tag:blogger.com,1999:blog-88032718680586634572024-02-07T19:26:37.636-08:00John Leech Studio – photography and watercolour paintingThis blog supports my studio website where most of the featured photographs and watercolours are available for sale in limited edition archive quality prints and original watercolour paintings. <a href="http://www.johnleechstudio.co.uk">www.johnleechstudio.co.uk</a>.Johnhttp://www.blogger.com/profile/01579816209067268666noreply@blogger.comBlogger24125tag:blogger.com,1999:blog-8803271868058663457.post-69301403553478386952011-10-17T01:06:00.000-07:002011-10-17T01:06:45.457-07:00Mont St Michel and beyond<div dir="ltr" style="text-align: left;" trbidi="on">Whilst reviewing some old shots I came across the raw file for this image. I had originally attempted to process it along with the other images from North France, but not managed to produce anything worthwhile. But I've finally come up with a version that I'm happy with.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcAGAKGyAD26trFC7waUlBOn66SQm53ggX-w4XaWjinQT_yeH2XeVxWH5rqz18dC1fcRB2hJVUzRaoINVxr5boP3TbwheFtrXmxB51ykkyv2JAIv0Zf-LKmDd6B-qFkDxbB95Sz0V957Bc/s1600/fairwell+st+michel-s.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="287" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcAGAKGyAD26trFC7waUlBOn66SQm53ggX-w4XaWjinQT_yeH2XeVxWH5rqz18dC1fcRB2hJVUzRaoINVxr5boP3TbwheFtrXmxB51ykkyv2JAIv0Zf-LKmDd6B-qFkDxbB95Sz0V957Bc/s400/fairwell+st+michel-s.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Mont St Michel</td></tr>
</tbody></table>So now that's out of the way I can get back to taking new photographs!<br />
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The light has been good on the bay today, and after a long period of un-noteworthy channels, one had emerged that asks to be photographed. From now until March generally gives the best light, the majority of my bay images have been taken during the shorter days. The sun is far lower in the sky as it tracks across giving a far more dramatic backlight than the higher summer sun.<br />
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I've found that skies are generally lighter than the foreground. Something which often looks wrong is when the sky is over-filtered when using grads, or overly darkened in pp (both tend to be more a problem with realistic colour renditions). A low sun above a bank of cloud can often give a naturally brighter foreground than sky. Bring water into the equation, and the brilliance of reflections leads to high contrast and chiaroscuro lighting.<br />
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The other quality at this time of year depends on the movement of clouds. They alter the filtering of sunlight and how different surfaces reflect. Within the space of seconds the bay can change completely. One moment the channel of water will be reflecting the sunlight, contrasting with dark sand. Then the next moment the effect is reversed, positive turns to negative as the sand suddenly reflects the brightness whist the water goes dark.<br />
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Here are two similar compositions taken 4 minutes apart. Note the clouds in the first appear to be light on dark, where in the second they appear dark on light. Also the direct light on the sand bank to the left is displaying negative characteristics. There is a 2 stop variation between the exposures, the second having unfiltered direct sunlight shining off the wet sand. When I took these the second interested me most, but so far I prefer the processing on the first image. One to revisit.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5creLeB3yDILTLgdUS3d-b_6KyCnApjTWamBvLdqR2VBIpaTkQiYed3n7swPpRjjg35bYDFOY_ES5zhUJB1Y5I7hQ_7RDOAcrsKbHvjOUSr4WLez85x_9x3DQB-j49oD77JdoJIiPRMfo/s1600/bay-as.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="287" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5creLeB3yDILTLgdUS3d-b_6KyCnApjTWamBvLdqR2VBIpaTkQiYed3n7swPpRjjg35bYDFOY_ES5zhUJB1Y5I7hQ_7RDOAcrsKbHvjOUSr4WLez85x_9x3DQB-j49oD77JdoJIiPRMfo/s400/bay-as.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Bay 1<br />
f7.1 @ 1250th</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhx0qNUagipeVTD4j3wn_dpsdwe9em_4h-Vm8nFgbUoSjRxj93rX7iWWb6oqrc-jXYONe81SSaM1kF9lgHNlqMHkLJ7cbNnVaaawqrArmrecj-tdQnH4Bey11CKL28gHt5shY2NpJTiRHT8/s1600/saturn-s.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="287" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhx0qNUagipeVTD4j3wn_dpsdwe9em_4h-Vm8nFgbUoSjRxj93rX7iWWb6oqrc-jXYONe81SSaM1kF9lgHNlqMHkLJ7cbNnVaaawqrArmrecj-tdQnH4Bey11CKL28gHt5shY2NpJTiRHT8/s400/saturn-s.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Bay 2<br />
f7.1 @ 6400th</td></tr>
</tbody></table>Tip<br />
This is a case where bracketing exposure proves very useful. I don't find the light meter tells me much in such contrasty conditions, the dynamic range is bound to be beyond the scope of the sensor, and the best way to asses it is using the histogram and LED rendition. This isn't easy when tripod mounted as the strong ambient light drowns out the faint LED image - borrowing a dark cloth from an nearby 5x4 photographer would be rather useful! But checking the LED is essential. </div>Johnhttp://www.blogger.com/profile/01579816209067268666noreply@blogger.com2tag:blogger.com,1999:blog-8803271868058663457.post-78106706907783380602011-09-20T15:38:00.000-07:002011-09-20T15:40:31.864-07:00Rain and more rain with a bit of rain for good measure<div dir="ltr" style="text-align: left;" trbidi="on">At last, my knee that I damaged at the start of summer is fit for running once more. One of my favourite fell races, The Three Shires, was last Saturday... but at around 13 miles and 4,000ft of climb it seemed prudent to give it a miss for a first race back on the fells.<br />
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The weather was lousy, cloud touching the bay leaving a gap just large enough for the constant rain to fall to the ground. That added more misery, its a course I know pretty well, so there's always the hope that I can sneak past a few fitter people who lose their way. But its one of the best races in the calendar to photograph - the start runs down a narrow lane for a few hundred yards, then across a stream. The first runners have the luxury of a narrow footbridge (replaced this year, the old one creaked and groaned under the weight of a few hundred runners once a year). The busy middle of the pack splits into two factions, those who enjoy an elevated view from the bridge of grown men and women splashing through the stream - and those who provide the entertainment. Its worth getting wet, it can save a minute or so. Plenty take the wet line, and plenty of spectators gather on the other side to watch them all splash through. As someone once commented - 'its like the start of Black Beauty'. http://www.youtube.com/watch?v=0upwJC-XKBI<br />
