Tagged: West

25th May 2017 – On getting better

We have had Round 4 of the ROC (see website for results) and a presentation by the Dream Team which both show what you can do with a bit of application – and a lot of planning. So, is there a magic formula to improving as a photographer?

 

The simple answer is “No”.  Anybody trying to sell you an alternative is peddling snake oil and the likelihood of success is about the same, though that wouldn’t stop them claiming any advances as proof positive.

 

The “Through hard work” answer is a partial truth, there is no denying that application is part of it, but a Protestant Work Ethic alone isn’t going to affect the desired outcome. After all if you just do what you have always done, you are going to get what you have always got, as someone, maybe Henry Ford, or was it Mark Twain? Could have been Albert Einstein, or somebody else, once said. And there is truth in it. But not the whole truth.

 

Direction comes into it. “If you don’t know where you’re going, you’ll wind up somewhere else”. That was Yogi Berra, and yes we’ve used it before. Direction and hard work, we are starting to get somewhere. The right direction and hard work. The work might be hard but it doesn’t have to be unenjoyable. Rewarding, directed, hard work. The reward and how hard we work for it are linked are for sure. Nothing quite gives us a lift as an image that comes out as we saw it.

 

None of this, otherwise sound, advice gives us a point to start from. Again there is an obvious but not very helpful answer to this. We can only start from where we are. “I wouldn’t be starting from here”  said the eponymous Irishman when asked for directions, and I know what he meant. The first job, then, is to decide where we are.

 

And this involves looking, but looking with a purpose, looking critically at what we are doing and finding some photographers whose work we admire and practising (here’s a start if you need one, but it is just a start) what we like in their photo’s. Join sites like Flickr (the club has its own page, put some contributions up) or 500px where you can build galleries of your own favourites and try doing your own versions of them. Keep experimenting around a theme and you will start to see some improvements as long as you apply a critical eye to the results.

 

If we want a starting point then we could do worse than take Robert Capa’s dictum that “If your photograph isn’t good enough then you aren’t close enough”. A photograph tells one story well and cropping in on the essential detail leaves less room for confusion. It doesn’t matter whether you zoom with your lens or zoom with your feet (there are differences but they are subtle, real but not really for today’s argument, and all to do with perspective)  but it can have an effect, will have an effect.

 

We are aiming to tell a story with a single detail. When we are looking at our scene through our viewfinder our mission is to find the detail that makes a difference. That can be a look, the curve of a line, the repetition of pattern, a contrast in colours, or something else. There will have been a something though, and that something is the thing that caught our attention. This is when working the scene comes into its own. This works whether we set out to take a particular picture or are just wandering through the landscape looking for inspiration. Once we find the something, the key, we can use it to unlock the potential in something that has taken our attention.

 

Or as Aristotle sort of put it, we start seeing when we stop looking. Technically it is known as Inattentional Blindness, and happens when we exceed the processing speed and capacity of our brains. We can use this to our own advantage by letting go of putting everything into context and just following the things that catch our attention (paying due consideration to our own and others Health and Safety of course). Basically our brain is trying to tell us something, so shut up and listen.

 

And the best camera settings for that? Three options. The camera decides, you decide or something in the middle. Most photographers go for something in the middle. Essentially we are playing with the exposure triangle and the notion that the best that our camera will produce is a combination of shutter speed, aperture and ISO according to the prevailing light conditions.  You deciding is full manual. This is a preference, rarely a necessity, but it is worth learning because it teaches you about how your camera captures light and the worth of capturing light and shadow.

 

The other two options are let the camera decide, “P” or “Auto”, or something in between, shutter priority, aperture priority, exposure compensation. Full on auto will get you an acceptable picture most of the time, after all camera companies spend an awful lot of money on researching these things  and writing algorithms to match. But it can be fooled. The in between range from scene selection where you alter the elements of the exposure triangle by selecting the symbol closest to the conditions you are shooting in, to setting the importance of the aperture or shutter relative to the ISO you are using. Control is what you are opting for or out of in various degrees. Most “Serious” photographers seem to shoot in aperture priority if that is any guide because that gives the most direct control over depth of field without having to fiddle with the other two sides of the triangle.

 

There is no right side, there are preferred sides there are sides that make certain situations easier. The fact is that, as a hobby, we have the luxury of having the time to play, experiment and fail a lot on our way to getting better. Joining a Photography club or an active photography interest group is part of that.

