You can’t help but wonder what American cars, especially the classics, now that the laws of physics and the demands of aerodynamics homogenise nearly all cars, would look like if their roads actually had bends and the distances between towns shorter. But road trip is something big within the American cultural psyche and you may as well do that in style. A short trip down the A38 to Colliters Brook Farm in my rather small Toyota wasn’t quite the same – until I got there.
The club outing was to the bi-weekly American classic car meeting at the aforementioned farm, another one of those things that I hadn’t quite got round to taking the camera to – and I am not alone in my guilt there. So two expeditions in three weeks to photo some classic American metal.
Now, professional photographers specialising in motor vehicles do rather have advantages over the amateur on a club night at a social gathering in terms of access, but essentially we are both taking pictures of metal boxes. True, they are, for the most part, desirable metal boxes, but they are metal boxes nonetheless.
As always there are the two extremes, detail and the whole view, and the best image lies within a combination of those two. Location also makes for impact, but when it’s someone else’s car in a static display details are probably going to take up the bulk of the successful shots taken. And car designers take a lot of time in designing those details in, even if the demands of price sensitive mass production hammer the more exotic and difficult to manufacture ones out.
Being shiny metallic and it being evening the best we could hope for was a cloudy sky, or at least a sky with some cloud in it. A polarising filter certainly helps, but lack of one shouldn’t stop you photographing cars or other shiny surfaces, you just have to be a bit more savvy. The reason behind this is reflections and, to some extent with a low sun, shadows. Again we have got two choices, use them or loose them. Both are fine. In the latter case we have the option of using a polarising filter, which will help a lot but not be a total solution. Making a feature of them gives us more scope, it also means that the photographer ends up in more of his/her shots than s/he wished for, but careful use of angles can mute the impact.
As in the last post on portraiture, street and art there are more telling pictures to be had in the details than in worrying about getting the whole thing/person in frame. Those details, the automotive ones I am talking about here, are deliberate and functional, and collectively go into what the whole picture looks like, even if it is increasingly homogenised by the demands of legislation and aero dynamics. It is the details that tell the story often more effectively in photographic terms.
Those details may be manufactured, but detail can also be the difference in a familiar landscape. The more recent outing to Clevedon for sunset shots of the pier demanded exactly that. There is no doubt that the sun going down over the Severn Estuary with the stone beach as foreground and the long span of the pier leading the eye towards the setting sun is an effective and sound, emotive even, scene just right for capture. But it has been done. Many times and whilst it is good to have our own version of this it can look rather like a copy, even though the skies will never be exactly the same in detail, the angle ever so slightly different.
It is one of those shots that is almost a right of passage for any local, budding, landscape photographer. All areas have have them. But how to get more out of that ever changing scene? Different angles, different foregrounds, different areas of interest can make for quite stunning images, but there are always questions of what respects the landscape and what impact the photographer has upon it, especially when everyone is doing it. The general guide lines for landscapers is you leave it as you found it, don’t go gardening nature and claim it as a part of creation. But this maybe a bit narrow. There are other ways to capture an arresting landscape image without the threat of getting arrested. There is even a use, actually a fair number of uses, for that circular polariser again, though it does not have to be screwed on to the lens taking every landscape photograph.
Landscape doesn’t have to mean travelling hundreds of miles to catch the first or last rays of the sun (also some great twilight pictures to be had for the patient and informed), there is plenty of it here in the West Country you can capture in the Golden hour or the Blue. Or switch to black and white and shoot from dawn till dusk. Middle of the day is a great time for infra red too (full and very technical discussion here). You don’t even have to change loction once you have settled on a composition as there is always something going on in it.
And there is always something going on in Reflex. Thursday 6th September is the start of the new season back at the Wicklea Academy in St Annes. If you are in the area why not pop along to our members summertime review?