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A quick chat at the start with club mates, then I made my way down to the bridge to get prime position. Then waited... and waited, stood in the stream up to the top of my wellies, water dripping off the tree above me, and the 'stream' rushing past. It wasn't looking good - I was wondering if I'd take the wet line had I been racing. Eventually the runners started to file along the bridge. Then continued to file across the bridge. Not a single person opted for the water. On one hand, why not? They couldn't get wetter! But saving a minute by risking a fall in there didn't make much sense. I took a few shots seeing as I was there, but runners walking in single file over a narrow bridge doesn't really stir the photographic juices nor fire me up for some hard pp back at the office.<br />
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Maybe next year - though with any luck I'll be running it rather than waiting to see if anyone goes nose first into the water.<br />
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This shot was taken later on a walk up Hampsfell above Grange. The nights are drawing in fast, 8 o'clock and the light has gone. Hand held with max iso seemed to record something, but had to push it pretty hard in photoshop to discover quite what. Imperative that you click on this one to see it larger.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEit_t3xJKDIAaQgNQdKoB7n4_CeDpuq-xsAQbWTjBnzRBgZ9f6fAVWyi19689VVmHAElXLFTYTCNAQUSTEOr2z5YM5SgbSII9IT-LfIOFYYV44QgPTNXy9RsAcL8N_V7eB6DgEWifTFJNNi/s1600/arnside+dusk-s.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="287" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEit_t3xJKDIAaQgNQdKoB7n4_CeDpuq-xsAQbWTjBnzRBgZ9f6fAVWyi19689VVmHAElXLFTYTCNAQUSTEOr2z5YM5SgbSII9IT-LfIOFYYV44QgPTNXy9RsAcL8N_V7eB6DgEWifTFJNNi/s400/arnside+dusk-s.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Arnside and Arnside Knot from Hampsfell<br />
iso 3200, ƒ4ish and pretty slow shutter</td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"><br />
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</div>Johnhttp://www.blogger.com/profile/01579816209067268666noreply@blogger.com0tag:blogger.com,1999:blog-8803271868058663457.post-64766186139812202242011-09-13T01:28:00.000-07:002011-09-13T11:42:46.615-07:00The Lido - St Helier, Jersey, Channel Islands<div dir="ltr" style="text-align: left;" trbidi="on">Finally home and more awake than on my previous post from Jersey. It was quite a tiring week. On Saturday I finally had half a day to myself but hadn't thought up a game plan. I got up early to set off to photograph some conker trees that I'd seen in the week but not had chance to set up. On arrival I did a quick reccie of the scene and weighed up a few options... then realised that I'd left a crucial piece of kit back in the hotel room. Most times I'd improvise and overcome, but there's no substitute for a camera, so back I went.<br />
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At least that snapped me into thinking mode. 7:30, breakfast just started, so a quick full English plus porridge and crates of toast soon had me back outside contemplating a hire car to pop round to a stunning looking castle further around the island. The oversight being that nowhere is open to rent cars at that time of day - a pushbike would have done, Jersey isn't quite three times the size of Wales.<br />
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Plan B was to get lost in the docks, something I found relatively easy, before making my way around to the other side of St Helier, a second bay that I'd look over to from on top of the central headland, but not visited. A very different bay to the one I was familiar with. Here's a shot from the first bay which I took last December. A wide swooping bay dominated by Elizabeth Castle.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMqJuM-oXU_ClgYdMh_6SsN9xNcQR20Z_GrqPx_gI7DHZaMU91F0lUE9mfsm6Gt1rK-wh0XJfI5KPULbWsyaKR_dJm9MG73AkewKcKZWei8JidIOumIToGqeYU2USp-4VPbaomDD3YpF-m/s1600/elizabeth+castle4as.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="287" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMqJuM-oXU_ClgYdMh_6SsN9xNcQR20Z_GrqPx_gI7DHZaMU91F0lUE9mfsm6Gt1rK-wh0XJfI5KPULbWsyaKR_dJm9MG73AkewKcKZWei8JidIOumIToGqeYU2USp-4VPbaomDD3YpF-m/s400/elizabeth+castle4as.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Elizabeth Castle, St Helier, Jersey, Channel Islands</td><td class="tr-caption" style="text-align: center;"><br />
</td><td class="tr-caption" style="text-align: center;"><br />
</td></tr>
</tbody></table>The second bay has far more rocks on the horizon. You'll have to trust me that they're quite spectacular, 2nd only to Krakatoa erupting, as I couldn't get sufficient elevation for a worthwhile shot. But I did spend some time at the Lido in the bay. Its a huge tear drop shaped pool build with a perimeter that is below the high tide level. This means the water gets refreshed twice a day. The tide was already lower than the pool and receding fast. Next time I'm there I'd love to capture it while the tide is just clearing the shape of the pool.<br />
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The pool combines lots of photographic qualities that I enjoy – gritty textures, graphic shapes, surreal details and scale, an air of neglect and decay (though this is purely due to the daily sea coverage and green weed that is growing on it, the structure is well presented and maintained), a range of backgrounds, restricted and therefore challenging viewpoints – plus the variability of the subject itself due to the changing tide, and the UK's reliable changeability of weather. Certainly a subject I could return to again and again. The shots showing water were all 30 seconds at ƒ14 to ƒ16 using the 10 stop ND. The other shots are pretty much the same apertures with whatever shutter speed worked without the filter. All tripod mounted, so the shutter speed for still subjects wasn't something I thought about. <br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXG-wz_1Yu3AXNPCDE4Cb0-UrfCS69mmDr_8x1iy-Pc9k-wdP-BLcEc9Arhh3uO3ddN6Wg-EPxZCkdEEA-H64oXVOm4SlCkB_OacvWe27s6n8SY0GIPa96KU1mJfPL5Rb3APJixhnHbn_2/s1600/lido5s.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXG-wz_1Yu3AXNPCDE4Cb0-UrfCS69mmDr_8x1iy-Pc9k-wdP-BLcEc9Arhh3uO3ddN6Wg-EPxZCkdEEA-H64oXVOm4SlCkB_OacvWe27s6n8SY0GIPa96KU1mJfPL5Rb3APJixhnHbn_2/s400/lido5s.jpg" width="290" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Lido, St Helier, Jersey<br />
