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.
It must be Autumn because last meeting we did a light painting session courtesy of Myk Garton and guest light painter Tony Cullen – many thanks guys. Every time we do this there is something new and I will admit that it is one of my favourite things to do photographically. Attendance was high which proves its popularity with other club members too. This was the introductory evening and we will be doing some more advanced techniques on December 1st. Of course light painting isn’t necessarily seasonal, but the ever shortening days this side of the Winter Solstice means that available light is at a premium. The “Season of mists and mellow fruitfulness” (that man Keats again) means a lot more than landscapers getting a lie in. The light, generally, has a quality of its own because of the relatively low angle of the sun to the horizon. Problem is there isn’t a lot of it.
So, provide our own. This is as close outdoors as we get to the degree of control of light in a studio. The big difference is we make benefit of the dark. The contrast levels are extreme, but that is a virtue not a vice. The canvas is light on dark but in a more high contrast way than we see in daylight, where we could argue that the opposite is true (wrong as everything we see is via reflected light, but since when did wrong prevent an argument?). Strobists use flash guns to recreate the flood of light which they can control the direction and beam, with a white balance of its own. When drawing on the black canvas, with torches, coloured lights or even fire, the colour balance doesn’t tend to be a big consideration, at least in the sense of it being something that needs correcting. Painting a scene in light as opposed to drawing a scene with light presents different technical challenges, but can be done with the same kit and a bit of patience. I say a bit, oftentimes a lot of patience.
In fact there are a number of different ways to think of light painting, and where we start, the way in which we are thinking of the images we want to capture, determines the outcome more than anything else. Yes this may come under the heading of “Well, duh” but any technique has strengths and weaknesses according to the situation. Selection is the key. The first decision is are we lighting the subject or creating an effect? Our desired look will determine the way we use the lights and the sort of lights we use. Again, we may say “Duh”, but it’s surprising how hard we can make the job by not prepping for a final outcome in the first place. We might be combining both, after all. What about spontaneity and experimentation, we say? Much better to have an idea to execute and vary than to just turn up having watched several hours of YouTube videos with a load of kit and a vague idea. We may be technically proficient but that is no good if we are subject deficient – the difference between a body with a camera and a photographer.
The point to start, where when who and how because that is going to dictate what we can and cannot do. Use a familiar or scout a location in the day light. Decide what the subjects are likely to be and what kit we are going to take with us. If unfamiliar with orbs, zoom bursts, camera rotations, double exposures and the like the answer is “Should have been at club”. That aside, the first thing is, if not in total darkness or very near, determine what the level of ambient light is. This determines the time we have to paint in. If it isn’t a factor then fine, open the shutter for as long as it will go or as long as needed, then set the camera pre-focused and to manual – this meeting was about familiarising people with their equipment in those modes in order to capture those sort of effects.
If we want a basic explanation of light painting it is that it is long exposure photography. In the dark. The meter is useless without some level of ambient light and the length of exposure is dependent upon what we want to paint in and what we are painting with, that is to say, in the practical sense, it is going to be the product of experimentation. The light gathering capabilities of the sensor are going to be tested, select the lowest ISO to help keep the noise to a minimum (remember boost the signal, boost the noise and that is what you do when we up the ISO). We are going to need a tripod and, a personal preference, a remote shutter release.
Light trails, using moving lights – the most popular seems to be vehicle trails which, let’s face it, aren’t too difficult to come by in a city of 400,000 people – are also simple to set up and to execute. 8 to 10 seconds, ISO 100, F8 on a well lit street, as a starting point towards getting a reasonably exposed photograph overall and, as long as the vehicles are moving even relatively slowly, then some interesting effects can be captured. Vary the angles, either by setting the camera up more obliquely to the traffic than at a right angle, or find a bend or a roundabout to get some swoosh into the picture. Zooming whilst the shutter is open also does interesting things to the trails often setting them off at angles we wouldn’t expect and rotating the camera through 90 degrees during the exposure, as long as we keep the axis constant, can do interesting things to lights in the background (as alluded to above).
I know that is a cliché but nonetheless I am going to repeat it. There are so many variations that we truly are only limited by the imagination and for once, it doesn’t have to be at any great expense. Yes we can spend an inordinate amount of money on these techniques but actually experimenting with the basics will yield some fine and interesting results. I, for one, am really looking forward to part two of our light painting sessions.
Well apologies for late posting but having terrible trouble with rural broadband. We were back to table top photography, always a favourite and a good one to hone your photographic skills on. We will also look at the last of week 2’s Q and A about DSLR v CSC/Mirror-less systems.