Landscape the year round was Stephen Spraggon’s topic in his presentation “Four Seasons In One Day”. Stephen has been to Reflex before and this was another high quality session. A locally based photographer Stephen makes a substantial part of his income from the Somerset countryside and across the south-west. He showed us that time spent on reconnaissance is seldom wasted and is a regular user of The Photographer’s Ephemeris (TPE also on IOS and Android) and OS Maps. Above all time, patience and a lot of practice are key, as, I would imagine, are a decent set of notes.
The essential piece of equipment, aside from glass and body, is a sturdy tripod. Stephen related that all his landscape photographs are tripod mounted, necessitated by shooting at low ISO’s, 50, 100, sometimes 200 chasing minimal noise, which when combined with deep depths of field mean low shutter speeds.
There are hundreds of different tripods on the market and choosing the right one is as much about perceived need, experience and value for money as it is weight or brand. Basically tripods come in two parts. The legs and the head. As with everything else photographic you can spend as much as you like as design and function are moderated by the materials of construction: aluminium; carbon fibre; magnesium and alike. The heads can have pistol grips or a selection of knobs and locks to keep them steady and again money is no object.
Tripods for landscape are probably the ones open to the most compromises and certainly involve the most decisions. This is primarily due to the weight rigidity pay off. Your average 1600mm f5.6 Leica lens weighs in at 62kg so needs a particularly rigid tripod, though, lets face it, the people who are going to lug it around are probably accommodated in its 4 x 4 Mercedes support / camera bag and do not include the photographer. The weight of what the photographer wants to support, comfortably, is the primary factor and that is going to be the heaviest combination.
The variation of weight and the requirement for good rigidity to ensure stability over fairly long exposures in sometimes hostile weather conditions. This extends to both legs and heads. A 3 way geared head, one that has knobs that finely control movement and provides sturdy locking in three planes, means a lot of engineering and materials in its manufacture. That means, to keep the weight down the serious landscaper with deep pockets is probably going to go for one made from magnesium which ensures that the cost goes in the opposite direction to the weight.
Height is also a factor. If you are going to get that vital foreground object in focus you will often have to go in low. A decent height can also save the back when using the view finder or if your live view doesn’t have a tilt facility to it. An adjustable centre column is also desirable for those in between heights. Then there are the way the legs are locked into position, these days almost always via screw locks though there are still tripods around with catches.
So the rock steady, shake free image is in the bag, still or video (video ‘pods tend to be more rigid, heavy, technical and expensive, especially the heads) but a tripod can also help in creating panorama’s by keeping a fixed point around which the camera turns whereas hand holding it sometimes works to skew some uprights (parallax error where the lens acts as the eye). Or maybe that’s just me. Either way slower shutter speeds can be selected with no penalty in terms of camera shake.
The key is in setting up the tripod on the level in the first place. Most tripods have levels built in as do most camera these days. It is always wise to check that the camera stays level throughout the pan. It is an easy technique to get good looking results from. The key is to make sure the settings on the camera are the same all the way through (meter in aperture or shutter priority first then set the camera to manual for the capture) and to leave plenty of overlap. Essentially what is on the right of frame 1 is on the left of frame 2. Most cameras have grids that can be viewed when composing, thirds being the most popular but some have fifths and other variations. These can be used to ensure a decent overlap for stitching the panorama together using the same right left pattern.
Although 180 and 360 degree pans are popular, there is good mileage in smaller three or four frame panoramas especially when the camera is used in portrait mode which allows for more ground and sky. It also allows for greater detail and much larger prints. The downside can be the size of the stitched image, especially with larger megapixel count sensors, so there can be some useful mileage in using lower resolutions when constructing, especially the wider portrait version, panoramas.
Stitching the images together is far simpler than it used to be, thanks to options within Photoshop and Microsoft’s ICE (or MICE) is free and very easy to use for both horizontal and vertical panoramas.
Easy to do and fun why not give it a go?
We were entertained by the members who went on the club run to the Lake District back in May, this week, and certainly, they got a lot of the same views, but they weren’t the same shots. This goes to show the worth of “working the angle” even when you are in wide open spaces populated only by hordes of tourists in large busses on narrow roads. Apparently, our Esteemed Chair indulged his passengers with novel language lessons when these pantechnicons and sundry other road users broke the unwritten etiquette of British roads. An enhanced learning experience all round then.
