Happy New Year and we celebrated our return with a well attended evening of table top photography – next week we show the results. This is a good entry point to the year, it’s practical so we get to see and do with others and exchange ideas, but also it is something that we can exercise (more or less) total control over. Yes it might not be our “thing”, yes in the hall we are at the mercy of the overhead lighting and others waiting their turn (on occasion) but the opportunity is the thing.
The fact is we can, with very little resource, replicate these moments and use them to our advantage. Find an object – betting the house is full of them. It doesn’t matter what particularly, but, to start with, one that isn’t too shiny, so as we avoid bright spots (specularity) where light sources are reflected in the objects surfaces and not too big – it’s called table top for a reason. This can be controlled but we will come back to that presently.
For lights we have torches, they don’t have to be big and powerful (actually something of a disadvantage at close quarters). Some wire twists and something that will be stable when we attach the torch(es) to it as a light stand (or co-opt a friend or relative). Some plain paper to use as a diffuser and Christmas having just passed some coloured sweet wrappers for gels. If we want we can construct yourself a makeshift light box out of an old cardboard box and some grease proof paper, though there are even more minimalist options we can take. We can use tin foil and black card for reflectors and flags. Ladies and gentlemen I give you your complete photographic studio in miniature!
So it’s an entertaining way to pass an evening, useful if we are selling small things on line and we can learn quite a bit about product shots in the process. But it also has other, practical, training uses. It doesn’t make a difference how experienced we are there is always a value to practicing, especially if it is on a subject we don’t usually do. Photography, as David Bailey once pointed out, involves dealing with what is there, photographers don’t enjoy the luxury fine artists have in that anything inconvenient in the scene just doesn’t make it onto the canvas.
We have to deal with what is in front of us. The studio is the closest we will ever get to that situation, in miniature or otherwise, being places we put things in rather than take things out. Being a photographer is about having an idea of an image and working with tools we have or can find to work towards what we visualised. Yes I know, that doesn’t really apply to street (actually is does but that is for another time) or at least some forms of street photography. Oh, OK, spray and pray, but like I said, that is for another time.
Perhaps the greatest part of this is that we can go through the whole process from visualisation to capturing an image effectively and quickly. And then we can go through the variations of the set up in order to experiment and learn. Starting with a blank canvas, the light tent is exactly that, we can populate, arrange and light our little stories from scratch. It is a great way to practice basic lighting skills, pretty much for free. In fact thinking of the exercise of placing shapes in relation to each other in a way that gets the attention and lighting it is pretty much the basic definition of photography. Everything we do in these little vignettes can be scaled up. They are good fun and good practise.
There is more good practice to be had in controlling light angles too. We mentioned specularity above, basically unwanted reflections. The solutions are straight forward enough and apply to other photographic situations too. Basic rule of reflections is that the angle of incidence equals the angle of reflection. What that means for us is that to avoid glare from a shiny object we don’t need the light source and the camera to be facing the same way. Frame with the camera and then move the light around till the glare disappears. Start at 45 degrees to the camera, you should be plumb in what is known as the family of angles.
Constant lights are more convenient here but if we use flash and have triggers so we can use them off camera and using test frames and, of course, knowing the rule of reflection, we know where not to place the lighting in relation to the camera, so that is a start. You don’t necessarily have to have triggers though. The rest of the solution isn’t complicated and if we use a “big” light source, say from a large soft box then the problem goes away. Don’t have a soft box? A light tent is one answer (basically a multidirectional diffuser). No? A piece of white card to use as a reflector, shoot with the camera facing the card, that will effectively diffuse the light.
Finally shadows are just as interesting, if not more so on occasion, and balancing out light and shadow is the root of generating mood in a shot. This is done with what are known as flags. They are used a lot in cinematography and videography. They are also used in product photography. Using them in a table top situation means that DIY options are easily available.
So, on these cold and dark evenings there is something to try out.
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
It’s all about the light. Not sure how many times I have written that here but it is but a small fraction of the times that I have read it everywhere else. It is also right and not quite all. It does assume that the thing you have taken the time and effort to point your camera at has a semblance of interest to someone else and that the tools of composition have been suitably employed or ignored-to-particular-effect to create something for the light to fall on, isolate, enhance and otherwise make your efforts worthy.
