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.
Henri Cartier-Bresson once said that “Sharpness is a bourgeois concept”. A bourgeois concept is one that makes the holder appear self important and materialistic, shallow, pretending to be deep, unsophisticated and generally lacking in true class. He never once won a club competition round thinking like that. He did co-found the rather classy Magnum photo agency though, which he described as “…. A community of thought, a shared human quality, a curiosity about what is going on in the world, a respect for what is going on and a desire to transcribe it visually.” Well he would say that, I mean, not even a commended? Obviously a case of if you can’t join them beat them.
Our last session on the endlessly fascinating light painting and the impromptu follow up at Abbots Pool on Sunday techniques set me to thinking about this. Not particularly to bourgeois concepts, you understand, but how the technique generally requires stripping the camera electronics to the basics, especially when not combining any ambient light. Full manual set on a tripod and long exposures, at least we can sympathise with a William Fox-Talbot or a Roger Fenton, though we still have it a lot easier. Equipment is smaller and lighter, we can get, with digital at least, instant review and no messing about with chemicals – though that is a different kind of fun in itself.
We are still paying attention to the same basics then. Pre-focussing the lens in the general area of the soon to be action is more guess work than we are used to with auto-focus but we still have to maintain a level of sharpness. What we don’t want is our lenses hunting for a spot with sufficient contrast to lock on to. Most of the time it’s not going to find one in the dark. So, manual focus it is on two grounds. Most people at Abbots Pool seemed to be shooting towards the end at F10, yours truly, different as ever at F8 (actually from aquick excif check it was F8 all night), but that might be the difference in using an SLT camera as opposed to a DSLR. We want our images to retain the lines and patterns in what is technically known as an acceptable circle of confusion. Basically a zone of focus we register as “sharp”.
Shutter speed. Bulb is the order of the day with light painting, at least in the conditions we were shooting in at club and at Abbots Pool. If we are shooting traffic in town in order to capture the light trails then we are probably looking at somewhere between 6 to 10 seconds as a start point (again at F8, maybe F11) but that is just to find a base line. Similarly we would want to keep a constant aperture and most likely exposure time if we were painting a large object with a single light source (and that would be across frames).
The usual advice for a sharp picture is to use the reciprocal of the focal length, so a 50mm lens would suggest 1/50th of second minimum, a 210mm lens 1/250th. Theoretically at least. However this rule of thumb (tool) has been around a long time. Certainly on a full frame 35mm camera with no vibration reduction then it’s no bad way to go. However, should we lengthen the time by 1.5x or 1.6x to account for an APS-C lens? 2x for a Micro Four Thirds? And how much do we need with VR built in and turned on? Firstly that full frame thing is a bit of a false lead. As magnification increases the degree of movement needed to register as blur decreases. Magnification does not change with sensor size, the field (and depth) of view does (and low light capabilities and quality given the same number of photo-sites – or pixels as they are commonly called – and the relative numbers on the exposure triangle).Think of it as Width not depth, you won’t go far wrong. Practically, by the way, if it’s too big to see in the viewfinder, it aint gonna fit on the sensor. Secondly VR does allow us to lower shutter speed but how much depends upon the individual and the situation.
But hey, we are on bulb (shutter stays open as long as the shutter mechanism is activated), so all that doesn’t matter. And if we are on bulb then we are on a tripod or the camera is stabilised by some other means like a bean bag or a wall etc. The bulb by the way comes from the history of photography as it was a rubber bulb shaped object used to fire the trigger. As long as it was depressed (squeezed) the shutter mechanism remained open. Sound familiar? There is some question as to whether the VR should be turned off on tripod, I have never had to and I have VR on both my camera body and my main lens. Other people have and it has made a difference. Test it and find out for your camera. Then move on.
Shooting RAW or JPEG is a personal choice, get those things above right then it doesn’t matter. If you want or need to do a lot of playing around with colour channels, contrast etc then RAW is better. Otherwise do not fret. Fretting about RAW or JPEG is probably a bourgeois concept. Arguing about it rather than taking pictures is definitely a bourgeois concept. Move on.
Composition still counts. When in doubt about the area that is going to be used to complete the picture go wide and crop in post. You can take things out, you can’t put things in that you haven’t got a record for. Generally with the sort of light painting we were doing then going wide was not a bad strategy.
Post production is certainly a matter of personal taste. It can be fun to play around with effects and balances but, by and large, we don’t want it to look over processed. Unless we do. That’s why it’s a matter of personal taste. Printing your results though means that we are going to want as much colour space as we can get to reproduce the tones and subtleties of colour. sRGB is best for monitors, so we need to make allowances for this.
