I am just about to finish an online course called Adobe Lightroom - A Comprehensive Look.
At the moment, I am using Bridge, Adobe Camera RAW (where appropriate) and then Photoshop. I tinkered with Lightroom back in 2008 but didn't really understand it and felt that Photoshop was a better option for me as I wasn't batch processing at that time.
Now that the number of images I am taking has increased and many of them are in RAW, my current workflow is proving to be a little too slow. I'd really like to batch process my images and avoid using Photoshop unless I absolutely have to.
Lightroom 3 has just about all of the features I use on a regular basis and the online course was spread over 4 weeks covering all of the main features in a lot of detail. I'm looking forward to seeing what difference it makes to my post-processing.
Wednesday, 27 October 2010
Wednesday, 20 October 2010
The British Face
I just watched this DVD which I bought from the National Portrait Gallery in August. It follows the actress Fiona Shaw as she examines the concept of portraiture and is divided into 2 sections.
1. Portraits & the Artist
This is about the relationship between the artist and the sitter. It concentrates on the intent of the artist, and there is a general consensus that the artist is trying to capture the 'character' or 'essence' of the subject. It is suggested that this is perhaps why passport photographs are not usually referred to as portraits.
The artist Stuart Pearson Wright talks about the intimacy between artist and subject who often do not exchange words. I thought this was an interesting idea because, on the one hand not speaking to someone you are spending time with can be difficult unless you are very comfortable with each other (assuming that the silence is not because you have fallen out!). But I have found that taking photographs of people without giving them immediate feedback can sometimes unnerve them. I suppose it depends on how comfortable they are about having their picture taken, and their expectations of the end result.
Stuart Pearson Wright discusses the tension between flattery and the truth. He avoids the former because this might imply that the subject is defective in some way. This differs from the approach taken when photographing celebrities where true likenesses are often cast aside in favour of what a film company or product manufacturer might want.
Francis Bacon took an expressionist approach and painted friends and lovers in their absence as he remembered them. These were not always well received, in fact Cecil Beaton destroyed Bacon's painting of him, such was his dissatisfaction.
The photographer Rankin said that photography was about creating 'visual lies' and his objective was to try and get to the truth. In order to do so, he would have a character or narrative in mind while taking the photograph.
2. Portraits & the Nation
This puts portraiture in a wider context and starts with the history of it. It was suggested that originally, portraiture had 3 main purposes: commemoration of the dead, representation of an icon and the celebration of an individual.
The subject of symbolism is introduced by Gerald Scarfe who uses this in his caricatures, and again the notion of 'the truth' and what it constitutes, is mentioned.
I personally think the idea of truth is both subjective and contextual. Everyone has their own interpretation of the truth and this can be affected by external influences.
The final part of the DVD is about the history of the National Portrait Gallery. It was founded to celebrate the achievements of notables who had been deceased for at least 10 years. Therefore, it was focussed on the past, and careful consideration was given as to who was considered worthy enough to have their portraits displayed in the gallery. In the case of scientists and some writers, their portraits served to illuminate their biographies in the case of those who were not immediately recognisable.
Over time, the range of exhibits has widened to include sculpture and photography, and the trustees have allowed the admission of living sitters since the 1960's. During the 1980's the gallery began to commission works of art so they are now creating it as opposed to simply collecting it.
What have I learned?
Portrait photography is a relatively new venture for me and I really like the idea of trying to capture the character of the subject. I read a comment from a wedding photographer once, who said that their aim was to try not to make the subject look like someone having their photograph taken.
I have been asked to do a photoshoot for a friend and her children next week, and in the first week of November I am doing a shoot for a dance group. Two very different types of image but in many ways very similar. Building a rapport with a subject is certainly important and the DVD has given me some ideas on what my psychological approach could be.
1. Portraits & the Artist
This is about the relationship between the artist and the sitter. It concentrates on the intent of the artist, and there is a general consensus that the artist is trying to capture the 'character' or 'essence' of the subject. It is suggested that this is perhaps why passport photographs are not usually referred to as portraits.
The artist Stuart Pearson Wright talks about the intimacy between artist and subject who often do not exchange words. I thought this was an interesting idea because, on the one hand not speaking to someone you are spending time with can be difficult unless you are very comfortable with each other (assuming that the silence is not because you have fallen out!). But I have found that taking photographs of people without giving them immediate feedback can sometimes unnerve them. I suppose it depends on how comfortable they are about having their picture taken, and their expectations of the end result.
