Last meeting was our annual thumbing of the collective nose to Cartier-Bresson’s fear of the contrived, the Creative Round. In that all of photography, from one point of view, is contrived, we can take comfort in a Sontagian view that Photography is a “Promiscuous way of seeing” and here are we. It is also another way to open the arguments between the Get-it-right-in-the-camera-ista’s and Ye-accolytes-of-photoshop, but we won’t.
Congratulations to the winners, (Check out the Facebook page or the website) this in some ways is the hardest round of all to to enter, not least because the definition of what we mean by creative is quite fluid. It stems from an original thought or vision. This gives us less chance to take the image we want by accident, the surrealist streak in photography if you will, as it tends to involve a lot of planning and preparation. The flip side of this is that the deliberation it involves is good for us in all the other forms of photography, because it is a productive habit.
“A skilful photographer can photograph anything well” according to John Szarkowski. So that doesn’t mean just slapping on a filter over an existing photograph and calling it creative, though there is nothing to say that you cannot. Passing a superficial inspection is one thing but the photographs that hold the attention are rarely going to be constructed that way. Skill in photography is as much about practice and deliberation and attitude as it is in any other form. The trick for the hobbyist is not to make it a burden, but to enjoy and enjoy learning.
It’s why having a theme works for our development. Yes it is fun (for us, the rest of the family can feel a little left out) to take a camera everywhere and photograph what takes our fancy or arrests our attention, but when we narrow ourselves down we concentrate on looking, and looking for associations with this idea, which we are using to organise our output. A photograph.
It brings us back to that deliberate frame of mind again. This is also something that helps when we feel that we have plateaued in our development. It can be frustrating to not quite get what we visualised, but also it can be the brain’s way of telling us time to try something different. To create a random element in that, basically to set the challenge, use the theme link above and use this preset random number generator to pick a topic from those 328 themes; get a camera; your least used lens or least used camera even, and get right on it.
There is something to be said in rekindling the simple pleasure of just taking a photograph in a spare five minutes. It can be as simple as arranging things to hand on a desk or a table and practising the basics of composition, because nowhere is boring when you have a camera in your hand.
To give a couple of examples:
Whilst waiting for the potatos to boil I took about four frames of a satsuma and a couple of apples, altered saturation and played a bit with curves and made them presentable if not earth shattering images. Of course, if I wanted to become rich I should have taken photographs of the spuds.
Waiting for a relative to get ready I was struck by the incidental arrangement of my Works ID badge and glasses on a side table. Nudged things around very slightly, took it, cropped it square, painted a bit of blur on it. Quite like it. Doubt I will see it hanging in the Royal Society of Arts any time soon, but hey, I got a small sense of achievement out of it.
Same occasion at the other end of the trip, I was waiting in a coffee shop and set myself the challenge of getting the branded coffee cup and the illuminated sign in the window. A bit of cup shuffling, bit of Dutching (avidly watching all those 60’s Batman shows as a kid finally paying off), applied a saturated, bluish, filter to tone down the harsh lighting, job done. No need to buy a new dickie bow for any award ceremony on its account, but that’s fine. I had observed, visualised, framed, captured and post processed in under two minutes, made a photograph that gave me a small sense of having done something, enjoyed doing it and the result. All this by taking a camera to (some) things that make you go Hmmm.
All these were shot and processed and uploaded to Flickr via my decidedly mid-range mobile phone, which has three times as many pixels as my first digital camera had, two very capable editing apps and a link to the internet, all in something that fits in the palm of my hand. The fact is, for a very high percentage of the day I have access to a camera. Yes I prefer to shoot with my camera body and detachable lenses, yes I can potentially do more with it, but the equipment isn’t the point, making the image is. And no one knows what camera was used and very few actually care.
Restriction is as much an opportunity as a wealth of opportunity. This can be shooting with a different lens or one you don’t use very often, a different camera (including your phone camera if you don’t use it very often) close ups (not necessarily macro), wide angles (making sure to include something in the foreground) there are plenty of variations. A simple one is to deliberately frame a portrait and a landscape version of the same image, being careful to compose the best image in each.