Table Top. Does what it says on the tin. Take something you can place on a table, make it interesting, light it photograph it. What is difficult in that? In truth it is one of those thing that is both straight forward but not necessarily that easy to get just right. But it is fun and it is relatively easy to set up and it can be as cheap as you want to make it. It is also an exercise in the basics of photography and as such is something well worth spending a rainy day, or part thereof.
Of course it is as involved and difficult as you want to make it, and some people do, but as with everything else with this craft, if you don’t get the basics right the rest is of little consequence. Or maybe you can pass it off as abstract art, depends upon your contacts. In the professional arena it is known as product photography, for all the reasons you would expect. It’s photography. Taken of clients products. Glad we got that out of the way early. The thing with that is that, whereas your product might be metallic, shiny, glass, matt, brightly coloured, black etc etc the clients expectations are going to be unique. Even when they want something like ….. they want something different. Otherwise it might fall to a competitors advantage. Energizer Bunny anyone? Yes you have seen him/her/it somewhere before ….
The basic set up into which you place your object is a flat surface, a light, a backdrop, usually plain, usually white, and a camera. The first addition to this is a reflector. Arguably you could swap light source for reflector and using existing light in this. Indeed I would put a reflector in the essentials. A useable five in one To get the ISO down to around the 100/200 mark I would suggest the next thing you acquire is a tripod. Then maybe a second light source. Some flags for putting more control into shadows, a light tent etc etc. Possibly more than any other area of photography this one opens itself up to DIY alternatives, or, if you are being hip as opposed to waiting for a replacement for one, hacks.
This is the area of photography where you have most control of the light, that is total control of the light, but as I have said before any videographer will tell you that the easiest thing about light is the theory of it. However, the control of the light is a good start when learning about how to put the light together with a subject to make a photograph. In the wild, as it were, we are more and more dependent upon what others or nature provide us with. This does not mean that it cannot be manipulated but it certainly gets more involved. Playing with reflections, bokeh and perspective is just basic fun. Certainly you will very soon come up against minimum focus, depth of field and other macro problems, all of which can be solved, all of which teach us something. Coming from the novice perspective we certainly learn to fill the frame.
OK the last of week 2’s Q&A, this time about CSC (Mirror-less) V DSLR. Undoubtedly a lot of nonsense has been talked about this. The alleged quality differences these days are pretty much that, alleged otherwise not proven in terms of general use, though certainly there are differences and certainly both have there advocates, but the reality is they are growing closer together for the everyday amateur and professional alike. Thing may be different at the nano-level but whether they are mission critical is another story entirely. Size, weight, battery life and access to lens ranges, are all “issues” largely of fan boys and people with other brands to sell, though each brand certainly has its own story.
The question is more nuanced than the badge on the front though. Perhaps the biggest selling point of a CSC/SLT Mirror-less camera is the fact that when you look through the viewfinder what you see is exactly what you get. This point alone (though it doesn’t stop people chimping I have noticed) I think is a, maybe the, major advantage for the amateur over the DSLR. It should, however, be noted that I am speaking here from the point of view of a stills photographer. The videographer has a different set of demands of a camera and may come to the same conclusion on either side of the argument, but for different reasons. Another part of this dynamic is the age of the camera you are comparing. In 2016 the differences seem to have shrunk, somewhat. In 2014, and into 2015, the dynamic range and the point at which noise intrudes definitely fell to the DSLR’s advantage. Then came the Sony A7 series and the big advances of the MK 2 versions of them the Alpha 6000 and 6300, and this week 6500; the Nikon D500; Fuji XT Mk2, even Hasselblad, they are coming thick and fast now. Some people seem to think that mirror-less is the future. They might be right but there is certainly life in the DSLR yet.
Ultimately it’s down to what you feel most comfortable with, of course.
Former club member Danny Thomas made a welcome return with a practical follow on to his presentation from April 2014 on wedding photography this time with his assistant Neil. A great deal of thanks is extended to our models Kelly Wolf-Rogers and Paul Walker. Danny is an experienced wedding photographer and his insights on the processes of one of the biggest days a couple can possibly have had broader implications for the practice of portraiture and event photography. Weddings are all about the couple and not about models or sitters and because it is about crowds, venues, individuals and their interactions; because it something that happens under intense time pressures; because you can make a list of 50 easily to 125 without difficulty “Must have” shots; because the more time you spend in post production the more you dilute your earnings. You have to be prepared and it pays to be a Get-It-Right-In-The-Camera-ista.