Stuart Pearson Wright discusses the tension between flattery and the truth. He avoids the former because this might imply that the subject is defective in some way. This differs from the approach taken when photographing celebrities where true likenesses are often cast aside in favour of what a film company or product manufacturer might want.
Francis Bacon took an expressionist approach and painted friends and lovers in their absence as he remembered them. These were not always well received, in fact Cecil Beaton destroyed Bacon's painting of him, such was his dissatisfaction.
The photographer Rankin said that photography was about creating 'visual lies' and his objective was to try and get to the truth. In order to do so, he would have a character or narrative in mind while taking the photograph.
2. Portraits & the Nation
This puts portraiture in a wider context and starts with the history of it. It was suggested that originally, portraiture had 3 main purposes: commemoration of the dead, representation of an icon and the celebration of an individual.
The subject of symbolism is introduced by Gerald Scarfe who uses this in his caricatures, and again the notion of 'the truth' and what it constitutes, is mentioned.
I personally think the idea of truth is both subjective and contextual. Everyone has their own interpretation of the truth and this can be affected by external influences.
The final part of the DVD is about the history of the National Portrait Gallery. It was founded to celebrate the achievements of notables who had been deceased for at least 10 years. Therefore, it was focussed on the past, and careful consideration was given as to who was considered worthy enough to have their portraits displayed in the gallery. In the case of scientists and some writers, their portraits served to illuminate their biographies in the case of those who were not immediately recognisable.
Over time, the range of exhibits has widened to include sculpture and photography, and the trustees have allowed the admission of living sitters since the 1960's. During the 1980's the gallery began to commission works of art so they are now creating it as opposed to simply collecting it.
What have I learned?
Portrait photography is a relatively new venture for me and I really like the idea of trying to capture the character of the subject. I read a comment from a wedding photographer once, who said that their aim was to try not to make the subject look like someone having their photograph taken.
I have been asked to do a photoshoot for a friend and her children next week, and in the first week of November I am doing a shoot for a dance group. Two very different types of image but in many ways very similar. Building a rapport with a subject is certainly important and the DVD has given me some ideas on what my psychological approach could be.
Saturday, 9 October 2010
Sunday, 3 October 2010
The National Wedding Show
I went to the National Wedding Show at Earl's Court this morning. Having photographed my second wedding on Friday, I was looking for inspiration from more experienced photographers and ideas on how to present my work. I'm also considering having a presence at next year's exhibition.
All of the exhibitors displayed a range of albums, photo books and parent books and they all had large scale examples of their work hanging up. The lowest price quoted was £650 which gave me an insight into what people are prepared to pay for their wedding photography.
I was surprised to see some poor quality images from the more expensive photographers - clear evidence of the use of flash, lack of fill light and distracting backgrounds. It just goes to show that the non-discerning public can be taken in by glossy albums. It also showed me that there is still a gap in the market for high quality imagery.
I treated myself to an iPad yesterday and the plan is to use it to show friends and potential clients my best work in order to secure more bookings. I'm impressed with the size and quality of the screen, and once I become familiar with it and download some suitable apps, I think it could be a very useful marketing tool.
I have just downloaded a free application called Guardian Eyewitness which gives access to the 100 most recent images taken from the Guardian Newspaper daily centre spread. These images cover a range of global events and include a 'pro tip' which is a couple of sentences from the photographer on how the shot was composed and/or camera settings used to achieve the end result.
All of the exhibitors displayed a range of albums, photo books and parent books and they all had large scale examples of their work hanging up. The lowest price quoted was £650 which gave me an insight into what people are prepared to pay for their wedding photography.
I was surprised to see some poor quality images from the more expensive photographers - clear evidence of the use of flash, lack of fill light and distracting backgrounds. It just goes to show that the non-discerning public can be taken in by glossy albums. It also showed me that there is still a gap in the market for high quality imagery.
I treated myself to an iPad yesterday and the plan is to use it to show friends and potential clients my best work in order to secure more bookings. I'm impressed with the size and quality of the screen, and once I become familiar with it and download some suitable apps, I think it could be a very useful marketing tool.
I have just downloaded a free application called Guardian Eyewitness which gives access to the 100 most recent images taken from the Guardian Newspaper daily centre spread. These images cover a range of global events and include a 'pro tip' which is a couple of sentences from the photographer on how the shot was composed and/or camera settings used to achieve the end result.
Thursday, 30 September 2010
London Marathon 2011
The postman has just delivered the magazine and acceptance letter confirming that I have a place in the London Marathon 2011!
I have failed to get a place via the ballot for the last four years, so I'm particularly pleased.