As we gave him the first word we will give him the last, in the interests of symmetry, a noble subject for an image. Henri Cartier-Bresson said of taking a photograph that the thinking should be done before and after the taking of a photograph. Make that gap your Zen Moment. Take that time just to enjoy being a photographer.
A new season and so the blog returns from its slumbers. We started with a good spread of photographs taken over the summer and it was good to see so much variety. It is the third year that we have been at the Wicklea Academy and it was good to see so many faces old and new.
The programme is pretty varied this year and our thanks go to the programme team past and present. There is a slight change to the points schedule as far as the competitions go, details on the web site. The focus, as ever, is on personal development and learning as certainly been at the heart of the club for many years. The blog is here to support that, based on what we are doing in the club on that particular week. The competition rounds are a chance to celebrate your journey, get some feedback and pit yourself against others in the club. All of us who have been at the club any length of time has certainly benefited from that cycle and the practical evenings are chances to try something different, to discuss and try things with other photographers. Your level of experience isn’t the issue, everyone has something to bring to each meeting. Your questions count. It does not matter what the kit is you use, its brand, its complexity, nor its popularity, as the club motto says it all: For us, it is the picture, not the camera, that counts.
So let’s start with some questions. The “What camera should I get?” dilemma. Most people have access to a camera via their phone these days, so let’s start with what camera have you got? The reason for this is that the number one equipment related solution is the same with any camera, be it a point and shoot, a camera phone or a full blown professional rig. Get to know your camera. Now, I appreciate the most under read document anyone can ever produce is a user’s manual and the camera on your phone doesn’t come with much of a camera manual anyway, by and large, and camera apps with even less, but ……
Yogi Berra (Baseball player rather than a photographer but that doesn’t alter the point) once said, “If you don’t know where you are going you will probably wind up some place else“. If you just point your camera and blast away regardless of what the settings are you are going to find yourself in a place called Disappointment via the town of Meh. This is what most people do with a camera phone. This is not a question of automatic settings v manual (there is an evening based on that on the programme later in the year). You will have options for light and dark, flash (though that might be stretching the term a bit) maybe HDR (High Dynamic Range), a whole bunch of filters. Put yourself in a well-lit position, preferably with a constant sort of light, a set subject and work your way through them until you have a reasonable understanding of which setting does what. Take notes. Actually, a note book has a place in every photographer’s camera bag.
Learning to be deliberate when taking photographs is the key attitude we need to develop. In order to be effective, we need to develop an appreciation of how things change. How our cameras deal with extremes of light and dark and the bits in between, is a good start. Don’t ignore the programme modes, might also be called scenes, as they give you a clue as to what they do relevant to the cameras basic settings (which together form the Exposure Triangle). Used with a bit of forethought you can use these to get the best out of the lighting conditions you are confronted with – pressing the shutter is not only the last thing you do to take a photograph but also the last thing you consider when taking a photograph.
Something else you can do cheaply is to start looking critically at photographs that you like. Identify what it is you like about them, what story is it telling you? How do the shadows fall? What is the placing of the objects in the frame? Pick one. Go practice getting it right with whatever camera you are using. Make notes. Have fun, you are learning. The point is you are recreating an effect, not copying a picture. By doing this you start on the journey from looking to seeing. As for subject, it may well be probably directly in front of you. The trick is to work the angles, you are not looking for a masterpiece you are looking for the most interesting angle. You can still practice this on your phone, any time you have a working camera on you of whatever type and two minutes to spare. The key take-away, as they like to call it in training programmes, is that this is this is a system and you can practise it with very little indeed.
N E X T M E E T I N G
Members report back from the club trip to the Lake District last May.