Our next session is light painting, which is always very well attended and makes the light more obvious by reducing the size, direction, angle, distance, shape and colour. These are the six things that we need to control in order to be in command of the result of the single most important element in making an image. Please making, because there is a point to be made that the camera takes the image we make. Viewed from there you can see why a little deeper understanding of light might be useful as we have identified it as the most important element.
OK so light without shadow is nothing and we could equally be talking about controlling shadow, in fact that is a useful starting point in itself. It is probably this fact that makes the number one accessory to buy when launching out on this path of painting with light to go with your bright and shiny new camera and lens combination is a five-in-one reflector, though there are pros and cons in using it which need to be mastered.
So there are a number of general rules that apply that are useful to carry around in your head, or written down in a note book – what do you mean you don’t carry a notebook? How are you going to keep a record of what works and what doesn’t; or things to try at a later date; or quick calculations of the effects of filters on shutter/aperture? – more importantly to use. So let’s use this blog to investigate the position of the light relative to the camera – just to give that notebook a nudge.
Think of a clock face with our camera at 6 and our subject in the centre where the hands (yes it’s analogue) meet. The light positioned anywhere between 10 and 2 o’clock is going to produce a silhouette and a light coming from behind the subject we would normally treat as a secondary light. We always have to add a source of light, called a fill light because it fills the shadow in, and that can be either a reflector or a flash or a continuous light source. This fill light usually comes from anywhere between 4 and 8 on our imaginary Rolex. Creatively a light coming from behind can help create a halo that separates our subject from a dark background but we always have to be careful to light the subject sufficiently. Spot metering can help give you an accurate reading (a separate light meter also has its uses and if we intend to do a lot of studio work or outdoor portraiture, then definitely worth putting on the equipment list, especially if working with flash).
When we position the light source(s) directly from the sides, 3 or 9 o’clock, we get a very dramatic effect characterised by extreme contrast. Unless there is a fill light/reflector on the other side of the subject, the camera will record the subject as being lit on one side with a dark shadow on the opposite. This can be good if you want to create a headshot with a hint of secrecy or ambiguity, less so if you want to convey glamour or a full engagement with the subject.
When shooting with light between 4 and 8 o’clock, I’ll come back to 6 o’clock – the camera position – in a moment, this means that the light is coming straight over your shoulders . This has a tendency to produce a flat light lacking significant shadow. Images with flat light often feel like they lack depth and never quite seem to be as we remember the scene being or intended. Basically light and shadow often require further manipulation using diffusers, scrims or in-fills.
The six o’clock position is where the camera is and light is at its flattest. That’s why so many on camera/inbuilt flash photographs look so unflattering. Either side of the camera, shadows are created, and shape/texture become more obvious. The width of the shadows increases as the direction of the light moves from the camera towards the side, which is why we see so many lighting set ups set between 4 and 5 o’clock or 7 and 8 – basically 45° to the camera. As a start or a go to you can’t really do better, especially if working out what is going to work best or working a number of angles.
And talking of angles, there are three basic ones between camera and subject, two of which are frequently ignored: that is low, eye level and high angles. By far the most photographs are taken from the eye level, which is fine but there are opportunities to mix things up a bit and which will alter the balance of light and shadow too. Easy opportunities not always taken.
N E X T M E E T I N G
Bring your cameras and tripods – 3D light painting
Club Social with photo-booth and a bokeh table this week, the last of 2016. So we will talk a little bit about Bokeh before completing our examination of light modifiers, in particular the “hard” modifiers (that’s about the quality of the light not the difficulty of use), and wish you all the best till next year.
Bokeh is, I have a lingering suspicion, the best of , if not exactly a bad, then at least, an unavoidable, thing. It is points of light rendered by a lens in the area beyond the zone of acceptable focus. It has, by association, a certain dream like quality. Whether that association with bleary eyes is as the result of a blow to the head, strong liquor, watching too many ’60’s films, recently arising from a deep sleep or a biological need for spectacles I leave to the individual imagination and circumstances. That’s not the sort of explanation I am trying to provide. That’s between you, your conscience and the likelihood of your significant other cracking your alibi.
The shallower the depth of field the greater the area of view that will be out of focus. Bokeh occurs at the point where single light sources lose their shape and become mini suns or circular (sort of) shapes of light. The term is Japanese, meaning blurred or something that approximates to that. It is the product of lens design which in itself is limited by the laws of physics.