Now non-landscapers can have rather jaundiced views of those who revel in long walks to nowhere in particular and back carrying kit they end up not using and still not get the shot because the light was “wrong”, but that is to miss the point. Landscape as a discipline brings with it challenges and techniques, not all of them specific to this category of photography, broad as it is and possibly viewed as a subcategory of Nature. There are some car parks with very fine views, after all, and if we can’t actually see any tarmac in the picture …… we get the same view as the previous 100,000 motorists who preceded us. It is, however, our version of it and that, for most amateurs is what counts. It’s our version of Kilroy was here.
Picking not only the vista but having a focal point in it, making the picture about something, is a big step as opposed to ooh-pretty-point-shoot. “Landscape photography is the supreme test of the photographer – and often the supreme disappointment ” according to Ansel Adams. Planning is the key, not only to getting the photograph we want from what is in front of us but in creating further opportunities for us to take. Our aim is to make a picture of one thing in relation to its setting without letting the setting overpower the picture we are looking to frame. That can be done hours/days/weeks/months/years before we leave home, or on-site and in the moment. But taking a short time to really look makes a difference.
In that short time, what we are looking for is composition. There are as many “Rules” of composition as you want. Except rules is a bit misleading as a term. Think of them as tools. The Tools of Composition. Essentially these are ways of guiding the eye to the subject in ways that suggest meaning to the viewer. The question is how we use them together. Quality is better than quantity, you need to be deliberate and you need to be able to work fast and with the light. It is all about the light, regardless of what style of photography you are partaking in. OK photography means, roughly, painting with light, so it’s hardly a surprise.
The best light is at dawn and dusk as far as landscapers are concerned. Low angle soft light in the warm end of the spectrum coming from or moving towards the blues of twilight. The best shooting light is commonly held to be roughly half an hour either side of those two events. That leaves the rest of the day for other things – which probably explains the notion that landscaping is a solitary sort of pursuit. Certainly, it doesn’t necessarily easily fall in with the plans of others.
There are other costs to landscape as you get more into it. A good tripod for one, the reason being minimum ISO’s and small apertures tend to be the order of the day. Marry that with low light levels and we need to be accommodating exposures that are too long to hand hold without showing considerable signs of camera shake. Lenses tend towards a wide/super-wide and medium telephoto – and everything in between and either side depending upon the depth of your pockets and your penchant for collecting expensive pieces of kit. Then there are the filters. At least a circular polarizer. Then there are hard and soft graduated filters for equalising out the light in the sky to that falling on the ground. Investing in a quality set of filters is not cheap, but pays dividends in the quality and clarity of what you are getting. You are, after all, adding glass in front of glass and that will have an effect on quality. And don’t forget a waterproof, solid, comfortable bag to keep all that expensive kit in.
As usual, it isn’t about the kit. As Mike Browne has been known to opine, nobody says to Jamie Oliver or Gordon Ramsey “You must have a really good oven” when enjoying their world-class cuisine. Good photography is the product of practice, knowledge, practice, planning, practice, willingness to learn, practice, a critical eye, practice, hard work and practice. There is also technique, practice, willingness to pushing our limits, practice, getting to know our cameras, lenses and other kit inside out, practice, and practice, but you get the general idea.
It was an entertaining evening, for sure, and we thank our fellow members for their time effort and willingness to share.
We’ve done landscaping (an excellent evening by Stephen Spraggon, highly recommended if the comments of members after the session are anything to go by: and they are) and portrait lighting (members Gerry Spencer and Steve Dyer putting up an excellent show against recalitrant technology – again set members abuzz) since the last post (plus the Sun has made an appearance, at last, but rain still predominates) and that gives just a taste of the variety that there is to be had in the club programme. If members have a contribution they can make or a suggestion for the programme then please get in contact with Myk Garton, either at the meeting or via the club closed group Facebook page.