This last fortnight we have covered ROC round 3 and it was our turn for the WCPF prints, where we could exercise our own critiquing skills. This is always popular as members can be more involved than is necessarily the case on competition nights. On my table we got into some earnest questions not so much as which pictures we favoured but why that was so. Agreement wasn’t necessarily required, and we came to our 1,2,3 decisions for each category through a simple majority vote. That wasn’t really the point of it all though. The theming of those prints gave me an idea for this weeks blog.
When we look at other people’s work we are looking at other peoples way of seeing, which is not ours. Sounds deep. Essentially if we want to improve we have, at some time or other, to challenge our own way of seeing, discuss our way of seeing. Using the WCPF and viewing the competition work we can put that into some sort of perspective. Yes I like that – why? No I don’t like that – why not? The Japanese have a saying that if you want to know the answer ask, five times, why? Basically break down the reasons to the core. That teaches us something about our own preferences and we can, if we take note of these things, start to make a difference to our own work through it. Or, as I am sure I have quoted to you before: “Beauty is in the eye of the beholder – get it out with Optrex” (Spike Milligan). It has to be a conscious decision though, to do something about it.
Sounds like a slow process? Well it is. Our world is awash of nail-it-in-five-easy-lessons advice, yet that isn’t how humans learn. Sure you can get the basics right in about 20 hours but making the learning our own, that takes longer. Practice makes perfect as I am sure you have been told. Along with “Fail is just the First Attempt In Learning” and other useful things you want to strangle people for. And until we start to take on the critical eye, start taking and rejecting opportunities as part of a conscious effort, we just go round in one big circle until we are torpedoed by our own failed expectations. Bit like the sinking of the Bismarck.
But it’s a hobby. We do because we enjoy. There is no other compulsion than the one that gnaws at us to get the camera out of its bag and go shoot something (in the nicest possible way). There is always something on to point the camera at, the local “What’s On” tells us so. Left to the random too much can get missed or we end up trying to do too much in too little time. Opportunity generally isn’t a problem. Having a direction, some rails to run on, some clues as to what to look for, that is a great way of focusing the attention. Welcome to the world of the photo-project.
In its simplest form a photo project is a theme, a camera and a (regular?) space in the diary. There are as many projects as photographers, it seems, and that is because, to work, it has to be personal. We have to have some emotional attachment to what we are doing or it simply will not get done. The first point to take on board is that a 365 day project, a photo a day, sounds great when we start out but I am willing to bet that most of them don’t get completed, or get modified into something more suited to time and effort available. 30 day and 7 day projects are also popular and are more feasible. Timescale has a role to serve as we are effectively making an appointment with ourselves. The subject can be anything, but has to be something we have to put more than the usual amount of effort to complete. Then there are subject variations like: shoot 100 strangers (the serial killers favourite); A-Z; 52/26/12/any random number Photo-walks; pick a colour/theme; one focal length; the Roll of 12/24/36 (back to the old film days where you limit yourself to a film roll on a shoot); The 100 ISO challenge (fixed ISO can also be done with fixed aperture or speed); manual only focusing; plus a host of others.
Of course there is also the ongoing project, the one that lasts over months and years, that can involve deeper immersion in the subject where the style you develop adapts to the conditions your subject is most commonly found in. Osmosis, by and large is not a thing that produces results particularly quickly, if at all. The whole planned thing gets you thinking. The whole well I didn’t expect that thing we find when we get to a location challenges us to adapt. These two things help us develop but the third leg of the stool – looking critically at what other people have done and why we like it or what we would change about it and how we apply it to our own work- puts what we are trying to do in a context. That gives us something to learn and to improve with.
OK so this is based on a my-best-shot-is-my-next-one philosophy, but continuous development builds over time. It is about DELIBERATE practice. Now practice does not have to be devoid of fun, again I say this is our hobby, not our penance, but if we take Henri Cartier-Bresson’s point quoted in the last blog that “Your first ten thousand photographs are your worst” we miss the point and that point is the our first ten thousand deliberate photographs are our worst. And that is OK. Deliberation is the difference, and that can be as simple as going through your latest batch of images and thinking “If I were to take that one again I would ….” and then doing it. That is where we came in. Five members of a photographic club sitting around a table deciding what attracts them to different photo’s, and why, as a basis of going out and doing something about it.