That blurred area, behind the subject in focus, is formed by circular pools of light where the light has spread out rather than been brought to focus. The patterns formed are diffraction patterns whose edges assume the shape of the lens aperture in the diaphragm through which they pass.
The shape (and number) of the diaphragm blades will impact in the shape of the blobs in the background. The size and smoothness are regulated by light source, focal length, aperture and the diaphragm and what constitutes “good” bokeh is purely a matter of personal taste.
We started last post to talk about light modifiers, specifically “soft” modifiers. So that leaves the “hard” modifiers. Probably the thing to note first is that hard light is the default with flash/strobes (I am going to use the terms interchangeably). Flash is probably the first port of call for additional and controllable light for most photographers progressing through the hobby. There are a number of pro’s and cons in using it. On camera and off camera flash provide some of the same problems but generally off camera flash, that which uses a separate flash gun, is by far the more flexible option and the one we will be talking about here.
More specifically on camera flash is more likely to deliver red-eye, demonising your subjects, the light is harsh and direct and can only come from the direction of the camera. Built in flash is less powerful than off camera, separate units and you can’t always control the intensity of light you do have manually. That isn’t to say that built in flash doesn’t have its uses, just that those uses are relatively limited compared to the more modifiable off camera varieties.
All flash lighting needs modifying most of the time, and there are four basic types of hard modifiers:
- Reflectors – your common or garden light modifying accessory, bowl shaped, they have a single but important purpose, to cut down light spill – light that spills to the sides of (a bare) bulb in a strobe (not exclusively) and when using umbrellas or grids. Also below.
- Grids – Does what it says on the tin. Black tubes formed in a lattice work they are very effective in stopping scattered light rays coming from the (strobe) bulb, creating a thin, relatively soft beam of light, which arguably puts it into the soft category I know, but I think sits better in this list. The quality of light is determined by the density of the grid (the number of tubes in the grid), while the size of the beam (expressed in degrees) is determined by the thickness of the grid. The grid is regulated by gates acting as barn doors, movable flaps on each side which allow for finer, narrower, beam control.
- Snoot – is a cone which focuses light to create a very harsh, small beam of light. Can be rigid or flexible, allowing for some control.
- Beauty dish – A small reflector, (usually gold, silver, or white) is placed in front of the strobe / flash, while a bowl-shaped reflector is placed around the light source. This creates a very even, hard light with an extremely sharp drop-off. Used almost exclusively in portraiture, it is very useful as a key light.
These are not mutually exclusive pieces of equipment. They can be and should be mixed and matched according to the creative need. They don’t all have to be shop bought, DIY is always an option, but for the bought stuff the guiding principle, generally, is, you get what you pay for, especially when talking about longevity. This in itself can be a function of the frequency and conditions of use, however when starting out, certainly a look round e-bay or other on line shops will throw up some “bargains”. The bargain is what you feel the value of what you have is.
There are three other essential elements, not, I would put forward, necessarily directly under the heading of light modifiers as they don’t work directly on the source. These are: flags, scrims and bounces (reflectors).
- Flags block light. Bought flags tend to be black material, some are paper, stretched over a frame with a small handle to make it easier to place on a stand accurately. Black paper and tape will get you a similar effect to stop a white or light coloured wall from reflecting or for shading specularity in shiny objects. Their primary use is to control light spill and keep down highlights.
- Scrims are panels covered in diffusing cloth, placed where light needs softened locally. You have probably seen them on film and TV sets, spreading tent like over the actors, in order to provide a soft and even light.
- Reflectors, other than the ones that wrap around your light source, a.k.a bounces, or bounce cards, can be anything that will reflect enough light to be useful, but are usually white, silver or gold material stretched out on a frame. You are probably aware of the five sided reflectors that also have a black surface and an opaque white that can be used as a scrim. Mirrors are frequently used, especially small ones on product shots. They are usually a way of lightening shadows created by the key and other lights. The type of material determines the light’s quality and, and intensity is a product of the distance from the subject and the reflectivity of the surface used. The black on a five sided reflector, for instance, is used to reduce the amount of light going into the subject.
And that, as they say in the World of Onions, is Shallot for 2016. Happy New Year.
N E X T M E E T I N G
5th Jan 2017 19:30 – Editing Images: Bring your laptops and challenge your editing skills.
Round 2 of the club competition last meeting and I shall link to the club website here where the winning entries will be posted in due course. Club thanks to our returning judge Roger Mallinson who got though 21 prints and 58 Digital entries in a prompt and informative fashion.