 

N E X T   M E E T I N G

1st June 2017 19:30 – Guest Speaker: Sue Winkworth: “On The Road To Mandalay.”
(Deadline for John Hankin and Stan Scantlebury shield entries)

8th December 2016 – ROC Round 2 2016/17 and Light Modifiers

Round 2 of the club competition last meeting and I shall link to the club website here where the winning entries will be posted in due course. Club thanks to our returning judge Roger Mallinson who got though 21 prints and 58 Digital entries in a prompt and informative fashion.

 

This week we are going to return to the studio as it were, and start to investigate light modifiers as previously promised. So, starting with the obvious, just what is a light modifier? Yeah, ok, it’s something that modifies light, a true but otherwise unenlightening answer which we need to look at in a little more detail. If we take the word modify we can use it in two senses:

  1. To change in form or character; alter.
  2. To make less extreme, severe, or strong.

With light the second meaning is a consequence of the first, it is also an inescapable  consequence and though a tad obvious to some the conclusion is the same as the one that Mark and Rob gave us a couple of weeks back, that if you are going to do a lot of this then it is best to buy yourself a light meter. The reasoning is thus, every time you make an adjustment in intensity or distance (one and the same thing often times) then you are going to effect the elements of the exposure triangle and using the old saying: two measures to one cut as a guide, okay two measures to one slick in this case, means a lot of time effort and battery can be spared. For the occasional user then it is a case of trial and error. Eventually you will get to know your kit well enough to be reasonably accurate in your estimations.

 

There are basically two kinds of light modifiers which we can divide into soft light and hard light. Flash is the most likely entry point for a hobbyist into controlled off camera lighting. With flash we tend to use more of the hard modifiers, that is we use them more of the time, but both categories need considering.

 

The thing to remember, that is the thing not to get carried away with, is we modify light to enhance the subject. It is always about the subject, he, she or it, not about the modifier. Unless you are writing about modifiers I suppose. Still, that false conundrum aside we choose the modifier to light the subject, not the subject to show off the mod as a general rule. The subject is the thing. Always.

 

Soft Modifiers

So this week we will start with soft modifiers. Another term for light diffuser, because diffused light gives soft shadows, that is the differences between light and dark look more a gentle grey than a stark black. Make no mistake we are using the light to create shadow. Shadow is the form of the statement we are making and without light there is no shadow.

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So a soft modifier spreads the available light over a larger surface, that is, larger than the source itself . Smoothing the transition from light to dark on your subject the main use of soft modifiers is for key lighting in portraiture. The key light is usually the primary light source, the brightest and most important.

 

The two most frequently used soft modifiers are softboxes and umbrellas. Softboxes are normally vaguely pyramidal and lined with a silver, highly reflective material. They come in a variety of sizes and those sizes relate to how soft the light is, not how wide spread the light is. Yes, you are right, those two things are directly related. Most softboxes and umbrellas are used at a distance of two meters or less from the subject. Though there will be differences in the areas lit between any two given sizes, at these sort of distances they are minimal and really, really not the point. The point is how diffuse the light is, how soft the shadows are.

 

Softboxes are a studio staple but they can be very bulky, heavy, require more than one stand and generally take up a lot of space even when not being used and can take quite a time to set up. They are good for using with other modifiers though and also good at controlling light spill (basically light coming through at unintended angles which may or may not intrude on your desired effect).

 

A subdivision of the softbox is known as an Octa, octabox, octadome or octa softbox/dome . Octas, as we will call them,  come either as an octagonal shaped softbox or as a hybrid softbox and umbrella. The angle and amount of light fall off is different to a softbox, but they do tend to be a lot more expensive and as bulky as softboxes.

 

There are further modifiers than can be fitted to a softbox or and octa. You can add grids (to give direction), flags (put shadows in), filters (control colour and intensity) to give you a greater control.

 

In case you are thinking, “Hey, I can make my own softbox” then I have to say, yes you can. The difference is in the quality control and the length of time that it is likely to last, but there is no reason why you can’t use tin foil and a cardboard box to put over your light source (flash gun rather than bare bulb, depending on the quality and exclusions of your house insurance and fire damage claims) and a plain shower curtain works wonders (make sure it doesn’t have  blue tinge if made of plastic and yes it will melt over a hot bulb). Go ask YouTube, there are many different videos covering this.

 

Umbrellas

Essentially umbrellas for modifying light as, opposed to keeping the rain off, come in two varieties: Shoot through and reflective. They are a little more untidy in the way that they deal with light, it will spill round the open edges. They are also prone to having a hot spot which may or may not prove a small problem. They are usually a lot cheaper than softboxes or Octas.