N E X T M E E T I N G
Club member Julie Kaye on underwater photography.
As we approach carnival season, Somerset style (see below) and the photo opportunities that creates, we spent last meeting huddled around various laptops editing in a handful of different editing programmes following on from Marko Nurinem’s virtuoso display last week. So there was Lightroom (of course) but also GIMP, Smart Photo Editor, Picasa, and Photoscape with CS2 (free from Adobe and all quite legal here is how to get it) ACDSee getting honourable mentions from new member Gary.
Now, you long term readers of this blog will know that the world divides into two camps, the Get-it-right-in-the-cameraista’s and Ye-Accolytes-of-Photoshop. As an avowed Get-it-right-in-the-cameraista I sure do a lot of editing. The argument is that the more you get it right for you in the camera the less fiddling around you have to do in post-production. In my case it comes from a youth spent shooting expensive slide film on a shoestring budget. In these digital days, when the hardware is still expensive but the marginal cost of the next image is a fraction of a penny, what that is really about is expanding the chances of achieving the image you want to capture. The principle categories in photo editing programmes are those that alter the fundamentals of the image and those that layer effects on. Of course the real world contains a bit of both usually, but the fundamental approach will be one or the other.
If you are shooting in RAW the images can seem a little flat and dull – remember that what you see in the viewfinder is either a reflected image of the actual light falling on your subject or, in CSC’s and compacts, effectively a jpeg. Sometimes a little cropping or erasing extraneous details make for a more satisfying final product. Maybe a shadow could do with lightening or a sky darkening to get back some detail, or a blemish on the skin would be more flatteringly removed from the portrait. Smart Photo Editor is the proprietary, paid for (£19.95 ‘on sale’ and a bargain stand alone and £34.95 as a Photoshop Plug in) programme I use and also Gimp and Picasa, both free. Others use other combinations, some paid for some free.
Your ambition may not quite extend to the do everything Photoshop (yet at least) and I will venture two reasons pecuniary why you may not, one more obvious than the other, viz: (A) you don’t have the set up or space or need for it to make the most of it and (B) Zombies. The former is more obviously expensive than the latter, and I don’t want to get into an endless and ultimately fruitless kit pornography rant, so ’nuff said, but the latter can have quite an impact on the pocket. Let me explain.
Fortunate as most club members are to be living in a city that has an “Official” policy for handling of a Zombie outbreak, that isn’t quite what I mean – though there are worrying sightings. Zombies are those little items, small denominations, that walk out of your bank account every month without much thought. In isolation they are not a lot. Their attraction is their affordability, the trade is made worth it by the perceived quality/quantity you get in return – at the point of purchase. You get a lot of things with Adobe’s Creative Cloud for photography for £8.57 a month, no doubt. A more detailed and flexible programme there is yet to be brought to market, though the gap may be closing. It is, I suspect, a lot more than most amateur photographers need, but it’s always nice to have some extra wumph under the bonnet. If it wasn’t no sports cars or sports bikes would ever get sold. For a vocal minority bragging rights are always the primary concern.
That, though isn’t quite the point. Are you going to pay (and keep on paying) £102.84 straight out on something you might need? No? But might pay £8.57 a month on something that is more than you need, something you can expand in to. It’s there and it ticks over and you get used to it. But, when is it just one item? When it’s a couple, or three, it grows. £20.00 a month isn’t a lot to spend on a hobby, say on editing and storage. £240 a year is not an inconsiderable amount to waste. Certainly less than a divorce lawyer when the other half finds out how much you really spent on that camera body. That’s halfway to a very decent new lens or a goodly second hand one even on £20.00 a month. The zombies keep on walking and are easy to add to, easy to forget. The costs add up. On the other hand it keeps you up to date and Adobe get a steady revenue stream, pirate copies are fewer and far between. Easier if you are self employed and you can claim it against tax, of course.