This week we are going to return to the studio as it were, and start to investigate light modifiers as previously promised. So, starting with the obvious, just what is a light modifier? Yeah, ok, it’s something that modifies light, a true but otherwise unenlightening answer which we need to look at in a little more detail. If we take the word modify we can use it in two senses:
- To change in form or character; alter.
- To make less extreme, severe, or strong.
With light the second meaning is a consequence of the first, it is also an inescapable consequence and though a tad obvious to some the conclusion is the same as the one that Mark and Rob gave us a couple of weeks back, that if you are going to do a lot of this then it is best to buy yourself a light meter. The reasoning is thus, every time you make an adjustment in intensity or distance (one and the same thing often times) then you are going to effect the elements of the exposure triangle and using the old saying: two measures to one cut as a guide, okay two measures to one slick in this case, means a lot of time effort and battery can be spared. For the occasional user then it is a case of trial and error. Eventually you will get to know your kit well enough to be reasonably accurate in your estimations.
There are basically two kinds of light modifiers which we can divide into soft light and hard light. Flash is the most likely entry point for a hobbyist into controlled off camera lighting. With flash we tend to use more of the hard modifiers, that is we use them more of the time, but both categories need considering.
The thing to remember, that is the thing not to get carried away with, is we modify light to enhance the subject. It is always about the subject, he, she or it, not about the modifier. Unless you are writing about modifiers I suppose. Still, that false conundrum aside we choose the modifier to light the subject, not the subject to show off the mod as a general rule. The subject is the thing. Always.
So this week we will start with soft modifiers. Another term for light diffuser, because diffused light gives soft shadows, that is the differences between light and dark look more a gentle grey than a stark black. Make no mistake we are using the light to create shadow. Shadow is the form of the statement we are making and without light there is no shadow.
So a soft modifier spreads the available light over a larger surface, that is, larger than the source itself . Smoothing the transition from light to dark on your subject the main use of soft modifiers is for key lighting in portraiture. The key light is usually the primary light source, the brightest and most important.
The two most frequently used soft modifiers are softboxes and umbrellas. Softboxes are normally vaguely pyramidal and lined with a silver, highly reflective material. They come in a variety of sizes and those sizes relate to how soft the light is, not how wide spread the light is. Yes, you are right, those two things are directly related. Most softboxes and umbrellas are used at a distance of two meters or less from the subject. Though there will be differences in the areas lit between any two given sizes, at these sort of distances they are minimal and really, really not the point. The point is how diffuse the light is, how soft the shadows are.
Softboxes are a studio staple but they can be very bulky, heavy, require more than one stand and generally take up a lot of space even when not being used and can take quite a time to set up. They are good for using with other modifiers though and also good at controlling light spill (basically light coming through at unintended angles which may or may not intrude on your desired effect).
A subdivision of the softbox is known as an Octa, octabox, octadome or octa softbox/dome . Octas, as we will call them, come either as an octagonal shaped softbox or as a hybrid softbox and umbrella. The angle and amount of light fall off is different to a softbox, but they do tend to be a lot more expensive and as bulky as softboxes.
There are further modifiers than can be fitted to a softbox or and octa. You can add grids (to give direction), flags (put shadows in), filters (control colour and intensity) to give you a greater control.
In case you are thinking, “Hey, I can make my own softbox” then I have to say, yes you can. The difference is in the quality control and the length of time that it is likely to last, but there is no reason why you can’t use tin foil and a cardboard box to put over your light source (flash gun rather than bare bulb, depending on the quality and exclusions of your house insurance and fire damage claims) and a plain shower curtain works wonders (make sure it doesn’t have blue tinge if made of plastic and yes it will melt over a hot bulb). Go ask YouTube, there are many different videos covering this.
Essentially umbrellas for modifying light as, opposed to keeping the rain off, come in two varieties: Shoot through and reflective. They are a little more untidy in the way that they deal with light, it will spill round the open edges. They are also prone to having a hot spot which may or may not prove a small problem. They are usually a lot cheaper than softboxes or Octas.
A shoot through acts like a lampshade, softening the light simply by putting a semi transparent material between light source and subject. A reflective umbrella is opaque, black on the outside with a highly reflective, usually silver, sometimes gold or maybe white interior. These are pointed at the subject so that the open side of the brolly is facing the subject and the flash unit faces the inside, away from the subject, to bounce light from all round the internal reflective surface from every attainable angle.