 

A shoot through acts like a lampshade, softening the light simply by putting a semi transparent material between light source and subject. A reflective umbrella is opaque, black on the outside with a highly reflective, usually silver, sometimes gold or maybe white interior. These are pointed at the subject so that the open side of the brolly is facing the subject and the flash unit faces the inside, away from the subject, to bounce light from all round the internal reflective surface from every attainable angle.

 

Umbrellas come in a range of sizes from small to huge (10 feet or more) and they are a low price, effective, portable light modifier. This makes them very popular. As already mentioned their biggest disadvantage is their tendency to spill light around the sides. Not a huge problem, normally, but one which does need to be attended to. Unlike softboxes there really aren’t any effective DIY options, but they can be bought pretty cheaply and so even if there was a DIY alternative the cost advantage would probably be very low.

 

Next week we will be looking at hard light modifiers and it is the club social, see website and or Facebook for details and Rob is doing a Bokeh session to boot.

31st March 2016 – Making Audio Visual Presentations

Club member Ian Coombs talked to us on the matter of audio visual presentations, following on from Hanham Photographic Club’s visit last November when they presented us with some examples. This, however, was more how to.

 

An AV A/V or Audio Visual presentation does what it says on the tin. It uses sound and vision to get a point across. Or several points. Or, if done badly, no points at all. It can be a way of presenting photographs of course and the audio part of the equation is optional in this case. In many ways using audio and getting it right can be the most difficult part of the presentation, especially for Newts (New To Its’, the same creatures as that famous drinking benchmark – nothing if not educational this blog). Too loud, too quiet, inappropriate tempo for the transitions, too monotone (for voice over’s) or too hyper can render speech unfitting, music tastes vary widely. Then there is the death by PowerPoint TM syndrome, where the audience offers its own not always silent prayer for deliverance from, well, you.

 

Things don’t have to be complicated, in fact complication is best avoided, as ever the rule to rule the rules is Keep It Short and Simple.  That also applies to the software. It is easy to end up with high end expensive programmes that go largely unused and certainly unstretched, especially by a YouTube or Vimeo video of the family day at the beach comprising of transitions (Tip: pick one, stick to it) between photos of the day. Absolutely nothing wrong with that, you just don’t need to sell your internal organs on the black market to fund it. There is plenty of freeware to be had that is up to the job (and a fair bit more) as we have previously discussed (link above). Some of it is pretty powerful too.

 

There is, of course, more to AV than ice cream and deck chairs to the tune of “I do Like to be beside the seaside” and whereas we are essentially talking about any sequence of images (still and/or video) with an accompanying sound track there is a huge amount of variation.  It can be constructed to present a set of themed images where the sound track enhances the experience through setting the mood.  It can be an interpretation of music or a written piece where the images fit the theme rather than the other way round. The whole point is that it is a lot more than just pictures to music.

 

The music does many things, if it’s got right it can having amazing effects. It amplifies, soothes, lifts, calms, sometimes in the length of a single piece. But it has to be appropriate to the rest of the presentation.  Voiceovers, similarly, are difficult to get right. Put a microphone in someone’s face and you can bet that naturalistic, free flowing conversationalist will, more often than not, be reduced to a series of ums and errs in a flat tone. It happens because we switch a lot of processing power to reproducing the right sounds and, unless you’ve practised it a lot, it is very difficult to sound natural. That doesn’t rule out a text only solution.

 

The key, as ever, is to have a good idea of what the finished article looked like.  Yes you can change your mind but you need to be consistent. Consistent in theme, in transitions, in volume, in control of background noise, or the overall look and feel will be at odds. It’s really about meeting the audiences expectations, and they will expect a beginning, a middle and an end. That doesn’t limit your imagination, but the audience is expecting a story. Whether that story ends with a call to action or the delivery of a conclusion the whole piece needs to be rounded and complete.

 

That said there is no reason that you cannot use the same ideas in building a dynamic photo album. You can put it on your cloud storage or on a DVD, keep it on your laptop. This is probably the first thing that people do when venturing into A/V’s (leaving the work related atrocities aside). Certainly it has become a staple in the wedding trade, at least as an option. Whatever your motive it is a good way to think about your photography in a different way. Give it a go.