Not that I am seeking to dissuade you. The reality is Adobe first, the others a long way behind when it comes to sales and it is a de facto industry standard, which in itself generates market share for Adobe. Our focus, though, was on a broader range of editing opportunities as well as Photoshop. We looked a little at the alternatives to Photoshop on the Ask Reflex evening, this evening was a chance to get closer to the subject. From a little tour round I would say that there is a great deal that you can do with a little practice, patience and occasional lateral thinking as members showed how they adapt what they have to get what they want.
There is another benefit to using editing software that may not be immediately apparent, at least at the time of shutter release and really is about getting your money’s worth. Through cropping your original image you can often find more than one image possibility from a given frame. (Don’t confuse image crop, cutting out bits of a bigger picture with sensor crop the physics of collecting the same amount of light on different sized sensors). You effectively recompose the photograph, albeit with less data in it. It might be that the light and shadow falling across a landscape actually yield two very different moods when you isolate each area and you now have three opportunities from one frame. I would say that, in work flow terms, cropping is the first thing that you do, because you have the essential character in view that you want to work with. The crop is basically a magnification of the connection that drew you to take that frame in the first place. There are frequent chances to re-crop a frame rarely do we crop so tight that there isn’t any wriggle room and even then, sometimes, going more extreme tells a different story. Of all the editing you can do this is perhaps the simplest and the one with the biggest potential, which is why I would suggest it’s the best place to start the editing.
follow the link as it will show you the dates and also has descriptions of themes. Click on the individual carnival websites for start times etc. Below is a copy of Myk’s post on the club Facebook page:
“This year’s Someset Carnival season is almost here. If anyone would like to attend one of these events as a group, please see the dates and locations below.
We’ll be making announcements on club meetings so everyone will get to hear about it.
Monday 09/11/15 – Burnham on Sea
Friday 13/11/15 – Weston Super Mare
Monday 16/11/15 – Midsomer Norton
Wednesday 18/11/15 – Shepton Mallet
Friday 20/11/15 – Wells
Saturday 21/11/15 – Glastonbury
The preferred date/venue is Wells on 20/11 as they have market stalls, hot food/drinks and a fairground in the market square”.
Reflex Open Competition Round 1.
So second entry on our brand new website’s blog – Mark Stone a huge club thank you for all the work you have put into this – and it’s Dan Thomas (dannyt.co.uk) on the profession of wedding photographer. If I were to sum up Dan’s advice on the subject then I would use Winston Churchill’s maxim, “He who fails to plan, plans to fail”. Well that and the observation that your wedding video should always be played backwards so as to guarantee a happy ending.
In essence Dan made the point that there are a number of moments of truth that can be prepared for in the day because they are in the programme and as a supplier to the event it is your job to find out the who, the what, the why, the where, the when and the how it feels and record those memories – and when he says day he means a 12-14 hour shift shooting, three times that in post processing plus time consulting with the bride and groom, and the venues. That doesn’t include time spent in sales and marketing in what is a very competitive market. Yell has 141 listings of wedding photographers within a ten mile radius of Bristol. Even allowing for some multiple listings that is still a lot of competition.
It is the Bride and Grooms day, well, culturally it is the Bride’s day and the Groom does well to turn up at the right venue and look suitably grateful a lot of the time. Surprise weddings are not a large feature of the UK market, those that occur are usually small, attended by the father of the bride and his trusty 12 bore as best man. A lot of, sometimes a life time’s, planning goes into this event. On that basis the wedding photographer does not just turn up at the church take a few snaps and wonder off to the next event as already outlined. This planning forms the key points of the photographer’s and increasingly the videographer’s schedule. Dan stressed that these are unique moments that need careful planning and deft handling. Primarily this is about people, two in particular for sure, but also about everyone else. There will be a certain cohort of the families, possibly once close, who only get to meet at weddings and funerals. The day is important for them too for different reasons and sometimes with grandparents it might be the last time the whole family is together. It is not just a record of bits and pieces but a significant life event. For most people it involves being the centre of attention with an intensity that is not experienced elsewhere. Unless that 12 bore “accidently” discharges. Then there will be lots of photographers and lots of flash photography outside the Crown Court.