Long flowing lines with the dramatic rocks barely discernible in the distance!</td><td class="tr-caption" style="text-align: center;"><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUbpF0n5ILQavPBXp2ovHH6o4RoXJC1wVpWru_Rw5wUzbh8mBQTsQX9h9wRO75e7vhC-LOCq_G2iAAER2uVeGmQEXH2rciQx5oYo_8TaUkhCYME3WGntSG6oQ5mSJXXwzAmSE2HfB1ORrO/s1600/lido7s.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUbpF0n5ILQavPBXp2ovHH6o4RoXJC1wVpWru_Rw5wUzbh8mBQTsQX9h9wRO75e7vhC-LOCq_G2iAAER2uVeGmQEXH2rciQx5oYo_8TaUkhCYME3WGntSG6oQ5mSJXXwzAmSE2HfB1ORrO/s400/lido7s.jpg" width="290" /></a></td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Lido, St Helier, Jersey<br />
I think this is a seating area, obviously covered by high water, treacherously slippery. The four blocks in the distance are for diving off, surreal stuff - distant rocks.</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgofsXjxqJ7RJFfn-T9_381RoPQj6vd8a9pmGhp8yksEcCjvB6zDIZJ25y-sKWuc0NQhHpH_jJJJHfueIW9bVyFR0G1aYkmhJcDD3mXyeLTS4OmekwzXXNXdeOG3l2nVJWWZHQYfVPBkCBy/s1600/lido8s.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgofsXjxqJ7RJFfn-T9_381RoPQj6vd8a9pmGhp8yksEcCjvB6zDIZJ25y-sKWuc0NQhHpH_jJJJHfueIW9bVyFR0G1aYkmhJcDD3mXyeLTS4OmekwzXXNXdeOG3l2nVJWWZHQYfVPBkCBy/s400/lido8s.jpg" width="290" /></a></td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Lido, St Helier, Jersey<br />
This one is right on the edge of blowing the sky, 30 second just giving enough movement. </td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjevixLglmojnEijiw-1_kRkRC8mg8UZlSDlIwUtwtopJmd3mnsYyVyDvqzO8RrEgBsNzZFcRBMJhXGVlufbVpCHK4PA1l1YNZjBKPgzZUaXVoQm7YXIQEEQDPyZIYspJ0jVjzE-eh5BMvR/s1600/R-s.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjevixLglmojnEijiw-1_kRkRC8mg8UZlSDlIwUtwtopJmd3mnsYyVyDvqzO8RrEgBsNzZFcRBMJhXGVlufbVpCHK4PA1l1YNZjBKPgzZUaXVoQm7YXIQEEQDPyZIYspJ0jVjzE-eh5BMvR/s400/R-s.jpg" width="290" /></a></td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Lido, St Helier, Jersey<br />
Seating/step area – I think this one will get reprocessed before too long. Wonderful graphic shapes.</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjd4xTacv6TFXJKRmSFmCluiHvjzcIxiVIgco7V1x5u1xi-q3onsTdpXBx_qy7dkzEXppxYBITvWQJmf0VCSy7AEPRx-AQRFQy31KokaWMLyYVHQoqslVAFgr9Iz1rFtLfq6mjDF-w6pGhR/s1600/rail2as.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjd4xTacv6TFXJKRmSFmCluiHvjzcIxiVIgco7V1x5u1xi-q3onsTdpXBx_qy7dkzEXppxYBITvWQJmf0VCSy7AEPRx-AQRFQy31KokaWMLyYVHQoqslVAFgr9Iz1rFtLfq6mjDF-w6pGhR/s400/rail2as.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container"><tbody>
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<tr><td class="tr-caption" style="text-align: center;">Lido, St Helier, Jersey<br />
More graphic shapes and surreal hand rail disappearing into the water</td></tr>
</tbody></table></td></tr>
</tbody></table><b>Tip of the week</b><br />
Don't leave your camera in the hotel room. Trust me on this, it makes a difference. </div>Johnhttp://www.blogger.com/profile/01579816209067268666noreply@blogger.com0tag:blogger.com,1999:blog-8803271868058663457.post-52965648974230385272011-09-07T21:52:00.000-07:002011-09-07T21:53:31.293-07:00Jersey, The Channel Islands, 2011<div dir="ltr" style="text-align: left;" trbidi="on">Well you know what its like, 5:30am in a hotel room where you can't get the temperature right and its not your pillow, but ridiculously tired so know that if I don't get back to sleep I'll be zombied all day tomorrow. A chance to upload a few photos I took last night on my way back to the hotel from work. Its not a long walk, it took about 30 seconds in the pouring rain the night before - just long enough to get soaked to the bone it was raining so hard. But last night was the first chance I've had to get out with my tripod and take some shots of the buildings.<br />
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Here's one of the front of the Jersey International Business School where I'm working this week. It would be nice to use this in the prospectus for the following year, though that Jersey Marathon sign in the foreground is a potential problem. Maybe something photoshop could take a look at - its just a little high in the frame to be covered by a text box which will be placed on the page.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnl4h_vE9o8WUjNf5bgOb4tkPKntQy2VTHkV-pQfFM1ukyj-zSLhCw6NEsS3Yw1xuLMOU9gLBr65SkdcF2NiNaNDDrq-R9MiXZtrPLYcjR_0bej6UDjX09zVxSRiCz9fzFYOBOfYzHLs5P/s1600/jibs+night2s.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnl4h_vE9o8WUjNf5bgOb4tkPKntQy2VTHkV-pQfFM1ukyj-zSLhCw6NEsS3Yw1xuLMOU9gLBr65SkdcF2NiNaNDDrq-R9MiXZtrPLYcjR_0bej6UDjX09zVxSRiCz9fzFYOBOfYzHLs5P/s400/jibs+night2s.jpg" width="290" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Jersey International Business School<br />
3 seconds ƒ14</td></tr>
</tbody></table>A short walk across the boole park, the Royal Yacht Hotel with its distinctive lighting.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFk9__vbLxJzAbBzvFeAxK-et4J4hsJSMpbeCDINGVPLFU2QbKJFpXeabKRujopsn5JZwC1cjRu5y15g_vPhqjZ1HK6DN0MilWV5U_1H96vHEyiDft-NZG0SnD2mNSXrpwHE0OlvI5aLVi/s1600/the+royal+yacht+-+jersey-as.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFk9__vbLxJzAbBzvFeAxK-et4J4hsJSMpbeCDINGVPLFU2QbKJFpXeabKRujopsn5JZwC1cjRu5y15g_vPhqjZ1HK6DN0MilWV5U_1H96vHEyiDft-NZG0SnD2mNSXrpwHE0OlvI5aLVi/s400/the+royal+yacht+-+jersey-as.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Royal Yacht Hotel, Jersey<br />
I can't remember and too tired to look up the exif, but I think this one was about 15 secs ƒ14</td></tr>
</tbody></table>This next one is about 5 images combined in photoshop. The exposure was too short to get enough car lights, but using layer modes makes it easy to combine the lights from different shots all taken from the same locked tripod.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfpDzVaFQxF_Cn_TEo4UYLWfJDMA6jZTEaB4dw9XZr2bwDhul_CZ6iB3GAYw-qoDa78MeC0UHp3Zh10dR-QVpnz8BbOT-AasiXK113CeXZwcyGHgdgMq4B-JRMPvzkyhsqbQViRvTjob23/s1600/crossing-s.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfpDzVaFQxF_Cn_TEo4UYLWfJDMA6jZTEaB4dw9XZr2bwDhul_CZ6iB3GAYw-qoDa78MeC0UHp3Zh10dR-QVpnz8BbOT-AasiXK113CeXZwcyGHgdgMq4B-JRMPvzkyhsqbQViRvTjob23/s400/crossing-s.jpg" width="290" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Crossing, Jersey</td></tr>
</tbody></table>One of the cars must have been changing lanes, giving a nice swirling streak.<br />
<div><br />
</div><div>I'm staying at the Pomme D'Or - nice food!</div><div><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggpQ_pugVBbNv8sA7y2eprGQsyhTyHLDgmZVHSBYJREosGSgfgP7udFTSjYKbRAZb_YcxTlBdPbRfJ-93eCSI1f-JNsM_46cjRdRvyBmhXkHjVeOYfYW1fcIFTGRdhgNk7LGGP1UhFx6Ts/s1600/pomme+d-or+2s.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggpQ_pugVBbNv8sA7y2eprGQsyhTyHLDgmZVHSBYJREosGSgfgP7udFTSjYKbRAZb_YcxTlBdPbRfJ-93eCSI1f-JNsM_46cjRdRvyBmhXkHjVeOYfYW1fcIFTGRdhgNk7LGGP1UhFx6Ts/s400/pomme+d-or+2s.jpg" width="290" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Pomme D'Or Hotel, Jersey</td></tr>