Interesting article on Petapixel this week, about the merits of relative sensor sizes (and other bourgeois concepts – see last post) where it matters to a professional. Pictures sold. Photographer Chris Corradino finally sold more of his micro 4/3 taken pictures than his full frame, rather underscoring the point made here countless times that when looking at a photograph no one can tell you what it was taken on. Even if they could, and maybe there are some people that can, or think they can, in the end it does not matter. The viewer isn’t the slightest bit interested in brand, sensor size or manufacturer (often not who you think), lens, weather sealing, menu options, filters or the colour of the photographers woolly hat (mine is black by the way). They are interested in, engaged by, the image. OK sometimes a few of the 2.6 billion estimated photographers (probably the hobbyists, pro’s and semi pro’s) on the planet might occasionally think “How did she do that?” but the answer is usually on YouTube, the web or in a book (old fashioned and distinctly analogue concept I know, but irreplaceable in my far from humble opinion).
Novelty aside, if megapixels, maximum apertures, brand name, cost of glass were more important than composition, the exposure triangle and actually pointing the camera at something remotely interesting in the first place, then you could simply buy your way to success. This is one area in life, though, where you can’t replace the (hopefully metaphorical) blood sweat and tears of learning a craft. For sure you can spend 20 hours or so getting a firm grasp of the rudimentaries and turn out some decent pictures if only more through accident than design, but, as the ever quotable Henri Cartier-Bresson pointed out: “Your first ten thousand photographs are your worst”. And he was talking in the days of film where the cost of your next frame was a consideration in pressing the shutter. Maybe it is now our first hundred thousand pictures that are our worst.
So what is the point of top end equipment? Essentially it is about flexibility and durability. Specialist requirements aside, such as tilt shift lenses and medium format cameras, it is about being able to go one stop further because you have to, it is about the ability of the equipment to take constant rough handling and still work; it’s about eliminating design and manufacturing flaws in optics which most of us either live with or don’t even know exist; it’s about built in redundancy whilst still being able to function. It is as much about confidence in the equipment working as anything else. What a professional pays for is not to worry about the kit working so that they get paid, not sued – and have a spare to hand anyway. And that is worth the premium as a professional photographer who gets a reputation for not delivering does not remain a professional photographer for long.
Then there is that old saw, “The best camera is the one you have with you”, which may be what the philosopher Daniel Dennett called a “Deepity”. A Deepity, according to Dennett, is something that sounds important and true but is really false and trivial. In this case the point is that which you have will freeze the moment in front of you before it disappears, that which you desire cannot. True but not very helpful. What it implies is more important though, and that is learn to use what you have to hand. The question is how does this handle the exposure triangle not what does this do?
Take the example of the camera most people have with them all the time these days. The one on the mobile phone. Yes they are subject to the same financial restrictions as making any other camera and once they were just an add on. Today they form part of the buying decision, certainly they are a big consideration in the makers marketing processes and therefore manufacturing decisions. Some professional and semi-professional photographers shoot on nothing else. There is even a hip term for it iphoneography, named after the Apple range, long held to mount the best cameras in a phone, but that is constantly under challenge from other manufacturers, such as Samsung. Huawei have gone so far as to link with Leica, who were part of the design team for their P9 and P10 cameras.
The basics stay the same as hinted at above, just altered a little. Get to know how your camera app (there are lots to choose from on both Android and iPhone) handles the exposure, ISO and aperture. The tools of composition don’t change. You are going to have to choose between digital zoom (reduces quality) and getting closer/further away by walking (reduces shoe leather). You can buy accessories to snap on your phone cover to act as wider angle or more telephoto (at a price) then you have to carry them and unless you are deliberately choosing the mobile phone as your camera of choice they are as likely to be elsewhere when you need them as to hand.
OK so in order to make the phone camera useable by a wider audience you might get some scene modes, like fireworks, portraits, indoors, HDR, slow shutter and so on. This is a, maybe I should say was a, big feature on compact cameras (still prefer mine to my phone, not least for the optical zoom). There is a trick to using these outside of the do-what-the-icon-says-to-take-pictures-of. Basically you need to experiment on controlled light conditions. You can then apply these camera settings as short cuts in the wild, so to speak. That’s before you get to the editing stage.