The chief determinant though, is your ability to communicate and that is what we are going to discuss this week.
That doesn’t mean that there is no room for skilled post production, there is, but you don’t want to be spending it on cloning out errant tree branches growing out of people’s heads and as Danny pointed out, car parks and security fences do not make for good backgrounds. Not an issue if it’s not in the shot in the first place. There is also a potential issue with that “Must have” shots list I can spot, and that comes down to the how and the why you chose that photographer to do your wedding, or from the live view side of the camera, why your client has chosen you. You may be hired on price, reputation, recommendation, random internet search, other personal/mystical/religious grounds or you may be hired for the look you give your photographs – your style. Be careful to find out, especially if you think it is the last one.
You may persuade/kid yourself that it is your style the client is buying (they are going to get it anyway but you really want that to help rather than hinder), but you cannot rule out any of the former and you need to find out how much of all these things feed into your clients choice. The client may even make suitably impressed noises about your style, but this is a complex buying decision. Your room to interpret needs to be set out and agreed beforehand, not as a limiter of your artistic interpretation but as a matter of managing your clients expectations. You need to have the conversation. That conversation is part of what the customer is paying for and conversations in general are what we are going to talk about this week. View it, if you will, as pre-production.
The whole talking thing is big. There are conversations you need to have before and after the event. If you don’t have the right conversations with prospective clients before the event you will not be part of the event, or to summarise in two words: “No sale”. Without going into the psychology of selling (and weddings can be stupendously expensive things these days, and there is a whole other conversation to be had about that in another place at another time) you and the client have to reach a win-win situation where both sides conception of value meet in a bargain. You need to set out the context of the event in the client’s mind. You need to have a clear idea of that context in your mind. You are being hired for your technical prowess, that is a given for the client, but it doesn’t make you right. “The customer“, in the words of Mr Selfridge himself, “Is always right”.
OK some customers are rude, some arrogant beyond belief, some controlling to the point that they are impossible to work with. Photographers are not immune from these behaviours either. You need to have the sales conversation(s) beforehand if you are going to make this work, if you are going to take the client. Some clients are bad for business and mental health. Photographers too. You decide. The client decides. Remember that it is a bargain that is being struck, both sides need to feel the win. Each customer will have different experiences of photographers they bring to the bargain and will have different levels of knowledge about photography. Some will have no particular idea what they require others will come with a list borne of hundreds of hours of internet research. The key, as Stephen R. Covey put it, “First seek to understand, then to be understood”.
Locations duly scouted and noted in good time and those notes reviewed on the day, the ceremony itself takes centre stage. Well centre in the sense that it is, in the modern way of things, the middle of three acts. The preparation, the ceremony, the reception. All have certain expectations and all have their own challenges. Today’s wedding photographer faces long, pressured days on location. The conversations now are more immediate but the need for them to be focused and constant is of the utmost importance. Directions have to be given, but they have to be both accurate and concise and appropriate in tone and manner. A Drill Sergeant communicates accurately and distinctly. This is great when the only option is to fix bayonets and charge. If the occasion has deteriorated that far leave. Otherwise working with people is by far the most productive method.
This is truly where the art of delivering customer satisfaction lies. Communicating with people who are not used to having their photograph taken at an event that is not about the photography until everything is done and dusted is precisely what this is about. You have to find those small windows in the timeline to take charge but not to give offence. This takes practice. Some people are better at this than others, agreed, but this is just a start. Going back to Covey again you need, as he set out, to “Sharpen the saw”. That means you need to keep practicing, the photography and the talking to people – when was the last time you took the camera out just to practice a certain technique? Let them know what is going on – don’t give them rambling explanations of your artistic vision. “Can you …I need you to … That will look great if you ….” and so on. And feedback. And encouragement. Encouraging feedback is twice as good.
The presentation phase can be the most nerve-wracking of all, after all there is no going back. It is still a communication process. If you want feedback, if you want customer recommendations and referrals, if you want to develop your business and your photographic practice then you have to engage with the client in order to leave the door open to future business. Just giving them a link to a Dropbox folder does not cut the mustard. You are selling a service. You may create a product, but you are selling a service. The thing about a service is it stops when you stop delivering it. The legacy is highly individualised, no two photographs are ever exactly the same because they are two different moments in history. Services are perishable and non standard. That’s why communication is such a big part of the deal.
N E X T M E E T I N G
ROC Round 4 – Judgement Day.