</tbody></table>The sky colour had gone by this shot, but I like the canopy so worth taking.<br />
<div><br />
</div><div>And a few in daylight. </div><div><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcL5d05ViogXzUS_w0G4ArmYqTJ4poCbHI_iTbIAY4neXSJxE7szR0TOhdGef_WHOqEiTyIilHABsywxYR9biFNclAvGw9qmUgplautFYxQbJm0wmRuU6PnCX65CZk5BNL4ErrbNhy-hOm/s1600/roof-s.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcL5d05ViogXzUS_w0G4ArmYqTJ4poCbHI_iTbIAY4neXSJxE7szR0TOhdGef_WHOqEiTyIilHABsywxYR9biFNclAvGw9qmUgplautFYxQbJm0wmRuU6PnCX65CZk5BNL4ErrbNhy-hOm/s400/roof-s.jpg" width="290" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Roof, Jersey</td></tr>
</tbody></table>Not a shot that the tourist board would commission, but the obvious textures and distant dockside development was irresistible.<br />
<div><br />
</div><div>This final shot is a building that I photographed last December but struggled to get anything worthwhile. On my walkabout on Sunday the bright sun created a streak of light which crosses the yellow line by the side of the road. My original intention was to go starker, but the balance on this version seemed about right, keeping some of the surrounding texture. </div><div><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvpJ9AzIF8m9MKUpWzXjBOuARYViwHdKdbmxgFjApnIcxCuiF4Q1H54cQM0R2FgIwLS0lQCgcFGGpmkZqoZL8ZgQSuoMscUw19vjzX5aLiYbwAt7Tuw-W1X_8iOKUyhWa_8DOgEuZ5oM7a/s1600/jersey-dot-com-s.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvpJ9AzIF8m9MKUpWzXjBOuARYViwHdKdbmxgFjApnIcxCuiF4Q1H54cQM0R2FgIwLS0lQCgcFGGpmkZqoZL8ZgQSuoMscUw19vjzX5aLiYbwAt7Tuw-W1X_8iOKUyhWa_8DOgEuZ5oM7a/s400/jersey-dot-com-s.jpg" width="290" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Jersey.com</td></tr>
</tbody></table><div><br />
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</div></div></div></div></div></div>Johnhttp://www.blogger.com/profile/01579816209067268666noreply@blogger.com0tag:blogger.com,1999:blog-8803271868058663457.post-47139945694268123252011-09-03T16:17:00.000-07:002011-09-03T16:17:44.756-07:00Congratulations Elaine and Alan<div dir="ltr" style="text-align: left;" trbidi="on">Its late, I've had a long day, and I fly to Jersey tomorrow for the week (and haven't packed yet). But I've got to post some of my fave shots from today's wedding shoot for Elaine and Alan.<br />
<br />
The weather has been far from ideal, that fine rain which refuses to stop, or let the sun shine through, or allow you to see the other side of the bay. In fact, my fave kind of landscape photography weather. However, it wasn't ideal for a wedding with little light and little chance of going outside unless you didn't mind a bit of the wet stuff.<br />
<br />
What a great crowd of folk. They had one aim today, and that was to enjoy a great wedding at the Greythwaite Hotel here in Grange over Sands. Enough of the chitchat, on with the shots. I seem to be working from the back to the front, I haven't reached the ones of the service yet! All clickable to see larger.<br />
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</div>Johnhttp://www.blogger.com/profile/01579816209067268666noreply@blogger.com0tag:blogger.com,1999:blog-8803271868058663457.post-28851867063687415472011-08-29T08:22:00.000-07:002011-08-29T08:22:00.652-07:00Devils Bridge, Ribblehead and Malham<div dir="ltr" style="text-align: left;" trbidi="on">Alexring, a photographer friend from Greece, has been visiting the UK over the past fortnight. We met up at either end of his holiday to meet his family and spend some time in the Lakes, showing him some of the best bits. They then carried on up to Scotland for a tour of the Highlands and Northwest Coast, before stopping off with us on their return to catch flights home. This was a good opportunity for us to meet up with <a href="http://www.ianbramham.com/">Ian Bramham</a> for a day's photography.<br />
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Devils Bridge is only 35 minutes away. A picturesque location which is worth a stop whatever the weather. Last time I visited was after heavy rain in the springtime, all three arches of the bridge had water flowing through and most of the trees were stood in the water. Yesterday's water level must have been about 10 feet lower, the water quite calm.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSdM9iM97VHzstcFU9IChqtU6dMw_vs8Gw_7CD-y95eam28xPj2iYvZeIx7ziBIW0SRo5yRE-RUQiiovKteS5ZtGAAgJEAUkHMgYeUc5rvdws6_8fAXFoCv2kdHnTDDilXVEj5Pw_qyUJH/s1600/devils+bridge-as.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="287" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSdM9iM97VHzstcFU9IChqtU6dMw_vs8Gw_7CD-y95eam28xPj2iYvZeIx7ziBIW0SRo5yRE-RUQiiovKteS5ZtGAAgJEAUkHMgYeUc5rvdws6_8fAXFoCv2kdHnTDDilXVEj5Pw_qyUJH/s400/devils+bridge-as.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Devils Bridge, Kirkby Lonsdale<br />
30 seconds ƒ15, 10.5mm</td><td class="tr-caption" style="text-align: center;"> </td><td class="tr-caption" style="text-align: center;"><br />
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The clouds were moving rapidly, yet the sheltered stretch of river was relatively calm. A 10 stop ND filter helped to smooth the water more and capture a hint of the cloud movement.<br />
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Ribblehead Viaduct is a well known landmark on the Settle to Carlisle railway line. It crossed a wide valley in the centre of the triangle of mountains, Inglebrough, Wernside and Pen-y-ghent. A time check and feeding station is set up here on the Yorkshire 3-Peaks race, a chance to top up before the demanding climb up the steepest approach to Wernside. Its also rather photogenic, the colossal structure stands out for miles. A lot of people think its the location used in the Harry Potter films, but that's a more curved viaduct up at Glen Finnan in Scotland.<br />
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Once more, the rapidly changing cloud was there to be exploited. I set up in a high vantage point that gave a good view along the length of the bridge, the bright sun casting long shadows of the arches.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7rLLUD-3jIWfn8o4FvDukxE6JZnzWPXaERdtXCZvJMNIK5mDqmjX19mLtK3F6tgMJrLmMc1U-GnWCtWynknIROBHzbi6r45zfAm47sMb6OGV9TODI7w3HAhaOq3YB5Sn_-ADZ6SkcUteN/s1600/arches.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7rLLUD-3jIWfn8o4FvDukxE6JZnzWPXaERdtXCZvJMNIK5mDqmjX19mLtK3F6tgMJrLmMc1U-GnWCtWynknIROBHzbi6r45zfAm47sMb6OGV9TODI7w3HAhaOq3YB5Sn_-ADZ6SkcUteN/s400/arches.jpg" width="290" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Arches, Ribblehead<br />
