you are self employed and you can claim it against tax, of course.
Not that I am seeking to dissuade you. The reality is Adobe first, the others a long way behind when it comes to sales and it is a de facto industry standard, which in itself generates market share for Adobe. Our focus, though, was on a broader range of editing opportunities as well as Photoshop. We looked a little at the alternatives to Photoshop on the Ask Reflex evening, this evening was a chance to get closer to the subject. From a little tour round I would say that there is a great deal that you can do with a little practice, patience and occasional lateral thinking as members showed how they adapt what they have to get what they want.
There is another benefit to using editing software that may not be immediately apparent, at least at the time of shutter release and really is about getting your money’s worth. Through cropping your original image you can often find more than one image possibility from a given frame. (Don’t confuse image crop, cutting out bits of a bigger picture with sensor crop the physics of collecting the same amount of light on different sized sensors). You effectively recompose the photograph, albeit with less data in it. It might be that the light and shadow falling across a landscape actually yield two very different moods when you isolate each area and you now have three opportunities from one frame. I would say that, in work flow terms, cropping is the first thing that you do, because you have the essential character in view that you want to work with. The crop is basically a magnification of the connection that drew you to take that frame in the first place. There are frequent chances to re-crop a frame rarely do we crop so tight that there isn’t any wriggle room and even then, sometimes, going more extreme tells a different story. Of all the editing you can do this is perhaps the simplest and the one with the biggest potential, which is why I would suggest it’s the best place to start the editing.
follow the link as it will show you the dates and also has descriptions of themes. Click on the individual carnival websites for start times etc. Below is a copy of Myk’s post on the club Facebook page:
“This year’s Someset Carnival season is almost here. If anyone would like to attend one of these events as a group, please see the dates and locations below.
We’ll be making announcements on club meetings so everyone will get to hear about it.
Monday 09/11/15 – Burnham on Sea
Friday 13/11/15 – Weston Super Mare
Monday 16/11/15 – Midsomer Norton
Wednesday 18/11/15 – Shepton Mallet
Friday 20/11/15 – Wells
Saturday 21/11/15 – Glastonbury
The preferred date/venue is Wells on 20/11 as they have market stalls, hot food/drinks and a fairground in the market square”.
Reflex Open Competition Round 1.
Mac Bouchere FRPS was the first speaker of the season and his aim was to prompt us to look at things a little differently, sometimes new things sometimes the same things, in his talk “Bending the light”. Mac presented us with a wide range of examples and he talked about the differences that prompted him and the importance to him of pre-visualisation. Not invented by him but certainly popularised by him, Ansel Adams made pre-visualisation a way into getting the feelings behind what he photographed.
In essence what Mac was putting across was the next step from getting the camera off Auto. Auto is great at getting good results from a number of situations, but it is not particularly discerning and it’s not really what we shell out all those readies on. The other settings give you increasing flexibility before you ever get to post production and given the minimal marginal cost there is very little to stop us experimenting. What Auto does is make decisions based on the algorithms derived from the analysis of many, many thousands of images to derive a set of averages that can be applied within the dynamic ranges of the chips that are bought or manufactured by the camera makers so as to provide us with acceptable images in those situations. Putting a random, but nonetheless convincing number on that, let’s say 80% of our pictures. There comes a time, as our own Gerry Painter pointed out last year, when those acceptable images are just that. Acceptable. But with something missing. Not quite what we visualised.
We can move on to programme modes, that give us a little more control in what we accent and prioritise in terms of light and dark in our images, also in terms of chroma all the way to how much and how intense is black and how much and how intense is white within certain narrow boundaries. In order to truly exploit that we have to explore the more manual options that affect the exposure triangle all the way through to full manual and, of course, post production. Mac’s point was that it doesn’t have to end there and we can, through digitising our print and slide collections, give those a whole new lease of life too. We can push, pull, stretch, colourise, monochrome, blur, merge stain, grain, crop to our hearts content, not just on the images that we take now or have taken relatively recently. Also, and I think most importantly, Mac urged us to get the images we want.
He was quite open about the images he showed us, the ones that would never get anywhere in club competitions to the ones that had won medals. The point he was telegraphing by doing this is that, certainly as amateurs, but it extends to professionals too (they just have more limited opportunities to do it and he is one of those), is that we should use in camera and post production techniques to craft the images we have in mind. There will be glorious failures and successes along the way, but those will be our expressions and our learning opportunities. If we also curate our back catalogue, by which I mean actually go back and look at our “keepers” critically and with a fresh eye, then post production also provides us with opportunities to craft new work from old. Over time tastes, techniques and skills change and grow and we have a useful basis to go back and re-work some things.
You can do this now. Go back, pick a frame from, say two years ago (you really must get round to freeing up that disk space), and rework it. Better yet randomise your choice. You do not, absolutely do not, have to have advanced photo-shop skills to do this. Use something like Google’s Picasa, re-crop, play with the shadows and highlights, darken/brighten it, apply some of the filters, and start to think what it is you like/don’t like. Find some ready-made effects on the internet or in editing programmes like Smart Photo Editor or, as Mac used, Topaz. Just, if it’s a treasured possession, make sure that you are working on a copy. We will revisit looking at photos critically and how to use the results later on in the season, the blog has been there before, but there is a lot to be learned from just messing about with what you already have from time to time. It’s not just a walk down memory lane we are talking about here, we are also talking about the opportunity to use editing software (including the Adobe Suite, Gimp and the other “Grown up” editors), to actually learn and develop from a historical, personal perspective by looking at how our style, techniques and competencies have evolved.
Back on the camera there are other perimeters besides the exposure triangle and filters and presets that can be employed. Techniques such as free-lensing a.k.a lens whacking, DIY Macro, or just exploring the in camera effects, for instance help to mix it up. That, I guess is really the basis of Mac’s message. You already have a catalogue of images, go back and have a look at them, they represent an opportunity to educate yourself using your own materials. And maybe even make a better go of it? Mix it up helps you to not keep taking the same sort of photograph each time you take the camera out, or helps you take the same sort of photograph differently because you have a better idea of what you want to see in the finished image, thereby giving you the chance to control the important elements to that vision. You get more of it right in the camera. In Stephen Covey’s best seller “Seven Habits of Highly Effective People” one of those habits is to “Start with the end in mind“. Sound advice because it also helps with those days when nothing seems to work and you end up pointing and shooting in that hit and hope manner (had one of those yesterday at Woodhenge), because I didn’t really know what I wanted to show. What I did think I wanted was a drone but that’s not in my price bracket. What I should have done is concentrate on details, probably very small ones in what is a big landscape. Still, live and learn. So, thank you Mac Bouchere, lots to think about.
N E X T M E E T I N G
Mini groups presentations.