It doesn’t have to be complex, it gets better with practice and it is fun. Get out there and try some.
N E X T M E E T I N G
Speaker – Welcome to my outdoor office – Stephen Spraggon
Happy New Year as we enter the 2017 portion of the season. We kicked off with the first of two editing related sessions, next week we have a speaker talking about the Photoshop Plug In, Topaz. This week it was members to turn to sharpen, hue, pare, crop, colour, desaturate and or generally mangle, torture and deface – depending upon your individual tastes – a common set of five images. The proof of the pudding being in the consumption it is fair to say that though the number of source images was small, no two interpretations were the same.
At the risk of being thought to have imbibed too much of the new year spirit we are going to look at what it is we are actually presenting. Taking this right back to basics then no two images, once altered, are the same. They bare the imprint, however minute, of the person who altered them and the peculiarities of the tools that they were altered with. Also they are most definitely not, cannot be for reasons of time, geography and interpretation be the same as the photographer – s/he who pressed the shutter and was witness to what was captured. What is actually being photographed is another perspective again, because it is in a different place in time and space to the camera.
So much is true, essential in that we are talking the laws of physics, but nonetheless not particularly of great importance when it comes to our taking photographs. Except in two circumstances. One is in the circumstance of where we are using the image as the basis of a piece of art – The conscious use of the imagination in the production of objects intended to be contemplated or appreciated as beautiful, as in the arrangement of forms, sounds, or words (Freedictionary.com) – a pleasing representation of something we have seen, framed, captured and post processed in the hope of making something that the viewer can form an emotional attachment to. The other is a claim that what we are showing is the truth (as opposed to a truth) – Conformity to fact or actuality (Freedictionary.com). The first is an opinion the second is an assertion, for unless present we have no way of knowing just how truthful a claim that is.
So what? Well in the former, I agree with you, so what? Not being a collector of fine art, or otherwise, prints. Apart from the fact that a lot can be learned by looking critically at other peoples work, it is a personal matter as well as something that is subject to fads and fashions and more or less informed opinions. That is not to say that certain commonalities cannot be agreed in what we accept as pleasing to the eye.
It is said that “The Camera never lies” (Robert Louis Stevenson), which Caesar Romero contradicted, “It lies every day”. Stevenson was making a point about the difference between fine art and photography though I prefer David Bailey‘s assertion that ” It takes a lot of imagination to be a good photographer. You need less imagination to be a painter, because you can invent things. But in photography everything is so ordinary; it takes a lot of looking before you learn to see the ordinary. (In “Face,” London, Dec 1984). The fact remains that certain physical limitations endure and it takes a certain skill to get round it.
Does it matter, then, if we alter images? Of course not and yes, absolutely! As ever context is all. The camera is neutral. Whatever is in front of it it will render a more or less recognisable facsimile of, depending on our mastery of focus and the exposure triangle. Our job, behind the camera, is to let this story making tool tell a story. If we are claiming that the story we are telling is a true one, then absolutely it matters if and what we enhance/remove. This is especially the case in photojournalism where the reputation of the publication using an image can be severely tainted by the manipulation of a photograph to tell an enhanced story.
So there is, in some areas, a tension between truth and beauty. That is before we come back to matters of taste but there is still a question of whether it matters if an image is a photograph or a graphic design? Again, of course not and absolutely! It counts in the matter of work flow, especially when editing. We have, many times, referred to the opposing camps of Get-It-Right-In-The-Camera-istas and Ye-Accolytes-Of-Photoshop. In truth we probably aspire to the former but fall back on the latter, but there is a reason why the Camera-ista has a point and it is linked to a number of themes we have looked at over the past couple of years.
First off is the argument about artist/artisan. Frankly I find this to be an empty one. If you take something and make something else of it then you have created art. Art may not be the end which you had in mind, for instance if you took wood to make a chair I am guessing that you would rather sit on it than look at it, but there will be a reaction to the way that it has been put together and thought about, its design, that will include an overall effect. This overall effect is where the art concept lives. It is not all of it, but it is an integral part of it.
Secondly, fine motor skills and the ability to pick up a pencil or a brush and create a representation of a person or thing is the same as picking up any other tool and making the same. The camera is a tool. Mastery of the tool leads to mastery over the final result. It does nothing to add soul to the final result, but it is a gate keeper to others interacting with that same soul. Canon, Nikon, Sony, Fuji, Pentax, Olympus, Hasalblad, Phase One and the rest, immaterial. Light and the laws of physics work the same way for them all. Post processing may be able to put things in but it can only bring out soul if soul is there to be found in the first place. Post processing, and by far the most commonly found is the Photoshop/Creative Cloud family but I mean post processing in general, is just another tool. You can be good bad or indifferent in using it.