1/400th ƒ7.1 70mm</td></tr>
</tbody></table>There's a small spec on the ground about five arches from the far end - that's Ian giving the photo a bit of scale! I'd been working mainly with the Sigma 10-20mm, but this was an ideal situation to put on the 70-200 zoom and crop right into the abstract nature of the shadows.<br />
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But the sky was too good not to use as a feature in some shots, so the 10-20 went straight back on the camera for most of the day.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLHJp8johEElOlmBrjX4zMVWYtun1soUcGVz0M1RiadUXbEknQnFFo9dus3GQv_6Dgp5soUue-CE23WCYzXcT5YxZMinKOMJ4n_JWFeIS6StV3u0y5bII2rqkgbbP8xMWUfjULRcjQJ3yr/s1600/ribblehead2s.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLHJp8johEElOlmBrjX4zMVWYtun1soUcGVz0M1RiadUXbEknQnFFo9dus3GQv_6Dgp5soUue-CE23WCYzXcT5YxZMinKOMJ4n_JWFeIS6StV3u0y5bII2rqkgbbP8xMWUfjULRcjQJ3yr/s400/ribblehead2s.jpg" width="290" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Path, Ribblehead</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWA5PaTEuUW9-OGB7njbZ1Lt4QWAoopPeezLL6mr3tsclCaQNDhDfiP5n_nSfFg3NWE1JNHBtClTeXSMvVRIZN7-ThyNynS5LXZHozteBMTbqkIMu5-nht4cmpKw69Z7pMDn8fAW67cyNx/s1600/ribblehead3s.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWA5PaTEuUW9-OGB7njbZ1Lt4QWAoopPeezLL6mr3tsclCaQNDhDfiP5n_nSfFg3NWE1JNHBtClTeXSMvVRIZN7-ThyNynS5LXZHozteBMTbqkIMu5-nht4cmpKw69Z7pMDn8fAW67cyNx/s400/ribblehead3s.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Cloud, Ribblehead</td></tr>
</tbody></table>I keep returning to this one, feeling its just a bit too dark overall. Its one of those shots I'd like to retake as the cloud was such a great shape and in a fairly good location relative to the bridge. I would have like to stand about 70 feet in the air and closer to the arches... but that wasn't an option.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibu5-ocfaDZxzDFCDaYZB_yK9PMTLXzKDnYdJax4PJPSiRmQkYzwwc0qDldz7qoXynx6juSrkd_b6S_kwyJXceqDlR2GbpX62ud72JEmSjKf2tKMy831fqwCVNLmtSCEJciXjQUnqll9Sw/s1600/malham+thistle-s.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibu5-ocfaDZxzDFCDaYZB_yK9PMTLXzKDnYdJax4PJPSiRmQkYzwwc0qDldz7qoXynx6juSrkd_b6S_kwyJXceqDlR2GbpX62ud72JEmSjKf2tKMy831fqwCVNLmtSCEJciXjQUnqll9Sw/s400/malham+thistle-s.jpg" width="290" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Thistle, Malham Cove</td></tr>
</tbody></table>A large thistle plant as we approached the cove. A tricky one to process, but fits into my trees and rocks series.<br />
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After the cove we went round to marvel at Goredale Scar. It must be one of the trickiest features to photograph, a deep gorge with a waterfall at the bottom. The dynamic range is way beyond my camera, but the gorge is very narrow so grads would be of no benefit at all. Well, it was the end of a long day, so just a few fun shots before saying our goodbyes and heading off for home.<br />
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An enjoyable day, always fun to work alongside other photographers and see them in action. Alex was very patient, working out a shot and then waiting the the cloud to eventually clear from the sun so the subject would be picked out. Ian spent some time with his long lens shooting distant walls, which looked promising, and later, trees on the horizon - which looked like nothing at all to me! I look forward to seeing is he got anything from them, which will not doubt leave me kicking myself that he found something I missed :~)</div>Johnhttp://www.blogger.com/profile/01579816209067268666noreply@blogger.com0tag:blogger.com,1999:blog-8803271868058663457.post-30748194046523321042011-08-16T03:21:00.000-07:002011-08-16T03:21:31.774-07:00Runner up, Practical Photography Photographer of the Year 2011<div dir="ltr" style="text-align: left;" trbidi="on"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGF1i7A-MMe0WkPxBQE-Uc8bER3nIzgp7JzYVbwJrbd5arqq7NoobTG1D_8ieqrCi_9bQzFvFYABMMQStDdu3vRU6_PvHTefb-uQB5T6kk2v8Oewkhd3Ilf7p5LY72K8QHnkJfPdLBn2gC/s1600/alium-a500.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGF1i7A-MMe0WkPxBQE-Uc8bER3nIzgp7JzYVbwJrbd5arqq7NoobTG1D_8ieqrCi_9bQzFvFYABMMQStDdu3vRU6_PvHTefb-uQB5T6kk2v8Oewkhd3Ilf7p5LY72K8QHnkJfPdLBn2gC/s400/alium-a500.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Allium Seedhead<br />
Runner up, Practical Photography Photographer of the Year 2011, Flora and Fauna round</td></tr>
</tbody></table><br />
I'm pleased to have won a runner up prize in the Flora and Fauna round of the Practica Photography POTY competition. I took this image a few weeks ago with the competition in mind. Allium seed heads are a great subject, I love the dynamic graphic form - the kind of subject that inspires <a href="http://www.angielewin.co.uk/" target="_blank">Angie Lewin</a>'s wonderful printwork.<br />
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I photoraphed some fennel heads last year and found they worked far better in negative than positive, the interesting part being that they didn't appear to be negative at all. This was in part due to me using my dark coat as a dark backdrop to the well lit subject. When changed to negative my coat reversed to a bright background which worked better with fine (now dark) detail of the plant.<br />
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However, when I reversed the Allium the result was quite different, it didn't really work. My next step was to experiment with the blending modes using layers for the negative and positive versions in photoshop. When set to 'lighten' only the highlights from the negative show in the combined image. This creates a kind of solarization and made the Allium seeds look more like the moist sticky bobbles reminiscent of those on Honeydew plants.<br />