Editing on smartphones too often appears to be of the smear on variety (possibly because of the nature of the touch screen, more likely a love of the ready made), and is as subject to fashion as anything else. That is not to say that it cannot be used to add to the image overall, but it too often ends up looking like an amateur production pantomime dame made up in a hurry because he picked the kids up late from school. And there is the whole JPEG thing to yawn about. Yes you can shoot RAW on (some) smartphones and yes the same reasons exist to choose whichever you want according to your need. Same applies to this as to the pro-equipment remarks above, not least RAW cannot save a badly composed or otherwise uninteresting image.
Just because you have the latest and greatest smartest phone EVER, doesn’t mean that you are going to get an acceptable result simply by waving it at something vaguely interesting before going click. You are still going to have to work the scene, use different angles and shooting positions, get closer, get further away and so on. Consistently good images demand work as well as an eye for a picture and taking multiple images is no more expensive than on a stand-alone camera. Keep shooting until the moment is done, then and only then, move on.
N E X T M E E T I N G
ROC Round 3 Judging.
Former club members Rich Price and Kev Spiers gave a warmly received evening, to a very well attended meeting, based on their two trips to Iceland. As much effort went into the presentation as into the trips and it was very informative and beautifully illustrated. I recommend it to any club in the vicinity. This evening took a complete circuit of the Island and some of the alien and breath taking scenery there. As Rich and Kev said in their last presentation, it’s hard not to stop every hundred yards to take another set of images, so many opportunities the landscape provides. 1300 miles and ten days to do the circuit it has to go on the bucket list. Not so sure about the £35 burger as if someone did that to me in a restaurant I think it would be me kicking the bucket.
Last time Kev and Rich presented to us on Iceland we looked at the planning aspect such a trip demands. If we are to see a return on the investment we lay out on such expeditions, including the considerably smaller ones of a jaunt to a favourite site or a weekend away, in personal development and photographic terms, we need to know what destination we are set for before we stride out and we need to know why we are choosing to go there. Proper Prior Planning Prevents Poor Photography. Well it increases the likelihood that we will produce a keeper or two through something more than dumb luck. Also planning can be a source of satisfaction in itself, as long as you don’t plan everything to the point of squeezing the joy out of actually doing.
That isn’t just a matter of geography. We have investigated the ideas inherent in the technically competent yet otherwise sterile images – the camera club spectre. Let me put it this way. Kev and Rich showed us photographs that made me think about what was just outside of the frame, they made me want to explore beyond the picture. We have all seen images on sites like Flikr, Viewbug, 500px, and so on that made us pause. Most simply do not, but they obviously appeal to a number of other people. The why and wherefore of emotional reaction to an image are going to be complex and personal, might even be unique to that particular moment in time to the photographer, to the viewer. We just have to look for the constant.
So, having set the problem I should at least offer some sort of solution. Easier said than done, because we can end up with huge lists of other considerations to even a simple and tentative statement. Often we define a picture by what it is not rather than what is. This is not an either or situation, it is two sides of the proverbial coin and like any coin it’s only real value is what you can get in exchange for it. We spend the coin, rather than loose it through a hole in our metaphorical pocket, when we put the pro’s and con’s we have judged on an image into our own practice and do so again on those images.
Each and every image ever taken can be seen as a question. It is an interrogation of the photographer’s view of the world through the selection of a very small part of it and within that a single object or point of reference (singularity works best for the vast majority of images) that spins off a whole universe of inquiry. By asking ourselves what the question was the photographer is posing by taking this picture, we put ourselves in the right frame for connecting with the image. The questioning approach opens us up to an emotional transportation. It also takes time and makes our brains work on a point of reference, rather than just attending or dismissing a picture. That is something the brain has to be forced to do as it tends towards activities that take lower or actually lower the amount of energy it uses on a particular task. Learning is energy intensive and every image is a learning opportunity, if, and only if, we so choose.