So get out, photograph, think about what you photograph, look at others photograph, learn the ways of light, bring it home, polish it, present it and go again. Sounds like some sort of hobby to me.
Happy New Year.
Peter Phillips was our speaker last meeting and he gave us his “Photographic Journey” from aerospace Image Scientist to his post retirement destination of Photographer. Peter gave us a chronological tour through his prints – made a refreshing change to the projected image and of course, takes most of those issues that can arise with the digital projection and colour shift that can occasionally arise. That said I wouldn’t want prints only every week.
Peter is unusual in his route into photography came from the technical side and the art only really appeared as a factor after 40 years at the cutting edge of aerospace imaging. He related his landscape, pattern and street photography images through Joe Cornish’s observations on the inter-relationships of craft, art and soul, all needing to be inherent in a photograph for it to truly work. His approach is very particular. He knows the image he is after, plans for it, I suspect meticulously, invests the time in research and patience in execution then packs his gear away until the next time. This is quite different to the way a lot of people would go about it and opens up an interesting view on our relationship with the camera as an object and as a tool and how we approach photography in general.
Yes the camera is just the means to an end, that end being taking a photograph, but I suspect many people, amateurs at the very least and I suspect quite a few people who get paid to take photographs, also take a pride in ownership. I am not talking about brand obsessed fan boys, but as you get used to your equipments strengths weaknesses and quirks you do forge a working relationship with it, become comfortable with it. This is only a problem when it gets in the way of making the best images you can. For sure, it is the photographer not the camera in the end, but we have all come across people who never seem to quite get beyond the prowess that the tool supposedly confers. The fact that this is not a cheap hobby certainly can add to the mystique of the kit, but to progress you have to get all that in perspective.
So when we take our cameras out, even if it is to get a specific image, most of us still snap away at interesting, vaguely interesting and what-the-hell-did-I-take-that-for? incidences of time, geography and otherwise vague intent. It’s a hobby, it’s done for enjoyment. The single mindedness of just taking the shot, ok from several angles with exposure triangle variations then packing up and going home is something that I bet that most of us in the club lack, at least on any regular basis, but that is just a more ordered way of working. Workflow needs a defined purpose to work otherwise we just end up meandering around in the grand scenery of a general waste of time. Then there is that bit with a fancy title, “Post Production” or at least it is when they do it in the movies, the bit when the actors have finished. We might bump into something useful or interesting but it is unlikely unless we have a definite idea of what the final product looks like. We’ve talked before about how luck falls to the prepared. It certainly helps to have that in your mind when you leave the house. Whether it is the only thing you have when you return is either the way the day was or the whole and only point of the day.
With the details of the craft, the technicalities are constantly changing and challenging, the key is in getting them all in order to form an image with impact. This is the art. The composition element is as much a part of the craft as it is of the art, it is I would venture where the two overlap. The art is created by melding of the craft elements to capture the imagination that sparked the interest in the first place. If missing or poorly executed the story can get lost. You can get all the elements of a picture to line up and be on your way to a great picture but is it one that elevates the imagination captures the attention and makes you pause, even briefly? Are you engaged? If you are not your viewers certainly won’t be, almost can’t be, though the visceral and compelling horrors of a murder scene as an art form may not be the best way to win friends and influence people some haunt the memory, others fade. Yes the subject can have impact but the story is still the thing. We’ve come across the phrase “Technically correct, subject deficient” before so there has to be something else.
Soul, Peter offered, quoting Joe Cornish’s work. Problem with that is it is something beyond the words we can use to define it: “Emotional or intellectual energy or intensity, especially as revealed in a work of art or an artistic performance“. Problem with it is what moves one in say, a landscape, as that was Peter’s starting point, is just a pretty picture to another. Also it is difficult to replicate, even on the same scene, but maybe that is the point. Actually, that is the point or there wouldn’t be a market for prints. This is where the conversation truly gets vague and tends to wander off on its own direction, because we are trying to define the indefinable. We cannot touch it, feel, smell it, see it or hear it but we are affected by it.
Maybe for photographers it is Soul in the Aristotelian sense we are looking for. Aristotle was an ancient Greek philosopher and he defined soul as what makes us human but also as the essence in all living things that let us interact with the world around us. That is what we are trying to capture and the soul in the landscape is really the trigger in ourselves and in at looking at what is vital, essential, the thing that makes us, well, us.