Umbrellas come in a range of sizes from small to huge (10 feet or more) and they are a low price, effective, portable light modifier. This makes them very popular. As already mentioned their biggest disadvantage is their tendency to spill light around the sides. Not a huge problem, normally, but one which does need to be attended to. Unlike softboxes there really aren’t any effective DIY options, but they can be bought pretty cheaply and so even if there was a DIY alternative the cost advantage would probably be very low.
Next week we will be looking at hard light modifiers and it is the club social, see website and or Facebook for details and Rob is doing a Bokeh session to boot.
Light painting, the more advanced bit, with guest Tony Cullen and our own Myk Garton and what an evening it was too. Lots of good stuff going on and some special images. It showed us that some forethought and planning, lights from various sources and a willingness to experiment and you can get some very interesting results. On the cheap too. With virtually no DIY skills you can come up with a variety of home-made or shop-bought resources (usually a mixture of the two) which can have some very interesting effects. Thanks also to Mark for another of his ladies-in-boxes, odd hobby but there you go, this one very shiny. Members can see results that have been posted to the club Facebook page and the club Flickr page is always worth checking out, of course.
As we have previously circumnavigated light painting over the course of this blog, and you can get as detailed as you wish with it, there are plenty of articles and videos to watch out there, we will do a little tour of a couple of things that caught my eye in the photographic press this week. Basically I am going to take the bullet points in an article that chimed and try and get the great photographers to comment on them. With a little bit of commentary by yours truly.
There were two articles on Petapixel, taken from different perspectives of the photographic experience, lessons learned from a new-to-it and someone who had been shooting for 15 years (professionally). The one I am going to take up is the newbie, by Marcus V Petri, worrying that, after a year and 5,000 frames, he is not making the progress that he thinks he should ” Your first 10,000 photographs are your worst“. – Henri Cartier-Bresson.
This is an interesting point as it speaks to “keepers”, which really is the point for everyone, is it not? Part of being a professional, or even a more experienced amateur, is taking very careful control of what you let be seen. This will be a tiny proportion of the shutter actuations. He writes “I’m the type of person that takes hundreds of pictures at slightly different angles and then I chose one that is best. I envy those who just go there, take one great shot, and done”. I am sceptical of those who just go there, take one great shot, and done. There are two ways this happens.
One is dumb luck, possibly moderated by having learned from the past and is never consistent. The other is from a rigorous and time consuming planning and execution process that takes days, weeks, months possibly years. Or you have a battery of assistants who do the spade work and you turn up and press the shutter so that it is “your picture”. Some very expensive photographic workshops run like this, making everything feel seamless – a huge amount of work before and after goes on to make it this way – just so that the client goes away with great shots – also some light painting sessions I have recently attended – which may or may not be down to the quality of the tutoring but is the whole point of the business. The one shot idea is actually corrosive to learning the craft, the idea that you take the one great shot only, then what do you do? “Everyone will take one great picture, I’ve done better because I’ve taken two” – David Bailey. Ansel Adams was a little more generous: “ Twelve significant photographs in any one year is a good crop“.
“There is no such thing as a ‘non-processed pictures.'(sic) Every picture is processed, even the analog ones. Even your eyes process what they are seeing”. As I have expressed the same opinion many times in these posts I can hardly aver. “ You don’t take a photograph, you make it“. – Ansel Adams or more philosophically: “The magic of photography is metaphysical. What you see in the photograph isn’t what you saw at the time. The real skill of photography is organized visual lying”. – Terence Donovan – Guardian (London, 19 Nov. 1983) Or as Bailey put it: “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“. “Face,” (London), Dec 1984.
Actually, in the second article I referred to a very similar point is made: “A photo is an extraction. It is a simplification. It is reality seen through certain limitations. It is those limitations that make a photo. Four straight edges and a 2D simplification of reality. You need those limitations to make this an art—if you are trying to 100% capture reality you are not taking a photo and it doesn’t make sense. A photo is a haiku. 17 syllables and done. Without those walls, you’re lost. So embrace the walls and find a way to express everything there is between them. There will always be something outside the walls, but that’s okay too. Do what you can and that’s all you can do“. Patrick Beggan, Petapixel.com, 5 Dec 2016.
“You and the people you know will usually prefer different pictures. My favorites (sic) are rarely my most popular photos”. “There is no special way a photograph should look“. – Garry Winogrand.