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Having recently flung my graduated filter holder into the harbour at Honfleur (fumbled is a more accurate description) it should prove relatively easy to spend the prize money!</div>Johnhttp://www.blogger.com/profile/01579816209067268666noreply@blogger.com2tag:blogger.com,1999:blog-8803271868058663457.post-31529318837710237762011-08-11T15:05:00.000-07:002011-08-12T06:51:14.737-07:00Dawn, Mont St Michel<div dir="ltr" style="text-align: left;" trbidi="on">The only advantage to setting an alarm for 5am is that I'm far too tired to question it. All my gear was ready, so I threw on some clothes, no doubt inside out and back to front, then out into the first light of the day. It was clear that there weren't going to be any spectacular dawn colours, but the soft diffused light was now from the opposite side so would reveal a different character and more surface detail then the previous night. The main floodlights had been turned off giving lesser lights more status.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEity730Xr5vEuuw71QKwbRoPdkzfno21KR8xdQiXsAveIO_ZAbif3wrnWRheGWV9alcKn_P-xFAIJVTvT-zFulR6rEFYosA8tWw76g4DLVSPXappAPnXZM2VIbWVAi4ud57AIn2jLq2UnrB/s1600/mont+st+michel+dawn1s.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="287" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEity730Xr5vEuuw71QKwbRoPdkzfno21KR8xdQiXsAveIO_ZAbif3wrnWRheGWV9alcKn_P-xFAIJVTvT-zFulR6rEFYosA8tWw76g4DLVSPXappAPnXZM2VIbWVAi4ud57AIn2jLq2UnrB/s400/mont+st+michel+dawn1s.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">First light, Mont St Michel, 60 seconds @ f8</td></tr>
</tbody></table>The best part about dawn shoots is having more room to work. Even at such popular spots there are generally few people around. Perhaps the other photographers put one eye to the window and decided there were no fireworks to shoot, so rolled over and retuned to the land of zeds. I took the opportunity to walk around more, get up close to the buildings, and walk around on the causeway. It was on there that I found the ingredients for my almost posterised style of shots that I've used for several subjects including the <a href="http://johnleechstudio.blogspot.com/2011/08/return-from-france.html">American Cemetery of Omaha</a> and <a href="http://johnleechstudio.blogspot.com/2011/06/ghostly-yew-trees-above-grasmere.html">Ghostly Trees above Grasmere</a>.<br />
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Here's one of my favourite shots from the holiday. Aperture cranked right down to f16 to open up the DOF. Cars were already starting to appear, but plenty of time to experiment with a few compositions using the road markings. I'd been up and about for a couple of hours, so headed back to the van and see if there were any zeds left in there for me.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgAU_KiesozgNw2hmw_ZWPPP2h7eh1KSJTD1qF17vhij5eZ9uJjNRSGK83zk84toXyutix3X_Sg2U-qgdLUdcxV5iHwu-yYRWYjc7gh8TNVRk5JNzmHdk4V0nr88Uz0OjcRGriO-bMN0b6/s1600/mont+st+michel+curve-as.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgAU_KiesozgNw2hmw_ZWPPP2h7eh1KSJTD1qF17vhij5eZ9uJjNRSGK83zk84toXyutix3X_Sg2U-qgdLUdcxV5iHwu-yYRWYjc7gh8TNVRk5JNzmHdk4V0nr88Uz0OjcRGriO-bMN0b6/s400/mont+st+michel+curve-as.jpg" style="cursor: move;" width="290" /></a></td></tr>
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<tr><td class="tr-caption" style="font-size: 13px; padding-top: 4px; text-align: center;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">Curve, Mont St Michel, 1/8th sec @ f16</div></td></tr>
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</tbody></table></div>Johnhttp://www.blogger.com/profile/01579816209067268666noreply@blogger.com2tag:blogger.com,1999:blog-8803271868058663457.post-58138217118269990412011-08-11T14:35:00.000-07:002011-08-11T14:49:17.604-07:00Mont St Michel<div dir="ltr" style="text-align: left;" trbidi="on"><div class="separator" style="clear: both; text-align: center;"><br />
</div>Our French holiday had two main targets, Mont St Michel and a garden in the Loire. Due to a technical hitch we decided not to push our luck and head too far south, but Sue would have had to drag me kicking and screaming back to the ferry had we missed out the Mont.<br />
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We got the first glimpse from miles away. The late afternoon sun was backlighting the area giving a clear silhouette. A brief stop for a token long shot, which amounted to nothing, then finally onto the causeway. Campervans filled a large area to the side of the main carpark, and for €12 sounded like unbeatable value for a full day's parking and an unbeatable breakfast view!<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj33u91UnFkVAxugP8kWt5UwDuWZNFoxnmx2sFLyLev5q4zJr4i7tnD8Ou_h-vsXFxzr6eSBaGVlh1sjg2bC8NuLfmDQnaxiWtm2CZtcWcMsLZ6AIpU355dx_2Oyo49ap3kxiRDwNwiq4CA/s1600/the+green+machine+at+mont+st+michel.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="287" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj33u91UnFkVAxugP8kWt5UwDuWZNFoxnmx2sFLyLev5q4zJr4i7tnD8Ou_h-vsXFxzr6eSBaGVlh1sjg2bC8NuLfmDQnaxiWtm2CZtcWcMsLZ6AIpU355dx_2Oyo49ap3kxiRDwNwiq4CA/s400/the+green+machine+at+mont+st+michel.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Breakfast view, Greeny parked opposite the Mont</td></tr>
</tbody></table>The sky was lacking, I'd far rather have had a more threatening bank of clouds to work with - but as the evening developed I was able to take several long exposure shots with changing light and the tide flowing from the inlet by the parking area.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNBV5L3dhYxvp2EHaIKfP-ezClg5TVDVSYfxPnEwJ-Kw43jPeF_bJYTchYWJTXxSGXnhyphenhyphenkrZWZC94PphMVbo-PrKwJ-SQERiAHLJPWA4Gpu9gxEfEGXc7ve_AOLcbeMG6vUWSbjSmef9Rx/s1600/mont+st+michel+dusk3s.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNBV5L3dhYxvp2EHaIKfP-ezClg5TVDVSYfxPnEwJ-Kw43jPeF_bJYTchYWJTXxSGXnhyphenhyphenkrZWZC94PphMVbo-PrKwJ-SQERiAHLJPWA4Gpu9gxEfEGXc7ve_AOLcbeMG6vUWSbjSmef9Rx/s400/mont+st+michel+dusk3s.jpg" width="290" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Mont St Michel, backlit, 9 mins @ f10</td></tr>
</tbody></table>The exposures were looking fine on my LCD, but when I got home I found some were slightly under exposed, my processing brining out quite a lot of grain ~ I like a bit of grain! While taking my shots I became aware that there seemed to be little else but the Mont to actually photograph. It in the centre of a large empty plain - some trees way off to the west and distant headlands across the bay and a small island off to the east... then lots and lots of vehicles. It is inevitable that many shots would amount to similar compositions and content, so any variables such as water or cloud could make a large difference.<br />
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</div><div>The next shot was taken shortly after the sun had gone. The colours weren't as dramatic as this shot suggests, but recent experiments using LAB colour in photoshop have revealed all kinds of weird and wonderful effects! I'm quite happy with how this one turned out, the hint of inky blue to the top right retaining some sanity. </div><div><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwmFKsGt4ZFIU4XRd5rxGTx-mBy99hCgYFKy0G0gdB8YZLE5CGCdPt-s4wEEKWHTd1eAhBZVeVNBWiUo4wMOBrXFq5cHfTz8RtdA0hIDJGqihnGBQjLC8MkWTqG4ExzhvgQCgS6WFtmQbd/s1600/mont+st+michel+sunset-s.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="287" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwmFKsGt4ZFIU4XRd5rxGTx-mBy99hCgYFKy0G0gdB8YZLE5CGCdPt-s4wEEKWHTd1eAhBZVeVNBWiUo4wMOBrXFq5cHfTz8RtdA0hIDJGqihnGBQjLC8MkWTqG4ExzhvgQCgS6WFtmQbd/s400/mont+st+michel+sunset-s.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Sunset, Mont St Michel, 1/8th @ f14</td></tr>