N E X T W E E K
Architecture: Meet at Bath Abbey 19:30 hours. Oh and bring you camera. No event at the school.
Last meeting was the territory of club member and treasurer Steve Hallam, talking through some of his digital history. Steve is an Olympus fan and has been for over ten years. Micro four thirds, the name come from the diameter of the sensor in inches, is the invention of Olympus and as Steve pointed out, the first system to be designed exclusively for digital from scratch. The first Olympus Steve owned had a 5 MP sensor , which when compacts these days can pack 20 Mega Pixels, sounds restrictive. In reality most people would be largely untroubled by 5MP sensors, the key being the quality of rendition not the size. More Mega Pixels give you more room to crop and still get a reasonable image. The ability to resolve reasonably accurate colours and the capacity to restrict noise at higher ISO’s are generally bigger factors in most peoples’ photography . The bigger numbers in terms of Mega Pixels are something driven more by perceived marketing needs (bigger must be better) than actual customer requirements.
For so long full frame, as Steve pointed out a tag rather than a technical term of any enlightening feature. The 35mm (actually 36 mm but that is a spurious accuracy) was of course the film size in most SLR’s and has carried over to the digital age as the most common “professional” size. I will come back to the need for the inverted comma’s shortly. In the film age, especially from the late 60’s onwards, 35mm was pretty much everywhere. Unless you were doing advertising or studio work then the frame size went up to 6 x 4.5, 4 x 5, 10 x 8 and so on. Hasselblads used 120 roll film (6 x 7 cm). Just like the Box Brownie. Only there was a bit of difference price wise. Also, it has to be said, there is a slight difference in quality too.
The reason for the inverted commas around professional above is that there is no such thing as a camera by which one becomes a professional by being in possession of. There is plenty to be said for the idea of a larger sensor – and some people bang on endlessly about it – but, as been said before in this blog, unless it is predicated on an actual photographic need then there is no reason why a professional has to shoot with a 35mm sensor. Damien Lovegrove doesn’t, as he explained when he visited us back in July 2014, he uses APS-C (among other formats I am sure). Any argument based on the logic of sensor size would have that a 6 x 4.5 medium sensor format has to better than a 35mm and so on. The question always has to be “At what”?
Lugging a D800 across Antarctica to photograph polar bears in the wild may seem like hard work, it is, after all a sizeable chunk of Bakelite in its own right. Adding in the heavy duty lenses adds even more bulk and that’s before you realise the nearest wild polar bear is 12,500 miles to the north (it pays to do your research). You had better have a really, really good reason for packing it in the first place. Well that would be weather sealing, shock-proofing, reliability given that it’s 2,500 miles to the nearest camera shop to replace that broken lens (assuming both that you are going North and turning left(ish) and Punta Arenas has a camera shop, otherwise it’s 3,700 miles in a completely different direction to Auckland). You may require very large blow ups at a high dots per inch count, there are any number of reasons you need a full frame camera, but , logically, not one of them is because you are a professional. Steve pointed out the main advantage of the Micro 4/3rds format is the capacity to build smaller, lighter cameras.
Smaller lighter cameras with smaller sensors, yet we still think of lenses in 35mm equivalent terms and that does make things easier for comparison reasons, but allows for some confusion. When we talk of crop sensors we are talking about the size of sensors relative to 35mm and as most sensors are smaller than this then we are seeing a smaller image given the same focal length of lens.
A confusion creeps in with the idea of “magnification” which a lot of people assume to be a telephoto effect because a 100 mm lens on a 35mm camera shows the same as a 150 mm lens on an APS-C or a 200 mm lens on a micro 4/3rds and the logic goes (off at a tangent but it’s easy to see why) a 200 mm pulls in the image twice as much as a 100 mm lens. Well when you double the focal length on the same size sensor it does, the mistake is to not factor in the change in the size of the sensor. If an image is made with the same lens, but a smaller sensor, it shows a smaller area. Enlarge both your 35 mm and you crop sensor images to, say, 10 x 8 inch print and the degree of enlargement, the magnification if you will, will be greater for the smaller sensor than for a larger one. Hence you might get an inkling of why more Mega Pixels on this year’s sensor than last sounds attractive – you can make larger prints without a loss in quality. Well sort of, as, after a point, those extra pixels start to get in each other’s way.
So, our thanks to Steve for bringing up some interesting topics and for sharing his images with us. Much appreciated.
N E X T W E E K
NOT AT THE CLUB. Light trails, meet at the fountains on the centre. Bring cameras and tripods we are going to be taking some light trails. 7.30 commencement.