A big club thanks to Medieval Martial Arts for their visit last session, it certainly was a meeting out of the ordinary! From the postings to the club Facebook Page I see that the opportunities were well taken up. Look forward to seeing some of those on their website. Set me to thinking about action shots.
Action shots are not just sports shots. Yes sports shots are about freezing the action, but even so panning to keep the subject in focus whilst blurring the background is an important variation of the fast-lens-fast-shutter-speed-freeze-action photography that might spring to mind. But, as ever, it is NOT about the KIT, it is about the PHOTOGRAPHER. Well mostly. The equipment can help and when you are being regularly paid to get the shot, not moan about not getting the shot, then the margins, which may be small, are worth the considerable investment. Otherwise it is the case of all the gear and no idea. Not a problem if you can afford it in both the financial and the emotional senses. Big problem otherwise.
Scott Kelby reckons that there are, essentially, four identifiable elements to action photography (sports, specifically but the terms are interchangeable for our purposes): Isolation; Getting in close; Good technique for all likely environmental situations met; Equipment (see above). It is important to note that the last does not stop you taking action (specifically sports) photographs, that technique can help, but there are physical limits and those met on a regular basis might be the reason to buy – if used regularly – or hire – if not. The two things they all do is action and emotion. Hard to get the emotion when dressed head to toe in protective gear including visor, but hey, you have to look for it in the raise of an arm, the tilt of the head, in other words in the body language. The one thing that helps more than anything is knowing what is going to happen next. My contribution to the Medieval night was, admittedly of very little artistic merit, to try and show some of the flow of the action, so shot with animated Gifs in mind so as to show form, predominantly. It was a spur of the moment thing as I can’t use the clubs flash triggers with my Sony. The results show thinking is required and it is because I don’t know the activity I ended up using an ultra wide lens and high ISO and the motor drive in an effort to follow the action. The ones that worked best were the ones where I had an idea of which way the action was going, that is the ones that didn’t show the characteristics of a drive-by point and hold the trigger till the buffer gives out. A certain amount of anticipation was required as at 10 fps the buffer soon fills (tip, change from RAW to medium JPEG, you get a lot more bang for your buck).
More often than not the results were so so, but the few sequences that worked better were towards the end of the session when I had a better idea. I also tried a 50 fps video which worked better than I thought but action photographed at 1/100th of a second isn’t going to produce great stills, before you consider that 1080p produces only 2.1 mega-pixel images (fine for a web pages maybe?) NB: You can use faster shutter speeds, each frame is a separate image but the shutter speed is usually calculated at (a minimum of) twice the frame rate – as a rough guide. The 2 x frame rate shutter speed gives the sort of motion blur our eyes are used to. Go too far and the action looks jerky, rather like an animated gif, which is where I started. The exposure triangle still applies.
Not all, however, action shots are strictly sports, of course. Nature photography also is a major contributor to capturing movement. Birds in flight are a pretty good test of the four elements Kelby outlines for sport. One technique that stands out for both is rear or back button focus, where a button on the rear of the camera does the focusing for you and leaves the shutter release purely operating the shutter. This is a function to be found on most DSLR’s and DSLT’s. (This shouldn’t be confused with back and or front focusing between lens and film/sensor plain which is where the sharp focus in your images is consistently just in front or just behind what you want to focus on and is a technical problem). The reasons for the commonalities between sports, nature, air shows, dance and the rest, though the subtleties are different and multitudinous, is the fact of movement, or as we have called it, action. That is to say the techniques are worth learning even if we only apply them occasionally, in which case we need to adapt to the equipment we have as it is generally cheaper than a divorce settlement, as Kelby points out.
None of this negates the idea of the decisive moment, and certainly there is more in the elements Kelby talks about when they come together. Mark this, however, about the equipment. Cartier-Bresson didn’t have access to a motor drive, photography, for him was an “Instrument of intuition and spontaneity”. Each frame on his Leica was a double throw of the film advance lever, by which time history had moved on. Not, given his training and philosophy, that point and squirt was likely to have formed part of his working methods. As he observed, “There are no new ideas in the world, only a rearrangement of things” and he didn’t shoot movies. Nor, the odd cyclist apart, did he shoot sports, or martial arts, come to that, and if he did he kept quiet about it so it probably didn’t turn out too well!
You can contact Medieval Martial Arts through their website, for this sort of thing or, if you pefer, in slo-mo and again thanks from us for the opportunity to think about and practice our hobby on something different.