All in all if you take the two articles n comparison you can see two poles of the same journey, in some ways. We all do this journey, it doesn’t matter how many years we have been doing photography if we are serious then we will be on it. It doesn’t have a final destination we are always at a way station somewhere towards the last frame we ever take. Good to see that we are not alone though.
Quotes from www.photoquote.com
N E X T M E E T I N G.
R.O.C. Round 2 judging.
Someone says reflections and we think of mirrors and shiny surfaces where the scene is played back to us in reverse but in the same perspective, so what is reflected in the surface appears as far behind it as the actual object being reflected is in front of it. We see them all the time, sometimes marvel at them, sometimes curse them most often accept them as part of the environment. Ask a physicist and they might say something like a “Reflection is the change in direction of a wavefront at an interface between two different media so that the wavefront returns into the medium from which it originated” (Wikipedia) and the rest of us nod and try to move on, but not quick enough and we, like the Wedding Guest in the “Rime of the Ancient Mariner” are snared. They continue: “The law of reflection says that for specular reflection the angle at which the wave is incident on the surface equals the angle at which it is reflected. Mirrors exhibit specular reflection” (ibid). For which we are grateful, we explain, but it’s our turn to shampoo the goldfish and, unfortunately, we have to move on.
All very true, well the physics bit anyway, I am sure and actually kind of fascinating, but we don’t really need to know the physics to observe and, as photographers, capture. Although lens manufacturers spend millions of pounds and tens of thousands of hours in designing glass that transmits without specular distortions, we, nonetheless, as our latest meeting proved, will insist on putting the specularities back in. Bokeh anyone?
It can be true, depending upon the situation and the desired outcome, that we spend a lot of time and energy in controlling reflections, often using reflectors, gels, scrims, flags and alike but we will come back to those in another post in more detail.
There were some very interesting images made by members using a polarising filter. Polarization is an effect on light waves that reduce its passage to a single plane, “A flat surface on which a straight line joining any two points on it would wholly lie”, rather than a direct flight to Marbella. Polarisers don’t work on metallic surfaces because of the angle of scatter metal produces (cars and so on also have layers of paint which are also “dialectric“), lacking “Brewster” angle. This is one of those things you either already know or don’t really care about because you don’t need to know. Essentially as photographers we know that polarisers reduce reflections and darken skies at the right angle, but not from metal surfaces. The plastic rulers, backlit, showed rainbows not seen in normal light, the iridescent rainbow patterns appearing like stress marks, shown using lens-mounted polarising filters were an interesting diversion from how we usually think of in these sort of filters.
And there were plenty of others using foils and glass and water and mirrors and metals all providing interesting and off beat opportunities. That, though is to miss a rather large point. Reflections are to be found all over the natural and built environments, especially the latter and can be used to enhance an image by providing balance or foreground interest or as the focal point. It can also be used to limit the dynamic range within a frame by moving the histogram to the right – basically, by removing significant areas of shadow. Of course this is a function of the lightest and darkest points in the frame which in itself is a function of what we choose to include in our frame. Not always possible, of course.
But we were working in doors and that generally means that we have greater control over the lighting. A light tent was one of the pieces of equipment brought in. Light tents act, when the light is kept outside of the tent, to soften the light on the subject which is also isolated from all background distractions apart from those you chose to include. Most often associated with product photography, though that should probably read small product photography, they are a cheap way of getting in some practice of shooting a subject under controlled conditions. You can, of course, spend as much money as you want on it, but the basics remain the same. It is particularly good at practising with light modifiers, especially with flags and reflectors, I find, not least because you are not struggling with giant soft boxes and the like, yet still are dealing with the same problems. It is a matter of scale.
Whether you need artificial or additional lighting is largely a function of preference as if there is sufficient daylight then the effect is pretty much the same, you still can employ your (mini) flags and reflectors to direct a greatly suffused light. Lack of artificial lighting just limits the time of day and you can easily make your own light tent from a card board box and some grease proof paper, if needs be. There are dozens of effects you can conjure up with a little bit of time and patience and stuff you can find around the house, the point is, though they definitely have their uses, you don’t need a vast and remote lake reflecting a glorious mountain range that it took you and your dedicated team of Sherpa’s three weeks to trek to to make use of reflections. They are pretty much everywhere, especially in the built environment, and if not, you can make them.