This is not to say that every frame is a monumental battle between the forces of nature and art, though art seeks to impose itself over the tangle that is nature using the rules of composition. Or ignoring them, but it is rarely successful when it does. It has to be a very bold, unique and still technically well executed image to do that. The possible exceptions to that are when the events captured are momentous, or singular in human history: Phan Ti Kim Phuc, the “Napalm Girl”, June 8th 1972; The crowd in Munich, August 1st 1914 on the outbreak of war in which one Adolf Hitler is supposed to be (possibly faked by the Nazi’s); Jaqui Kennedy reaching over the boot of the car in Dallas, a dead JFK and a wounded Governor John Connelly obscured from view, November 22nd 1963; the Tank Man of Tienemen Square, June 5th 1989; the lone house on the Normandy Beach Head viewed from a landing craft, June 6th 1944 – where the connection is with a knowledge of far off events yet no less visceral because of their historic importance. The design elements within an image, the way everything fits together, or not, give the image weight, heft, soul, emotional content, the story outside the photograph is what gets us in to it. Conclusion? Use our cameras to make stories not photographs.
So we thank Rich and Kev for sharing their stories in an entertaining and relatable way and wish them well with it.
N e x t M e e t i n g
Week 13 – 24th Nov 2016 19:30 – Lighting Techniques: Hosted by Mark O’Grady and Rob Heslop.
ROC round 1 judged by Ralph Snook, a first tie judge for the club and thanks to him for his efforts. Results will be on the club web site http://www.reflexcameraclub.co.uk/
So, for a change, the second of our ocassional contributions from club members, this time Rob Heslop on “It’s not the camera it’s what’s in front of it”.
Having just upgraded a perfectly good camera to the next model up, which is basically the same except for a few functions I’ll never use, for absolutely no reason other than the shop presenting my with a fantastic offer, got me thinking about camera kit our and do we really need half of it or could our photography improve if we invested elsewhere? It’s easy to get swept up with the latest must have gear, magazines are full of reviews with photos taken in exotic locations by professional photographer which somehow lead us to believe that if we buy that bit of kit we will be able to take that photo. Then there are the debates on the Internet about the subtle differences between kits that lead us to believe that anything but the latest pro lens is just not worth having. Even club members harmlessly chatting about their newest toy or a guest speaker explaining what kit they used lead us to subconsciously question is our own kit good enough. All this creates a mindset of I need an xyz if I’m to take photos that are any good and I know I’m as guilty as anyone when it comes to falling for the marketing hype, but the “greats” never had half the kit we do, whilst that’s not to say they wouldn’t have used the technological aids if they had them, merely that they took mind blowing photos without half the equipment we have and it didn’t hold them back.
Which leads me to wandering is there a better way than fixating about the camera, perhaps if we want to take better photos we should instead invest more in what’s in front of the camera than the camera it’s self.
Over the years I’ve gone on various photographic ‘holidays’ around the UK and I use the term holiday in its loosest sense mind as who gets up at silly o’clock just to sit in a car in the pouring rain waiting for a sunrise that never comes before retreating to a cafe for breakfast. Then a couple of months back I took the next step and went international and for the price of a lens I headed over to that infamous photographic location; Iceland.
Having never been before and as this was primarily a photographic trip not your traditional holiday there was a great deal of planning in the local pub using the likes of Google maps and Flickr to pick places (and times) we wanted to shoot and subsequently places we would to stay in-order to get the conditions but foolishly we never planned places to eat, more on that later. The idea was simple; fly into Keflavik (the only international airport on the island) pick up a hire car and drive along Route 1 to the glacial lake, then make our way back taking photos on the way, simples .
Keflavik, is on the western tip of the island meaning we flew along the southern coastline which gives an amazing view of the glacial ice, the black sandy beaches and of course the ocean, all hinting at what’s to come. The plan touched down on what I can only describe as the surface of the moon or maybe it was Mars either way I’m pretty sure I could see the Apollo capsule in the distance.