The basis of execution, then, is in its preparation. The wedding photographer is a supplier not an organiser, s/he does not run the day as a photo-shoot of wedding dresses might be run, s/he is not the point of the day but they are the key to unlocking the memories of it. It is a story and the photographer is the story teller. It is NOT a small job. A wedding, even a relatively simple one, has a timetable for everything. The photographer knows that timetable and those venues inside out because they dictate what s/he is going to be doing the whole day.
The question of gear was addressed. Dan expressed the reasons behind his kit list: D800; back up body; 24-70 f2.8; 70-210 f2.8; 85mm f1.8; 2 x SB 900 TTL flashguns; Coolpix compact; USB lead; Lap Top; external drive; i-Pad; batteries; battery charger; light meter; flash filters; lots and lots of 16gb flash drives; all kept in a photo-rucksack and shoots in RAW. That is RAW, not JPEG. RAW. The camera backs up to JPEG simultaneously on a separate card but Dan shoots in RAW. This gives the maximum image rescue capacity in case of the unexpected. For one offs such as these where there is not time to go back and shoot again getting the maximum amount of information recorded by the sensor onto the card makes sense. That is shoot in RAW, in case you missed the point. The rest of the kit list is optional and set by individual preferences and experience. The kit is not cheap because it has to work and still carry a back up where ever opportune. Dan shoots all his wedding events in RAW. Dan doesn’t feel the need for anything below a 24mm (16mm equivalent on a 1.5x crop), it is superfluous to the way he shoots and details are only really isolated at wider angles by getting really close – too close for the comfort of the subjects which is the point and beyond that is really very specialist and quite divides opinion. You want results you have to engage with your clients and right in their faces is not going to be very productive.
Details, details, details. Everything is in the detail. It is the small things that matter, because everything is designed around the small details and when the couple view these pictures over time those details enrich the memory and value of the day. Details can be where the cost of a wedding really begins to ramp up. Pay them the respect of an individual frame or two each because they all add up to something much bigger. As Napoleon Bonaparte, who built and lost and Empire on details and detailed planning, said, “Time spent in reconnaissance is never wasted” (only he said it in French). Reconnoitre the venues, get to know the key people, find out what is and what is not permissible BEFORE it gets to be a problem. Dan pointed out that trading and collaborating with the other suppliers can lead to other business. You really want to avoid extreme angles where you can unless a particular shot calls for it, but that needs to be a pre-planned event. Context is the key to all these details. The context will tell their part in the story so keep the context in mind.
The day usually starts with the bride getting ready. This is going to take some time and she is going to look the best she ever will hereafter. As Dan pointed out, if a male you are likely the only male in the room and have been privileged specifically for the end of making everything exciting and memorable. Take some time and make time to take the moment seriously – gravitas! The people around and her own reactions are the key things to capture, the context of the details you are framing and shooting. It is important to be relaxed, to interact and not to overshoot. Get the angles and vary your lenses and do not be afraid to wait for the moment – it will take longer to arrive than you think! And of course do not forget the dress. This should be done as an item by itself in as sympathetic a background as you can make and make sure you do not clutter your background with irrelevant detail. You may be fond of the colour yellow but a finely and painstakingly wrought garment like a wedding dress is not enhanced against the background of a skip. Pay great attention to the background and de-clutter! Dan’s pithy advice is to treat the details as exercises in real life. These can be and should be practiced because when you are being paid for it you are being paid to have it sorted before you turn up. The same logic applies to us amateurs. Why waste time missing shots when you can practise using your equipment to get it right when you want it?