I ran the London Marathon in 2008 for WRVS simply because they needed a runner and I was keen having just been turned down for a place. However, it's not a charity that I would have chosen to run for as I have no connection with them whatsoever, and they set me a ridiculous fund raising target, but I was happy to participate nonetheless.
This time around, I have chosen to run for The Sickle Cell Society. This charity is closer to my heart as I have friends and family who have been affected by sickle cell.
This will be my sixth marathon and I have been thinking of ways to document my progress. I'm currently toying with the idea of a video diary supplemented with photographs.
I have failed to get a place via the ballot for the last four years, so I'm particularly pleased.
I ran the London Marathon in 2008 for WRVS simply because they needed a runner and I was keen having just been turned down for a place. However, it's not a charity that I would have chosen to run for as I have no connection with them whatsoever, and they set me a ridiculous fund raising target, but I was happy to participate nonetheless.
This time around, I have chosen to run for The Sickle Cell Society. This charity is closer to my heart as I have friends and family who have been affected by sickle cell.
This will be my sixth marathon and I have been thinking of ways to document my progress. I'm currently toying with the idea of a video diary supplemented with photographs.
Friday, 24 September 2010
Assignment 5 - Tutor Feedback
The set of images submitted for Narrative Illustration, and the technical and reflective notes posted in your Blog, are of the same high standard of the previous assignments.
You reveal, through the twelve images, a carefully considered approach to what might have been a fairly generic and stereotyped project. Once again, you demonstrate a strong technical knowledge with an individual eye, to produce an alternative take on both iconic NYC images, and those less obvious, but equally engaging.
Cover Shot
With OG in the background, the detail of the George Washington bronze statue is immediately recognisable. The reduced saturation of the background helps lift and enhance the texture and colour of the dark metal, and the angle of light – three quarter back – brings out the form. I might have been tempted to shift the position to the right a touch, to bring the statue detail to the right of frame, and capture the flag in its entirety, just to tighten up the frame.
Central Park
There is some lovely detail in this shot, which works particularly well for the composition, with the grain in the decking bringing an extra dimension to the vanishing point effect. Similarly, the cross shadows and the dappled light on the bridge draws the eye forward curving towards the small group of visitors in the background. It’s an image that speaks of place. There’s also a great balance of colour, light, and shade across the dynamic range.
Bethesda Terrace in Central Park
This is a difficult image to expose correctly, with what must be a six-stop variation between the interior and the exterior. Here, you’ve managed to get a good balance with a bit of over exposure outside, but a nice feel to the light in the foreground. The reflected light on the ceiling and the floor provides a good graduation, and a partial silhouette of the mid-ground figures. Of the possibilities that I would consider for composition, the movement of passing figures is one, and the other would be, as in the previous image, to focus on the details of the building. This works well.
Museum
This shot of the Asian sculpture in the Met, provides a complementary feel to the previous image, with a flat, natural light creating a spacious feel and, with the comparatively small figure of your friend, the monumental size of the figure. This shot works well to create a feeling of space and light; an alternative might be to look for some interesting (close) foreground detail, or perhaps get low an behind your friend to exaggerate the towering figure in front of her – all technical challenges.
Street Art
This following image of the bright Pop Art street sculpture is the perfect cultural complement of the formal Met exhibit. It shouts NYC, big, bright with saturated colour. It’s good that you managed to get a clear shot of the piece, and spent some time looking around I, and the background to get the feel that you wanted. I like the fact that you captured the buildings on the corner, with the diagonals running back and to the edges of the frame to give the whole mage a clear perspective.
Food
I think you’re right about the aperture; a more distinct brand logo would help sell the city here. While the detail on the cake, texture, colour form is very good, you do just crop the slice a bit, and the centred composition leaves (for me) too much negative space to the left of the frame. Maybe a piece out of it, and a fork across the frame would balance the shot?
Shopping
I like the balance of the composition here, the figure to the left checking out the goods, with the display of bags on the wall behind, and the way you’ve captured the natural action. The auto WB works well enough here – fluorescents can be horrible in mixed light situations. What it needs – and hard to do in a location, with an impromptu shot – is a bit of reflected light from low in front of the camera, just to lift the face, and get a bit more light onto the bag she is holding.
New York Bay
Interesting shot of the container ferry making its way across the bay. Maybe it needs a bit of a more recognisable skyline to speak ‘city’, docks, or a partial glimpse of the Statue of Liberty? I think the flat light helps with the complex internal structure of the vessel, with the sky and water nicely captured and providing regular textural surroundings for the rigid grid-like patterns on the boat.