A N N O U N C E M E N T S
Thursday 9th April 2015: The WCPF Travelling Critique. Entries to the WCPF competition which gives us an insight into the standard out there and also opportunities to do our own critique. For some guides to criticism click this link Reflex WCPF 2014 Blog or enter the terms in Google, it is the top two results, or keep scrolling down on the blog page till you come to the posts marked 10th and 24th of April 2014. WCPF for more details from Gerry.
Thursday 16th April 2015: Club Camera Battle at Backwell. F8 and be there. Backwell Battle Gerry tells you all about it.
Five images by five club photographers on a connected theme. That’s the general outline for the Kingswood Salver. As a brief it’s pretty wide and that makes it a challenging in more ways than one. Last Thursday marked the start of the 2015 Reflex Kingswood Salver campaign with an evening organised by Roger and Eddie around the theme of collectables. Sunday there was a club shoot at the Blaise Castle estate involving Red Riding Hood, a Huntress (Kelly Wolf Rogers), a Clown, a Knight (Paul Walker), a modern girl (Snehal “Tia” Panchbhai), a Pre-Raphelite (Rachel Pratt) , a Goth (Megan Gearing), two dozen club photographers, one drone, several dogs, random small children and assorted owners of the above wandering in and out of shot as happens in any public space. A busy week and a very enjoyable one, thank you to Myk, Steve D, Eddie and Roger for their sterling efforts in organising these two events.
A busy club night saw musical instruments, dolls, insects, back-lit fruit (you had to be there, and thanks Kevin), buttons, figurines (mainly of the Dr Who variety) and “Stuff” brought along by club members and photographed. Two things struck me, not unrelated. We had a limited time on the evening, but the primary focus of the event was to get people started and thinking along the lines of the competition rules, so both space and time were at a premium (though I have to say the hall we hire is a very good space for our purposes) and my first thought was that we would not have been able to do as much had we been shooting film. We would have needed more lights – you only get one go at the ISO and that is largely pre determined – we would have had far more white balance problems, we would be up to our ears in filters (80A 80B and 80C filters to cool the light and 81A 81B 81C to warm it up for the uninitiated, where A is the lightest and B the darkest filter in the range and for the nostalgic, scientifically minded or otherwise curious link here for the joys and wonders of JIS B 7125). For all the discussions on the merits of film v digital, digital is far, far simpler (mostly a-good-thing sometimes a not-so-good-thing), more flexible and one hell of a lot cheaper. In this case it enabled more people to take more photographs in a given space and time. The club Facebook and Fun Shoots pages had more than a few contributions because of it. A good start was made.
There was a mixture of table top and backdrop photography going on. The lighting question was partially resolved by the club lights, Gerry’s increasing collection of luminous paraphernalia the odd flash gun, reflector and of, course, the built in flash. You don’t need a huge variety of lighting equipment. Those advantages of using digital I spoke of above mean that you can use a variety of light sources. DIY lighting is a viable option for the amateur (and the odd professional I suspect) and LED lighting in particular is getting cheaper and more adaptable. For table top in particular, where you can make your own light tent/box for next to nothing either as a one off or something a little more permanent (beards and cardigans are optional). The other thing you need is a little information on light modifiers and you can easily practice this at home. Using a full backdrop? Then you can make your own softbox for probably even less. This was a well chosen warm up.
Sunday was forecast rain from lunch time, turning to heavy rain till mid afternoon. Yes we got rain, but not until the end of the shoot and there was plenty for everybody. A range of models, good and varied light for the most part and an all round positive attitude from everybody made it both fun and instructive. As usual there were plenty of people on hand to help out with technical queries and the models all gave it their best which made for variety. It is also a good opportunity to try out something new. I found that I could have a use for the 10fps motor drive and experimented with a combination of RAW and the fully programmed setting on the dial. Never used P before (only had the camera for 20 months or so – it has that many settings!), not in too much of hurry to use it again, but it gave me an idea of how it works in a variety of situations and can see when it might be useful. Still haven’t used the 3D setting – maybe next time. These outings are both social and educational. The Blaise Castle Estate (which got an early celebrity endorsement from Jane Austen) has more locations than we used for the day and is a fine public space. The history of it is well worth reading. We used the woodland in the morning and the “Castle” (built as a residence rather than a folly apparently) as a backdrop in the afternoon and the caves on our way out. The terrace of the main house, and the Dairy House were among the locations we didn’t use. It is a fine resource that was very nearly lost.
Next meeting ….
Speaker – Justin Quinnell – “Aristotle’s Hole” ….. Be there or be square. Though to be fair there is no evidence that the hole was square …… Cue Bernard Cribbins, better yet see link below or checkout the events calendar on the club website See link below or checkout the events calendar on the club website or check out Justin’s website.