On the grooms side the grooms men and the best man in particular – DO get the picture of the ring before it is on the brides finger – generally have a lot less pressure and detail to attend to. I am told, with authority, that this is because they are male and the day itself does not need to be complicated by such things for us as thinking. That is why there is so much planning to do to minimise the amount of thinking the groom has to do and the reason there is a best man is that between them they are likely to turn up at the right place at the more or less appointed time (which is way before the bride appears – a wide safety margin is the norm). Make sure you are there to be able to document that side too. The path of two committed individuals coming together to make one path ahead. In order for that story to be told the story lines have to converge at the ceremony, the place where two paths become one.
At the ceremony itself, which of course holds no surprises because you have seen the schedule, visited the venues and interviewed the participants like the person conducting the service, you should arrive at least 30 minutes before its commencement. Flash photography is likely banned, you are not going to be given access to places where you are going to get in the way – determine, and if necessary negotiate these in advance – and that can be as much a perception as anything else. This is the point where you are likely to get the closest friends and relatives and a good time for group shots. These are the people that are going to be obvious by their absence from the album so take some extra effort. Groups should be ranked from shortest to the tallest and everyone should be visible (as per the group shot at the end of the session!).
After the ceremony, the traditional confetti shots, get guests to throw the confetti upwards so that it falls from the top of the frame. Dan also mentioned that this is a good time to use manual focus as autofocus can get confused by the paper in the air. The reception can be some distance from the ceremony and this is where timings are important. It is a good time to get the couple on their own for intimate shots whilst the guests make their way to the reception, so a small detour, to a local landmark for instance, might be in order. At the reception Dan follows the bride as a back up to any other plans having been made. It is always prudent, he reckons, to make sure that the elder generation are well represented as there is a chance that this might be their last big family occasion and of course do not forget the cake.
Private moments are important, there will be intimate moments of connection and they will yield excellent photo opportunities. If there is a receiving line then allow 30 seconds per guest – make time! It is also prudent to have wet and dry weather scenarios. The wedding breakfast is the ideal time to get your shots backed up. A laptop/external drive or other device should always be on hand. Dan also uses an i-Pad to upload several of the best shots of the ceremony as a taster and places it where it will be seen by circulating guests – the bar is a good place!
The practical thing about the first dance is that it is going to be darker than a lot of the other parts of the ceremony. Push the ISO (noise reduction is available through Photoshop or programmes like Neat Image which has a very effective demo version), use flash as necessary – reflected not direct. Direct flash is harsh and unflattering. Think wide medium and close shots. The devil, as they say, is in the detail. The details let you control as much as you can without getting in the way by using your knowledge to anticipate and prepare. If you fail to prepare then you are preparing to fail and that has large implications and not just for the photographer. The other key is to be able to relate to your subjects, to engage with them in such a way that they respond to what needs to be done to get the shot. In return you should make it a chore for them, but, either way, every wedding is a one off event – there are no second chances!
Our thanks to Dan for a very interesting and informative evening and to Mark O’Grady for the video which Dan will make available to club members through his website.
Chair’s evening was very successful, in that there were enough chairs to go around and the photography was interesting, varied and showed that even two people taking the same shot at the same time don’t get the same photograph.
The head count was approximately the same at the end of the evening as it was at the beginning, (Maurice insisted Steve take a headcount) which is always a good sign, even if only of strong security. Split into two the evening evolved mainly around images that were taken 8,000 miles and 15 years apart. Maurice’s opening took in his membership of the Air Training Corps (since 1963) and a trip with cadets to the Falklands in 1998 (and other locations), with bits of RAF Fairford and international cadet exchanges as variation interspersed with images of places not to be found in Venice. And some skiing. The post break slot was taken by Kevin Spiers’ and Richard Price’s long planned Iceland trip taken last October which produced some stunning shots.