Empire State
I like this shot very much. Both concept and execution are strong. The deco interior is beautifully captured with the model, flag, memorial, clerk and vase of sunflowers providing an interesting variation in subject. I think maybe either it needs to be a touch wider to capture the sign to the right of frame, or tighter to eliminate it. The top light gives it an almost otherworldly feel, an austerity or formality and gravity. Very nice.
Times Square
While it appears at first that there is no particular point to which the eye is drawn, and it does indeed reflect the movement and chaos of Times Square, eventually the eye does fall on the flag, and the young person standing to the left, and the group of people around her. There’s a good exposure balance here, with the street signs nicely exposed, and enough attention to foreground reflected light to see the detail of the people. I also find myself looking towards the right of frame, and what appears to be a group of musicians silhouetted against a white background – might be an electronic image…
New York Characters
Classic bit of street photography with the Naked Cowboy defined against the backdrop of daytime TSq – the use of the long lens softens the background and the strong(er) midday light helps define the figure’s anatomy. I’d be tempted to do a bit of a subtle mask job on this and throw the background out even more – or maybe experiment with a graduated blur. My enduring street character memory was the roller skating guitar playing Jimi Hendrix impersonator, amp strapped to his back.
NYPD
Along with the Empire State image, this shot of the giant policeman giving directions to the diminutive woman is my pick of the set. The body language speaks of lost in the metropolis, and as you say, the architectural lines enhance this, while the background masonry confirms the cultural heritage of an old city. The light adds a kind of ‘annunciation’ effect, like an old master painting, compressing and focussing the composition.
So, strong and well considered images, avoiding the cliché of the world’s most famous city, and offering a different vision. Technically, the exploration of and determination to deal with different and challenging lighting and environmental situations shows how much you’ve taken on board (and mastered) on this course.
Very well done.
You reveal, through the twelve images, a carefully considered approach to what might have been a fairly generic and stereotyped project. Once again, you demonstrate a strong technical knowledge with an individual eye, to produce an alternative take on both iconic NYC images, and those less obvious, but equally engaging.
Cover Shot
With OG in the background, the detail of the George Washington bronze statue is immediately recognisable. The reduced saturation of the background helps lift and enhance the texture and colour of the dark metal, and the angle of light – three quarter back – brings out the form. I might have been tempted to shift the position to the right a touch, to bring the statue detail to the right of frame, and capture the flag in its entirety, just to tighten up the frame.
Central Park
There is some lovely detail in this shot, which works particularly well for the composition, with the grain in the decking bringing an extra dimension to the vanishing point effect. Similarly, the cross shadows and the dappled light on the bridge draws the eye forward curving towards the small group of visitors in the background. It’s an image that speaks of place. There’s also a great balance of colour, light, and shade across the dynamic range.
Bethesda Terrace in Central Park
This is a difficult image to expose correctly, with what must be a six-stop variation between the interior and the exterior. Here, you’ve managed to get a good balance with a bit of over exposure outside, but a nice feel to the light in the foreground. The reflected light on the ceiling and the floor provides a good graduation, and a partial silhouette of the mid-ground figures. Of the possibilities that I would consider for composition, the movement of passing figures is one, and the other would be, as in the previous image, to focus on the details of the building. This works well.
Museum
This shot of the Asian sculpture in the Met, provides a complementary feel to the previous image, with a flat, natural light creating a spacious feel and, with the comparatively small figure of your friend, the monumental size of the figure. This shot works well to create a feeling of space and light; an alternative might be to look for some interesting (close) foreground detail, or perhaps get low an behind your friend to exaggerate the towering figure in front of her – all technical challenges.
Street Art
This following image of the bright Pop Art street sculpture is the perfect cultural complement of the formal Met exhibit. It shouts NYC, big, bright with saturated colour. It’s good that you managed to get a clear shot of the piece, and spent some time looking around I, and the background to get the feel that you wanted. I like the fact that you captured the buildings on the corner, with the diagonals running back and to the edges of the frame to give the whole mage a clear perspective.
Food
I think you’re right about the aperture; a more distinct brand logo would help sell the city here. While the detail on the cake, texture, colour form is very good, you do just crop the slice a bit, and the centred composition leaves (for me) too much negative space to the left of the frame. Maybe a piece out of it, and a fork across the frame would balance the shot?