</tbody></table><div></div><div><br />
It reminds me more of coloured glass than any sunset I've actually seen, not that the camera ever lies. The colours were far closer to the following shot taken 18 minutes later. The floodlights have been switched on, though there was still quite a lot of ambient light. My Cokin Grad have combined with one of my NDs to add a slight magenta cast to the sky..<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitETlIgvcG9Rys5ypBNjBoMR0e341A_gPKRc6KVb2_WvBbZkykNKDcIWQnhz9H4hgBngXy7JLNht6APl3vlQiAcWVYJEs12xwVaiGzxGAHVEm5pjDlkcpM-2n5BUv87DHOXJfvETj8GJxC/s1600/mont+st+michel+dusk4as.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="287" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitETlIgvcG9Rys5ypBNjBoMR0e341A_gPKRc6KVb2_WvBbZkykNKDcIWQnhz9H4hgBngXy7JLNht6APl3vlQiAcWVYJEs12xwVaiGzxGAHVEm5pjDlkcpM-2n5BUv87DHOXJfvETj8GJxC/s400/mont+st+michel+dusk4as.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Dusk, Mont St Michel, 30 seconds @ f7.1, 400iso</td></tr>
</tbody></table>Then finally into the blue hour (OK, blue 20minutesish).<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYSBW2C4NeDL_itrvUJB98j6-S2Hy3w-_Q6Ihs7Co6HEzo-ivlxGCQ0Tl_TGGbmbSFCN5Nb3u-0h2Zn2JMTNob_4GpsxiMyblSNzIq9G-LZE0tpLuqxULGVvbdC3RigvLNT3scukJKutek/s1600/mont+st+michel+dusk1s.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="287" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYSBW2C4NeDL_itrvUJB98j6-S2Hy3w-_Q6Ihs7Co6HEzo-ivlxGCQ0Tl_TGGbmbSFCN5Nb3u-0h2Zn2JMTNob_4GpsxiMyblSNzIq9G-LZE0tpLuqxULGVvbdC3RigvLNT3scukJKutek/s400/mont+st+michel+dusk1s.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Crossover light, Mont St Michel, 25 seconds @ f9, back to 200iso</td></tr>
</tbody></table>About 20 minutes later, taken at the end of crossover light. Enough sky colour to form a backdrop and enough ambient light to hold onto details in the foreshore. I moved around to experiment with the sandbanks combining with the reflections. Timing seemed awkward on location - trying to avoid car lights driving up to the causeway. I found them frustrating at the time, though the red tail lights work well. White headlights were not so good. I may have kept a 1 stop grad on the upper half to reduce the difference between the subject and reflection.<br />
<br />
This was one of the final shots of the night before setting my alarm for 5am, a few games of Boggle, then hitting the sack.<br />
<br />
<b>Hot tip</b><br />
Go to Mont St Michel!</div></div>Johnhttp://www.blogger.com/profile/01579816209067268666noreply@blogger.com0tag:blogger.com,1999:blog-8803271868058663457.post-15092742341280163412011-08-08T16:48:00.000-07:002011-08-09T02:21:18.011-07:00France 2011<div dir="ltr" style="text-align: left;" trbidi="on">Ah, the chance to get away from it all, have a quiet couple of weeks in France without a care in the world, and make up each day as we went along. Photography and painting were core activities and I will be adding a few pages to the blog when I get chance. So far I've processed a handful of photos but will keep this post short, dedicated to the American Cemetery at Omaha.<br />
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The scale of the cemetery seems endless, almost 10,000 soldiers are buried there. I've no idea how long our visit lasted, time stood still. Slowly walking among the graves - taking photos, sitting quietly - observing, reflecting. On one level, it is an amazing and beautiful site. The precision of the layout, the attention to detail and the immaculate tending by the small group of gardeners. On another level there's an ugliness (not the right word) that I can't escape. A powerful and moving experience, emotional, yet peaceful, very peaceful.<br />
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</div>Johnhttp://www.blogger.com/profile/01579816209067268666noreply@blogger.com1tag:blogger.com,1999:blog-8803271868058663457.post-45980890915363410762011-07-23T13:12:00.000-07:002011-07-23T13:13:16.318-07:00Wasdale – early morning mist<div dir="ltr" style="text-align: left;" trbidi="on">Having damaged my knee a fortnight ago I've not been doing any new photographs... so this 'latest' shot delves back to a week earlier. I took it on the way into Wasdale in the early hours, a fine mist covering the ground on some fields. This scene proved hard to resist, the fells around Wastwater dominating the backdrop and the subtle mist drifting across the field.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiy7pkL_UOGMfcDv5L-URKrfuXq5f5jglVGdDEHwFKBDXvR6n79t_MoNco5IW54dq8qvSXB7yRbWXM2j9LnSWPH1GVWlywNmwVve474HnOWObVk3zU8CCbJ_ItS3Nc2XqZuiBRCL_vC6ihA/s1600/wasdale+dawn+mist2gs.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="235" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiy7pkL_UOGMfcDv5L-URKrfuXq5f5jglVGdDEHwFKBDXvR6n79t_MoNco5IW54dq8qvSXB7yRbWXM2j9LnSWPH1GVWlywNmwVve474HnOWObVk3zU8CCbJ_ItS3Nc2XqZuiBRCL_vC6ihA/s400/wasdale+dawn+mist2gs.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Wasdale dawn mist</td></tr>
</tbody></table>Tripod mounted, half asleep, iso350(?) f8 or thereabouts, and a range of bracketed shutter speeds to cover the options as the foreground was pretty dark while the sky was getting brighter. Using the grads would have made sense, but I was keen to press on and decided the dynamic range was just enough to carry the shot through, or maybe bring in the sky from a darker exposure if I was struggling. The final photograph is from a single frame. Processing was difficult. Not so much technically difficult, but aesthetically difficult, deciding just how light or how dark, how subtle to keep it, how true to the conditions.<br />
<div><br />
</div><div>Staying true to the conditions is impossible with a range of light like this. The eye compensates for all the differences on location, so staying true involves interpretation. Black and white conversions are all an interpretation in any case - and the final twist is that I can't really remember just how it was anyway. However, this first version (actually version (f) in a series of attempts) does give the feel of the depth and range of light from the day. </div><div><br />