The chair opened with the observation that Venice had previously been done, which had been his intention and thus we were treated to such delights among the main fare of such as: the Piazza de San Cabot Circus, several images of the Feeder and the Sharpness Canal; the Pero’s Bridge after Mark S got at it with a hacksaw and minus its horns (I never realised how much those Horns masked its resemblance to the Bridge of Sighs, so well spotted Mark); Cardiff from San Giorgio Maggiore and Chiesa di San Francesco della Swansea Bay. Couldn’t help but be struck by their resemblance to the current views of the Somerset Levels. I understand UKIP are to field a candidate in that part of Somerset in the next General Election to campaign against the feared swamping of Mucheleny by benefit hungry Italian Gondoliers (as highlighted in a nine page spread in Tuesday’s Daily Mail). This could provide us with some photo-opportunities as it is cheaper to get to Mucheleny from Bristol than it is to get to Venice. Cornetto anyone?
The Falklands were/are still riddled with ordinance and some of the detritus of battle formed part of the subject of several of the images provided by Maurice, including the sanger from which Colonel H. Jones VC OBE was shot and killed. Although these places were the backdrop to the visit they were not the purpose and they certainly lived up to motto of the ATC (Venture Adventure). The Corps is as much about citizenship as venturing and adventuring and there were images of community and respect to balance this out. There were also behind the scenes shots from Fairford. There is something about a photograph being a moment in time and Maurice was able to fill in some of the details of some of the cadets since. Every photograph tells a story, but the story doesn’t end at the click of the shutter.
The old saw that to fail to plan is to plan to fail cannot be applied to Kev and Rich’s expedition to Iceland (no Supermarket jokes, please). If it weren’t for the fact that they might dismiss it because the letters aren’t alphabetically organised one might be lead to suspect a touch of OCD. That said, on the evidence, there is very definitely a need to plan if you have a must see list. Getting ten miles from your hotel they reported as an expedition stuffed with the temptations of some other stunning detail. This is the landscape that NASA used to train Astronauts in driving the Luna Rover, and where two continents meet and crammed with photo-opportunities. So being selective is based on knowing what comes next and, as they both pointed out, a little discipline. And how that planning paid off. The land of ice and steaming hot geysers, the northern lights, black sand, ice sheets and volcanoes was beautifully framed and presented. I can fully see why they want to return, though not, apparently by taxi at £80 for 30 miles.
So our thanks to Maurice, Kev and Rich for an evening that was amusing, informative and entertaining and also to Mark for doing the background technicals. Next week is the open competition round three and based on earlier rounds I think we have a treat in store.
“The Photographic Angle’s free photography exhibition which will be taking place at Castlemead in Bristol from Saturday 15th to Wednesday 19th February.
A Beautiful World features the work of 19 photographers who have been moved by our beautiful world enough to document it in all its glory.
Entry is free and the exhibition will be open daily from 10am to 3pm.
Please visit our website for more details”
And also PLEASE remember the Flikr competition.
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Thursday night we had the judging for the Reflex Open Competition Round 4, here are the winners;
Novice Print Section Winners
1st – John Pike with Faces
2nd – Dan Ellis with One London Bridge
3rd – Suzanne King with Rusty Flower
Highly Commended – Wendy OBrien with Purple Web
Commended – John Pike with A Winters Day
Commended – Maurice Thompson with Hadley Hall
Regular Print Section Winners
1st Richard Price with Swanage Pier
2nd Mark OGrady with Blackened Light
3rd Angie Nelson with Red Eyed Tree Frog
Highly Commended – Roger Gowan with Gnarly Old Wood
Commended – Alison Davies with Dying Beauty
Commended – Mark OGrady – The Repose
Novice Digital Projected Image Winners
1st – Julia Simone with Giving it My Best
2nd – Barrie Brown with Lonesome Jug
3rd – Dan Ellis with Cover Her Face Mine Eyes Dazzle
Highly Commended – Julia Simone with Enjoying the Beach
Commended – Gary Horne with Rush Hour
Commended – Rona Green with Jasper
Regular Digital Projected Winners
1st – Richard Price with Cabot Circus
2nd – Angie Nelson with Dark dreams
3rd – Ian Coombs with Two’s Company
Highly Commended – Richard Price with Nash Rocks
Commended – Mark OGrady with Day of the Dead
Commended – Alison Davies with Observation Point