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 …
Off to Weston we went, aka “Super-Mud”, last meeting and though the skies were lowering the turnout was pretty good and a good time was had by everyone I talked to. What more can you ask for? Well it was Weston Bike Night, organised by the Royal British Legion Riders Branch, and runs every Thursday from May to September. So I hopped on my motorbike and made my quid (£1) donation to the RBL to park on the Marine Parade Lawn and wandered round with my camera, before meeting up with the rest of the club on the beach by the Grand Pier. They had, it turned out, been taking pictures of a convict making his way up the beach, with the express purpose of compositing them into a single photo in post production (Photoshop, Gimp). If you look back through this year’s competition galleries you will get the idea of who and what sort of thing. The sun also made a show right at the end of the day and we were presented with a salmon pink sunset against the grey of the clouds as a finale. Not too shabby.
It is often said, not least by me, that in photography, painting with light, the light is everything. So far so obvious. What we are really saying is that the contrast in any given light situation is everything, as the same subject in different lighting gets a different reaction from its viewer. We are not just talking of low light here, where we have options within the exposure triangle, and in the way the camera works in other ways, but, when the weather is as it was on Weston’s beach and the contrast is low, the temptation is to save it for another day, but we can be missing opportunities. Contrast is what determines how “flat” the light in your image looks. Possibly, most logically, we can see this in monochrome images, but it most definitely applies to colour ones too.
Essentially, contrast comes in two flavours. Thinking of the black and white image and we can imagine the more obvious of these expressed as a tonal range, which we have touched on before. The tonal range is that between (theoretical) absolute black to (theoretical) absolute white which we would affect in post production editing programmes through levels and curves. The second flavour is colour contrast which is about the predominance of a colour in relation to the colours around it.
When we are producing black and white photographs we are really talking producing images constructed of the shades of grey (no tittering at the back). Soft images record little range in those shades, it is all middle and very little of the absolute ends, whereas hard looks stark because we have a band of hard blacks and a band of hard whites and very little in the middle. This is not the same as low key (mostly darker shades of grey surrounded by blacks) and high key images (mostly lighter shades of grey surrounded by whites). The emotional tone that low key images give out tends towards the sombre whereas high keys have a lighter mood, but tonal contrast isn’t just limited to black and white.
Colour, as we have explored before, tends to overwhelm tone when provoking emotion in a viewer, but good tone is a major element in the construction of a colour image too. Because there is more variation in colour, more information to play with, then the possible outcomes are multiplied accordingly. Broadly the more saturated a colour is in relation to the others in the image and relative to its position on the colour wheel. The degree of saturation is also important to colour contrast and that can be affected by exposure (try bracketing a couple of shots by two thirds of a shot and look at them in comparison, warmth, feel/mood can be subtly or not so subtly effected.
Meanwhile, back on the beach at Super-Mud, we are faced with some impressive cloudscapes that are throttling the contrast out of our seascapes, aided and abetted by a distant haze shrouding the South Wales coast. Looking on the (not too) bright side we are not trying to photograph either a black cat in a coal hole or a polar bear in the Arctic). Those both represent zero contrast situations. Give up go home, assuming you survive contact with said cat and/or polar bear. As we are in neither we can do something about our rather dull scene (other than retreat to the pub). All the rules of composition still apply but we are not bereft of options. The exposure triangle was mentioned above and in pushing two of the elements in that, aperture and shutter speed, we could just make a keeper.
Exposure Value Compensation it’s called and it’s that button that allows you to adjust the average that your meter is measuring up or down, usually by up to two or three stops, depending upon what camera you are using. It does not matter whether you are in Shutter or Aperture Priority or shooting in manual (though this is a bit of overkill bearing in mind you already have control of aperture, shutter and ISO in manual mode, but it is possible to employ as another way of under or over exposing from the average). First meter as normal then apply +0.3 ev on the scale. Try again up to a stop, or in the extreme, up to 2 stops or more, basically adding dark. In manual you will possibly be moving in half stop intervals depending on the age of the lens, but most modern ones seem to move in thirds. The same basics apply. Shoot in RAW for the best post production options. What you will do here is affect the colour contrast. Yes the whole image will look progressively darker, but that is not necessarily a bad thing. On the Mini group trip to Weston, where there was a vivid orange sunset, this actually strengthened the composition by allowing the sky and certain reflections to be the focal points against an increasing rich, dark background. Essentially for this technique you are looking to set the narrowest practicable aperture matched with the highest shutter speed you can get a workable image in the light conditions.
Try it next week when we visit Portishead Marina. Dock Gates, 7 pm. See you there.