And the link is: RCC_notice_5 March 2015
A N N O U N C E M E N T S
ROUND 3 Reflex Open Competition Deadline is 5th March. See the above link or the rules on the website for the size and submission requirements.
Apologies for the late post this week, some technical issues with my laptop.
So how was it for you? Does Proper Prior Planning Prevent Poor Photography? Serendipity aside, and it does play a part it just limits what you will be able to take for the reasons discussed last week around the whole incidence and coincidence that is wrapped up in what we call “luck”. You make your own. A well attended evening, including some prospective members – hello I hope you enjoyed the evening and if you have any suggestions for the blog please either contact one of the committee, leave a comment, or use the suggestion box at the door of the club. A little prior research doesn’t do any harm and Hanneke had us do a little pre- event thinking. This discipline doesn’t just apply to the studio. I am sure that there was a deal of head scratching as well as prior-reconnaissance and some “Oooh I’ll go that way” as well as those more cautious souls who stayed closer to the hall (and of course the tea and biscuits) and Gerry’s still life flowers. The brief was five (or more) different approaches to a subject.
Myself, Dan E. Megg G. and prospective member Jackie headed upstream by Brislington Brook to the pack horse bridge (Nightingale Valley to those who know it), which is less than ten minutes from the School (runs from Maes Knoll to the Avon). Some went to St Anne’s Park, some to St Anne’s Wood, others got more adventurous and took to the roads. The results were interesting, even people in the same group can take the same subject but the angles, light, height, camera settings, detail selection are all personal and all make for a subtly different image. There were some fine images on display after the break and thanks everyone for sharing, though I am not sure my electricity pylon lived up to it and Jackie did it better. It’s a start. It’s not yet a habit for most, I would hazard a guess and even then it will depend on what sort of habit it becomes.
Let me elaborate. I have taken to portaging a Nikon Coolpix I got for a knockdown price from e-Bay around with me every time I leave the house over the last week or so. Just in case. 20MP for about £45. Bargain. That means, with the phone, I have two cameras I take pretty much everywhere with me. The just in case bit is telling though. I got it because I missed a street photo that formed in black and white in my mind the second I saw it (OK I had been thinking about getting it for a while, this was the final push-against-an-open-door). I don’t very often do street. Even if I had my DSLR with me I am not sure that it would have got taken because it would have been too intrusive, especially in the available space there was to take it in. The battery on the phone was flat. Either, Serendipity, yes, but Planned Serendipity because I was looking for photo ops at least subconsciously, OR, Planned serendipity, no, because I hadn’t taken the preparation seriously enough – that is taken more care to keep the phone charged. I err towards the latter. That photograph is lost because it was never taken and will never be taken.
The habit is one of preparation. Deliberate preparation with the added stimulus of making more than one representation. Hanneke was not saying don’t pick up the camera bag and go for a wander, she was saying pick up the camera bag (making sure there is a camera in it, of course) go for a wander because you have created the expectation which sharpens your focus with the intent of making one aspect stand out. A sort of Bokeh for the mind.
Busy week for announcements.
* If you are reading this then you most likely have seen the letter from Maurice reference the move of school to just up the road. It’s the post before this one. Sounds promising.
** Please remember the Flikr competition, this month it’s on the subject of reflections. Voting open for May’s competition too.
*** 19th July, the chance to photograph back stage at the Bristol Hippodrome, a outlined by Maurice at the at meeting. The show is the Rat Pack, details from Julie as follows:
If you read the information attached we have the chance to send 6 photographers along for a paparazzi style experience including behind the scenes photos which sounds great. You just have to agree to send a copy of your photos to them afterwards and they retain the copyright – but you can still use them in club competitions which seems very fair.
If you are interested in going into the draw for one of the 6 places please send a reply to this reflex e-mail letting me know and I will put your name into the hat. The 6 people will be chosen at random next week at the club prize giving event, which is being held in the skittle alley of the Langton Court pub (our old venue just round the corner).
**** Which brings us to next week (12th June) which is the social evening to be held at the Langton Court Pub, Langton Court Road, St Annes, just around the corner from the school.
***** The Western Counties Photographic federation, of which the club is a member, latest news letter is now available from here.
****** And the last two PAGB news Letters can be accessed via the following links:
******* If you fancy having a go at writing for the blog (it doesn’t have to be limited to one person) then have a chat with Mark Stone.
All the best