On landing we picked up our car and I was relieved that the choice extended beyond the red one or the blue one, before proceeding on one of the most challenging drives ever; not because it of the navigation (there is only one road) not because of the road conditions (they were better than the UK) not because of the other drivers (both of the cars we past were polite and courteous drivers) but challenging as we had to force ourselves to drive past some of the greatest photographic opportunities we had ever seen; I had a feeling that it was going to be very hard to take a bad photo.
That evening we arrived at Jokulsarlon the glacial lake on the south of the island, the lake was stunning with icebergs breaking off the glacier slowly crashing into each other before drifting out to sea. They were a sight to behold and presented a wealth of photographic opportunities, well worth the drive. The plan was to wait for sunset, get some photos and head over to our accommodation for the night. There is however a catch we had forgot to make plans for dinner and found ourselves hurriedly eating cold sandwiches and lukewarm soup for dinner before the only cafe for two hours in any direction closed for the evening. We discovered that in the winter the population along the southern edge of the island is less than 100 people and if I’m honest I don’t think it’s much more in the summer, so it’s no surprise that food is limited. Still after a hurried dinner, closing on time seemed to take priority over feeding the dozen or so tourists that had also fallen foul to the lack of places to eat, we settled down to some serious photography but soon realised that whilst it got colder sunset wasn’t going to happen any time soon, to be honest I’ve no idea if it even happened as we were worn out and exhausted long before the sun was.
The next day was spent on the road to Vik about a two hour drive according to Google maps or an entire day’s drive if you include photos stops. The landscape was epic with and endless feel but somehow constantly changing offering a dearth of photo opportunities and it was all ours, every so often we’d see the odd car drive by but for most of the time we could lie down in the road if we wanted, oh and we did even if it was just to get the right camera angle. Vik however was a real treat for photographers with it’s black sand beaches and stone monoliths rising out of the ocean it’s hard to see how you could take a bad photo but I probably managed luckily I also managed to take a few keepers, rather than wax-lyrical about Vik I’ll simply recommend doing a quick search for images on Google, Flickr or similar, as like the old saying goes a picture speaks a thousand words and even that isn’t enough to sum up the photographic opportunities.
The final day was spent driving back to Reykjavik trying to remember everything that was saw on route a couple of days previous. This was our first insight to the touristy parts of Iceland; Skógafoss and Seljalandsfoss Waterfalls, not to say these aren’t worth visiting from a photographic perspective, they are stunning but from mid morning on the crowds of day trippers on their coach tour excursions from the city started to build making photo opportunities more challenging, but they did at least mean food was more plentiful.
Then as quickly as we’d arrived it was all over and we were on the plane back to the UK. Sat in my seat my mind reflected back on the trip, the sites I’d seen, the photos I taken, and places I want to go back to, yet at no point did I find myself thinking if only I had that latest bit of kit. And that’s just it, despite what the adverts may imply having the kit on its own won’t magically lead to better photos and it won’t provide you with experiences or stories. So next time you find yourself starting to lust after that new piece of camera kit ask yourself would it be better to invest in your subject matter, it doesn’t need to be far flung and exotic, just give the subject of your photos the same attention as you give to the camera.
Thanks Rob, really interesting points and I am not at all jealous …
N E X T M E E T I N G
Week 10 – 3rd Nov 2016 19:30 – Practical “Reflex Reflects”. Creating images using various types of reflective surfaces and objects.
(Bring your cameras, tripods and lights/flashguns)
Kev and Rich talking about landscape photography was our last meeting, two of the clubs finest and most experienced landscapers. We all take landscapes, it is hard not to, apart from the obvious fact we live in them to a greater or lesser extent, but to get them just right requires planning, determination and patience. And practice. Lots and lots and lots of practice.
