The third round of the ROC, congratulations to the winners, thanks to Peter Weaver for his work as the judge, and it is good to see that the overall level of technical achievement is going in the right direction. To those members who are convincing themselves that their work isn’t good enough to show, I have to say you are probably wrong about that. The competitive element aside, and the importance of that will be personal to each entrant, getting feedback from experienced judges is a good way to look to our personal development as photographers.
It comes back to that word “Because”. I agree with the judge, because … I disagree with the judge, because … are two great places to start. Personal development involves reflecting on the work we produce and putting it forward in the first place is a great way to see things differently. Seeing things differently, trying things differently is the deliberate act that fires that improvement.
As I said in the closing remarks, £2.95 for a re-usable 40 x 50 cm (20 x 16 inch ) mount to fit a 16 x 12 inch (40.6 x 30.5 cm) aperture from The Range (cheaper on line, but make sure you know what you are buying first) and £1.82 for a 16 x 12 gloss or lustre print from Keynsham Photographic Centre and we are in business. Give it a go.
It is, after all, about perception. The whole conceive, frame, light, shoot thing is to capture a perception of something we saw, no matter how real that actually was. The camera may never lie but photographs do, because they are about slices of reality, selected contexts and an impression of a thing. If the camera thinks 18% Gray is half way between black and white we are starting from something of a skewed perspective anyway (here for the science of it).
The danger, at least to posterity, lies in what we perceive as a photograph. It used to be a lot narrower than it is today. A photograph was the finished product held in the hand, hung on the wall, or mounted in the family album. Today we stop a step short of that. What we have with digital technology – and I speak here as a fan – is a computer file as a “finished” article.
Unfortunately these files we keep on computers and so need complex and expensive technology to view them.
The files themselves are subject to physical loss (hence the need for back up), damage (hence the need for back up), infection by malicious code (hence the need for back up), and eventually and probably sooner than you think, redundancy (hence the need for back up in more than one file type if you are being particularly cautious). The back ups are also prone to all of the above.
Keeping your treasured images on the Cloud is one answer to this. Except it isn’t. They are still computer files and still need expensive technology to view them. “The Cloud” is a fluffy marketing term for someone else’s computers. Someone else’s very, very, very expensive computers.
These very, very, very expensive computers are mostly under someone else’s legal jurisdiction, are only going to operate as long as someone, the people who own and maintain those very, very, very expensive computers will only do so as long as they can make a profit from those very, very, very expensive computers. They also makes you images easier to steal, but that isn’t their purpose.
Yes this also applies to “Free” services. “Free” is another fluffy marketing term which means “You pay for this another way” usually by your personal data, which you give access to in the terms and conditions (EULA’s as they are technically called, End User Licensing Agreements), and everyone you interact with which, they do not, necessarily. This as far away as it can be from the harmless fair trade it sounds and it massively profits the collectors of such data.
After all, these very, very, very expensive computers are run for profit and not for the well-being of their users, who, by and large, are well and truly in the dark as to the real value of what they like, share and post and whereas buying that data is relatively inexpensive the worth to end users is far, far, far higher than what is paid to collect. Allegedly, it has been used to select governments and policies.
The cost of storing and displaying our jpegs is far higher than we may have thought and there are important political issues surrounding our ability to do so, but there are also aesthetic considerations. Looking at a print is an altogether different experience than looking at an image on a computer screen. I find that, probably because of their relative scarcity compared to screen images, that looking at prints invites an altogether slower, more absorbing process.
The same goes for making prints, whether we do them ourselves or have them done commercially. Again this something connected to the print process. We are saying that this particular image has some more than usual significance for us, that we want to spend more time on and with it and that, maybe, we want to display it – on the wall at home or in the club competitions or even in an exhibition – but above all we want to keep it.
So, why not leaf through your favourites and select half a dozen for printing and mounting? Then choose your best three and enter them for the ROC round 4. If you need help members can us the Facebook page or have a talk with someone at the next club meeting. You will have something to keep and you will have some constructive criticism which you can apply to your photography and that then becomes a strong base for improving your photography over all.
There comes a time when, like our speaker Ann Cook FRPS FRGS MBFP FBPPA, on a welcome return to Reflex, you have a considerable amount of work to reflect on. OK there is a considerable chance that yours won’t cover the extensive geography that Ann has been able to cover, but as that old Honda advert used to make the point about, to someone, your life is exotic.