 

We now have a new way of entering club competitions that doesn’t involve the Dropbox method, though Dropbox does remain active. Members are guided to http://www.photoentry.uk. You will need a link which you can get from Steve Hallam. Contact him through the club social media or at a meeting. Using Photoentry does simplify the job and it comes with useful messages about the suitability of your entry reference size (which I believe it adjusts for) and colour space (though it does error message sRGB IEC61966-2-1 for not being sRGB IEC61966-2.1, though that is of no real moment). You also get to zoom into your entry to check it’s the right one (yes I did, no it wasn’t and it would have stuck out a mile when projected so I am liking it already!). Deadline for the next round of the ROC is 14th April.

 

N E X T   M E E T I N G

7th April. The WCPF Travelling Critique.

10th March 2016 – The Battle of Portishead.

Last meeting at Portishead Camera Club along with North West Bristol Camera Club for a thee way battle and I am glad to report that Reflex showed a strong foundation – we needed it to prop up the other two, higher scoring, clubs. That said it was very close, 6 points adrift and a tie break for the winner (Portishead), but we won the most raffle prizes! Victory!

 

Our thanks to Peter Weaver for his supportive judging, to Portishead our hosts, and to North West Bristol for a fine show. It was a high scoring event, the club’s been to other battles where our score would have been a winning one over the last couple of years. The number of members whose work was shown has grown beyond a small core and is gradually expanding. Our travelling support was just under half the room, so lots of signs of a healthy club. Long may it continue.

 

There were some particularly strong wild life pictures, as good as I have seen in any of the battles I have been to and a good deal stronger than some. Two outstanding shots from one of the NWB members took individual prizes, one for overall and one for digital. It’s not really an area our exhibiting members cover extensively, it is specialist in its devotion to time, its equipment demands and the ability to travel, not always huge distances to be sure, but Cheetahs aren’t in abundance here abouts, and for Egrets (Cattle, Small or Great White – yes I did have to look that up) you have to know where and when to look. You also have to develop the right habits and techniques. That said the overall winning image was a print was of an Exmoor pony, I’d say good enough for National Geographic (but that may be no recommendation at all), so not so inaccessible to a lot of people here in the West Country.

 

There are strict rules when it comes to wildlife photography and competitions. What is and what isn’t counted needs to be studied by would be entrants and there is a strong code of ethics (even if something is occasionally lost in translation) governing the acceptable face and reputation of the genre. The object is to record and preserve, some considerations that apply to our discussion on documentary photography last week and, just as in documentary, empathy with the subject goes a long way to getting the shot.

 

We all, though have to begin somewhere. Most of us will not start with the idea or the funds to kit ourselves out as wildlife photographers from the off and it can take some time to settle on a favourite genre. Even then it is likely to be one of several that we try out or practice. It also takes a lot of that practice thing, as does anything else to become good at it and as with every other genre in photography, the kit itself is not going to make you a photographer, it just helps those with the skill, time, patience, empathy (and money) get a small but slightly better chance of getting the shot and of the equipment surviving the experience. In wildlife photography those margins are often small.

 

But the journey of a thousand miles starts with a single step, at least according to Lau Zu, though he never picked a camera up in his life (they hadn’t been invented), and starting with what we have, then progressing as confidence and expertise grow into those areas where the margins make sense – photographically and financially. Lau Zu also had something to say about what he saw as hollow practices, those he though got in the way of spontaneity and true growth and in developing as a photographer there is some truth in that. All the gear and no idea is not new, it appears.

 

There are, of course, rules that port over from other areas of photography, such as: always focus on the eye from portraiture; dawn and dusk (though for different reasons in general) are the best shooting times from landscapers; be aware of the background from everybody. As always though, knowing your subject gets you a lot further than dumb luck. Starting with an interest in nature is the obvious, but that interest has to go beyond the pretty picture thing. All good pictures tell a story. That story may differ slightly (or even wildly) between viewers, but there has to be one to be extracted in the first place. You need to get beyond sticking the lens through the bars of the zoo to a point where you can anticipate your subjects next move. You don’t have to become a wildlife biologist to do this but you do need to learn the language and manners of your objective. You need field craft. You have to have the curiosity about it to develop the empathy we were talking about above.

 

OK that is the same for most types of photography. There is a field craft involved. With wildlife there is a more unpredictable element to account for and the more you know about it the more successful you are likely to be. That doesn’t mean that an intimate knowledge of sparrows transfers to the behaviour of grizzly bears. The differences are not only those in scale. The difference can be you removing a stain or being the stain. Outside of zoos and safari parks this isn’t a problem in the UK, of course and inside the environments are pretty controlled – but there are morons everywhere. The basic point is the same as the oath doctors take. First, do no harm. That takes knowledge too.

 

 

N E X T   M E E T I N G

Robert Harvey: Landscapes for all seasons.