What comes first though? You have to spot the picture. Not everyone sees the subject of a photograph in the tangle of the environment it inhabits. Certainly two photographers can look at the same thing, pick out the same subject and one will think the shot worth taking, the other not. Both are right, at least for them. There can be a lot of stuff going on and as with other forms of photography the first strategy is to tell one story in one picture. This means looking, critically, at what is in front of you. Yes, as often as not a landscape is taken with a wide angle as a telephoto lens, lens choice is not the point, it should be consequent to a decision about how to frame a picture you have in mind. You use whatever you think is necessary, but the absolute basis of landscape as any other form of photography is the composition. You have a frame made by the physical interaction of object, light, glass and sensor size. You control distance, angle, subject focus, depth of field, about the subject itself. You vary these elements to compose your image in the frame and ….. click.
Well, if only it were that simple and of course it is, but it is a lot more than about the mechanics. We are not after the best shutter sound, most satisfying zoom look and feel nor any of the other myriad electro-mechanical marvels that go into making a retrievable image. We are after the essence, the soul of what we have observed in the landscape. We want to ensnare what the poet John Keates observed simply because “A thing of beauty is a joy forever. Full of sweet dreams, and health, and quiet breathing.” It is the sweet dreams, health and quiet breathing that we are trying to capture. Indeed if there is a poem for landscape photographers then Endymion is it. Maybe all photographers.
Waxing lyrical aside, that which we can control in landscape photography is a good deal less than we can control in studio photography. Get up well before dawn, drive to the appointed place safe in the knowledge that the several weather forecasts we have consulted the day before assure us that it will be excellent weather. Trudge for half an hour in the dark: set up camera and tripod; find out that the weather forecasters got it wrong; employ colourful epithets around the possible uses of weather forecasters who can’t; pack up go home; come back tomorrow. Or at sunset. Or buy yourself a 720 nanometer infra red filter and make a day of it (or any other IR filter depending on the number of batteries you have with you and the length of the chapters of the book you are reading when taking 30 minute plus exposures with 900nm filters). Still, as Mr Keats put it: “That, whether there be shine, or gloom o’ercast;/They always must be with us …“. Or maybe not abandon the day? Maybe you should go and look for particular details of interest in themselves, who don’t need the context of the vista to make a story? It won’t be that story, but it will be a story, if only a different one. You could even do your own mini photo-marathon. Always pays to have a foul weather alternative at the very least.
If this is the case it really shouldn’t be by chance. The successful landscape expedition is always going to be at mercy of the weather. So are the unsuccessful ones, but the difference between the two is planning. You may not get what you thought you were going to get but you can get something and this is far more likely to happen if there is a plan in place and, as I always say, if you haven’t got a plan B you haven’t got a plan. As for luck, as we have visited and revisited in this blog, originally from a presentation by Kev and Rich on their first Iceland trip, you make your own.
That doesn’t mean that spontaneity should be crushed in pursuit of the single frame, though at least one speaker we have had over the last year said he tended to relentlessly pursue the single image he has in mind, then pack up and go home. Whereas I admire such tenacity I have to say, where’s the fun in that? There is a middle path here that certainly will yield results. Looking without seeing is the difference between the lay person and the artist, the bloke-with-a-camera from the photographer (regardless of gender). It isn’t about being a professional. A professional gets paid for it. Not all of it, but some of it, enough of it and they make a living, but certainly the some of it good enough, or suitable enough to get published. Composing in the mind’s eye then varying those things we talked about controlling above, and post processing as and if necessary.
The basic rules is the same for landscape composition as it is for everything else we want to take a good photograph of. Reduce the contents of your frame to the absolute minimum. Then reduce it again. What? With a wide angle lens and a huge landscape in front of us? Yes. A single focal point for the eye to rest on. Then the other details in the frame unfold as our eyes are lead from one point to another. The less the competing details the larger the impact. It’s why we fill the frame. All that varying the angle? To avoid the middle and make more use of the space in the frame. Then there are the lead lines, diagonals, to play with perspectives and backgrounds and borders to police for distracting extraneous detail. Above all, have fun.
N E X T M E E T I N G
Week 7 – 13th Oct 2016 19:30 – Guest Speaker: Margaret Collis “Photography For Fun”