What are the stories you can assemble from that work? In the term of the story, the narrative, we are often told – and it has been asserted here too – that a photograph can only tell one story or it becomes confused. That is the perspective of us as photographers, the makers of this story/image/narrative. From the point of the viewer we make our own story, of what lead to this, what this is and what happened next. As humans we are hard wired for stories, we make narratives if detailed ones aren’t provided to us and we will meld and fold the one’s we are given into new ones of our own. The stories are not necessarily complete, nor do they have to be.
The photograph is, in this instance, a pointer, a way post, but the destination is one of our own making and each and every one of us has a slightly different destination prompted into mind. That’s quite a lot from what is, essentially a subject, a fall of light and a background. Ann made a lot of taking the opportunities presented to us – those that fall to the prepared. As she said, again a recurring theme in the blog, you make your own luck. Ann illustrated that being shepherded on a bus, as long as you are sitting next to the window to control boarders (what’s in frame) and reflection, is no barrier to getting stunning vistas that go on to sell. Being aware and being prepared gives us a far better chance of being successful.
Even so, we still need an empathy with our subject (the imaginative assigning to an object feelings or attitudes present in oneself – being as one with, a part of, the atmosphere of what we are photographing). This because not everything that drives the narrative in a photograph is visual. We often hear talk of “Connection” and that, more often than not, is driven by composition. Back to that old thing again, for sure, however, the arrangements of objects within a frame is a very powerful driver of viewer connection with a photograph.
Lines, for instance, have different emotional qualities (at least in art theory), depending on their shape and direction. So: converge parallel lines to create a vanishing point (a concept that has been around since the Renaissance) to create depth and perspective; diagonals are dynamic, suggestive of movement and change; horizontals give a composition a sense of quiet and peace; vertical lines feel powerful, solid, permanent; straight lines feel formal, deliberate, man-made; curved lines, especially an S-shape, feel casual and add sophistication, nature, grace. Shape, similarly, has a profound impact on the feel and connection of an image, as does the use of space.
These are all tools, and there are many more and they are there for learning and there for using even there for ignoring but the thing these three attitudes have in common is deliberation. Being deliberate about the way we frame and organise objects for impact on our viewers. The fact is that to photograph that thing in our minds eye we need to become fixed on the essence of the thing we are looking at and then become a problem solver, just like Ann’s bus problem, which gives a different prospective on Kappa’s assertion that if it’s not good enough it’s because we aren’t close enough (in this case to a window to prevent reflections and stray elbows).
These last two paragraphs may look like separate and only vaguely related points, but they are not. In order to visualise those concepts of line, shape and space we have to be looking for them. Ann’s two pictures from Angkor Wat, one of the temples and one of the crowd that had gathered to look at the temples, were taken from different angles but from the same spot. One is quite serene the other very crowded and busy. They each have a different tempo. The one has a diagonal line of the rising sun behind the black mass of the unlit temple, the transition between night and day. The other, a huddle following the natural curve of the shore line several rows deep feels much more energised. The lines of people become a shape of its own. To get the crowd picture Ann had to wait for the crowds to thin, to keep the impression of the press of humanity but also to make it something that the eye can relate to. Incidental or otherwise the fact is the contrast between the two photographs made for a tension that one without the other simply did not have. OK the crowd scene was never going to be anything other than a throw away line, but it told a truth that the sunrise picture did not.
Ann had us look and decide which versions we preferred on many of the images she presented between a colour version and a black and white. The black and whites seemed to take on more from the interaction of shapes and of course there was a fair split in preferences. Basically the advice in these digital days is shoot in colour and process suitable images to black and white. The choice is a lot easier if we start with the idea that what we have is a black and white photograph. The conventional technical wisdom is shoot in colour and process in black and white, but in order to bring these two things together it is useful to know what are the effects of choosing monochrome.
Black and white is a bit of a misnomer as what we are truly looking at is pretty much everything in between. Absolute black is one end of the theoretical scale and absolute white its opposite. We render the images through the tonal contrast that colour produces when converted to shades of grey. There are a lot more than 50. You can desaturate your colour image and adjust the contrast accordingly, you can play with colour channels (subtle rather than huge effects usually) or you can go through the camera’s black and white options, they pretty much all have them, but they will all be jpeg. Some may be DNG or TIFF files, but that is a function of your camera. There is the HER route, or the filter routes that you can apply through apps like Snap seed, photofunia, funny.pho.to/ etc etc. Above all monochrome tends to make more of shape and line by taking information out about colour, but as with everything else it is a matter of personal taste. Black and white will not overcome bad composition or lighting.
So, a lot to think about, Ann Cook, thank you for another interesting and stimulating evening.