Shopping
I like the balance of the composition here, the figure to the left checking out the goods, with the display of bags on the wall behind, and the way you’ve captured the natural action. The auto WB works well enough here – fluorescents can be horrible in mixed light situations. What it needs – and hard to do in a location, with an impromptu shot – is a bit of reflected light from low in front of the camera, just to lift the face, and get a bit more light onto the bag she is holding.
New York Bay
Interesting shot of the container ferry making its way across the bay. Maybe it needs a bit of a more recognisable skyline to speak ‘city’, docks, or a partial glimpse of the Statue of Liberty? I think the flat light helps with the complex internal structure of the vessel, with the sky and water nicely captured and providing regular textural surroundings for the rigid grid-like patterns on the boat.
Empire State
I like this shot very much. Both concept and execution are strong. The deco interior is beautifully captured with the model, flag, memorial, clerk and vase of sunflowers providing an interesting variation in subject. I think maybe either it needs to be a touch wider to capture the sign to the right of frame, or tighter to eliminate it. The top light gives it an almost otherworldly feel, an austerity or formality and gravity. Very nice.
Times Square
While it appears at first that there is no particular point to which the eye is drawn, and it does indeed reflect the movement and chaos of Times Square, eventually the eye does fall on the flag, and the young person standing to the left, and the group of people around her. There’s a good exposure balance here, with the street signs nicely exposed, and enough attention to foreground reflected light to see the detail of the people. I also find myself looking towards the right of frame, and what appears to be a group of musicians silhouetted against a white background – might be an electronic image…
New York Characters
Classic bit of street photography with the Naked Cowboy defined against the backdrop of daytime TSq – the use of the long lens softens the background and the strong(er) midday light helps define the figure’s anatomy. I’d be tempted to do a bit of a subtle mask job on this and throw the background out even more – or maybe experiment with a graduated blur. My enduring street character memory was the roller skating guitar playing Jimi Hendrix impersonator, amp strapped to his back.
NYPD
Along with the Empire State image, this shot of the giant policeman giving directions to the diminutive woman is my pick of the set. The body language speaks of lost in the metropolis, and as you say, the architectural lines enhance this, while the background masonry confirms the cultural heritage of an old city. The light adds a kind of ‘annunciation’ effect, like an old master painting, compressing and focussing the composition.
So, strong and well considered images, avoiding the cliché of the world’s most famous city, and offering a different vision. Technically, the exploration of and determination to deal with different and challenging lighting and environmental situations shows how much you’ve taken on board (and mastered) on this course.
Very well done.
Wednesday, 15 September 2010
HDR Workshop with Trey Ratcliff
I spent all day Saturday and Sunday with the legendary Trey Ratcliff learning about HDR photography. He is by far the best exponent of this type of photography that I have seen, so it was a unique opportunity as spaces on the course were limited to 20.
We were based in a lovely building in Goodenough College, off Grays Inn Road and saw many examples of Trey's work. He worked on some images in real time and talked us through his thought processess as he worked.
On Saturday we took pictures in the courtyard of the college and worked on them on our laptops while Trey came around helping us individually. On Sunday we went to the British Museum for our images which again Trey helped us with individually.
He also gave us a truckload of stuff to take away - the premium version of his Austin, Texas HDR worshop on 4 DVDs and a USB stick with several sample images and tutorials.
What have I learned?
I have dabbled in HDR photography on and off for the last two years, and although I have books by Trey and others on the subject, none of them really tell you how to use Photomatix Pro. HDR photography seems to be fairly subjective so there is no definitive way to process images.
The most important thing I've learned is that Photomatix is only part of the process, and images will not be perfect at that stage. I have a better understanding of the work that needs to be done in Photoshop - particularly when it comes to correcting ghosting.
We were based in a lovely building in Goodenough College, off Grays Inn Road and saw many examples of Trey's work. He worked on some images in real time and talked us through his thought processess as he worked.
On Saturday we took pictures in the courtyard of the college and worked on them on our laptops while Trey came around helping us individually. On Sunday we went to the British Museum for our images which again Trey helped us with individually.
He also gave us a truckload of stuff to take away - the premium version of his Austin, Texas HDR worshop on 4 DVDs and a USB stick with several sample images and tutorials.
What have I learned?
I have dabbled in HDR photography on and off for the last two years, and although I have books by Trey and others on the subject, none of them really tell you how to use Photomatix Pro. HDR photography seems to be fairly subjective so there is no definitive way to process images.
The most important thing I've learned is that Photomatix is only part of the process, and images will not be perfect at that stage. I have a better understanding of the work that needs to be done in Photoshop - particularly when it comes to correcting ghosting.
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