</div><div>I was pretty pleased with that one, until the next morning when I found it a bit flat. A chance to have a play and see what would happen with some extreme treatment. Multiple layers, each taking it a step further than the last, each one making it more extreme. Pushing subtle images soon starts to break them down and bring out noise and grain. This was exaggerated by the initial exposure being made at iso350, and the fact I was working with an 8-bit jpg file. </div><div><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoBAl2ps_vVS-LPMyv00EaUOUvpChvV4UWgZr-me32ac2Yl86mEjayp7DZkTlwhC_rwU3S3-8eyjGSfwqRSMST8qA_zGP30CgfN6oQ904Z16ADXOR9usldvpZ9XR4plnL9hGigno9Ku3tJ/s1600/wasdale+dawn+mist2aas.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="235" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoBAl2ps_vVS-LPMyv00EaUOUvpChvV4UWgZr-me32ac2Yl86mEjayp7DZkTlwhC_rwU3S3-8eyjGSfwqRSMST8qA_zGP30CgfN6oQ904Z16ADXOR9usldvpZ9XR4plnL9hGigno9Ku3tJ/s400/wasdale+dawn+mist2aas.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Wasdale Dawn, Study 2</td></tr>
</tbody></table>The fun part was giving the photograph the feel of a Japanese wood block. The not so fun part was revealing the limits of the 8 bit jpg, giving an awkward stepped appearance to the two distant peaks (click on it to see an enlarged view). Without the banding I'd see this version as quite successful, but with it I have to acknowledge that its not acceptable - and going back to square one to reprocess the original NEF gave a totally different look and feel. I'll give it another go at some stage to see if I can make it work, but in the meantime its a food for thought image that will feed back into future shots and processing. </div><div><br />
</div><div>The good news is that my knee is starting to work again, good enough to get me out again and take some new photos.</div></div>Johnhttp://www.blogger.com/profile/01579816209067268666noreply@blogger.com0tag:blogger.com,1999:blog-8803271868058663457.post-66749046686451303222011-07-16T03:20:00.000-07:002011-07-17T02:36:25.795-07:00PP – back to that tree at Hawes End, Derwent WaterI'm still working on the shot I took last week at Hawes End (so don't expect a grand conclusion). The shot I went there to take, or at least the tree I went there to take. I took several shots of it, working on the composition, exploring possibilities whilst slowly getting wetter in the rain. The setting is quite complex, so many rocks lying around, the small island in the background and the distant peaks. There are so many possibilities, the struggle being to get a balance between all the separate elements. I was keen to get the whole tree in the shot in a way that featured those amazing roots, but in doing so I had to make a decision on the left hand rock, distant rocks and the key relationship between the tree and island. Here's what I've decided was the best combination, this first version being straight out of camera with no processing. Its actually the adjacent frame to my finished photograph, but same settings. The colour version shows the potential in the sky for a black and white conversion, the quality of the light being far from ideal for a finished colour photograph.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9w2p2YT4xVHCmk1J4X5jcBPfUpp1JsovNX642qBoE5emUcFroWReCOZgnB4eRTyKFzxBV-L_uaYZNvCsnxWTBC3FVWj2qhtVXTWjviFMT6EUc-DcYn_yFUgXKlhrHhGz-vjnEjjosbASO/s1600/derwent+water+-+hawes+end+tree-up.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="287" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9w2p2YT4xVHCmk1J4X5jcBPfUpp1JsovNX642qBoE5emUcFroWReCOZgnB4eRTyKFzxBV-L_uaYZNvCsnxWTBC3FVWj2qhtVXTWjviFMT6EUc-DcYn_yFUgXKlhrHhGz-vjnEjjosbASO/s400/derwent+water+-+hawes+end+tree-up.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Hawes End, Derwent Water - unprocessed<br />
1/3rd @ f9, 2 stop ND grad</td></tr>
</tbody></table>The sky to the left is ever so slightly blown even with the ND grad, but as shown in the straight black and white conversion below this was easily brought within tolerance using ACR. I also used ARC to correct lens distortion. The slight barrel distortion of the 17-55 was of no concern for this landscape photograph with no real perspective, but I habitually use lens correction to remove any chromatic aberration. If left unchecked, this can cause problems with detail then converting to greyscale as the fringes create outlines. Vignetting, I sometimes leave that on the ACR defaults, but often cancel its corrections, preferring to keep the natural vignetting of the lens.<br />
<div><br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTomhptaB9R4QC3uVPdL8-jnhe7U8KBFNJbR7vHDxSYZODcaL7v-nNhxGdOpXwgFUxkqT7PoRuKmYXvkCXm9rBJsznaCo8Au8EfhF7YjbaVKqyBz7w8KpxlTl8mwhQEUk3992nLupjIgs8/s1600/derwent+water+-+hawes+end+tree-ups.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="287" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTomhptaB9R4QC3uVPdL8-jnhe7U8KBFNJbR7vHDxSYZODcaL7v-nNhxGdOpXwgFUxkqT7PoRuKmYXvkCXm9rBJsznaCo8Au8EfhF7YjbaVKqyBz7w8KpxlTl8mwhQEUk3992nLupjIgs8/s400/derwent+water+-+hawes+end+tree-ups.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Hawes End, Derwent Water<br />
Distortions corrected using ACR then conversion to greyscale using photoshop converter</td></tr>
</tbody></table><div>I used the slightest touch of highlight recovery to retain the sky and a hint of shadow fill for the dark leaves. The greyscale conversion barely touched the sliders. The yellow was increased a fraction, but for cloudy images I find I have to be very careful with the cyan and blue sliders as both can lead to ugly blotchy noise in the final image. Grainy noise isn't a problem, I like that, but blotchy noise looks like an ancient print that has been stored in poor conditions and started to go mouldy.<br />
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<b>Working on the final image</b><br />
<br />
Black and white manipulation is easy - there are only three things you can do, you either make pixels lighter, darker, or leave them be. Its just that simple matter of which ones to make lighter or darker... or not.<br />
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The straight conversion is obviously very flat, yet a good tonal range overall. People so often say that a good black and white conversion contains a solid black and a solid white - I find that a bit blinkered, but in this case it holds true. The image splits into three simple areas, sky, subject, foreground, each of which need different treatment. Giving the sky a quick kick was the first step - duplicate layer, use curves for more contrast, add a quick mask with a graduated fill to blend this into the image.<br />
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Second, the tree itself - this breaks into two very different areas, so a layer for each, working on the separate needs of the dark leaves and the brighter roots.<br />
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Finally, the foreground. The flow of energy in from the roots on the right plus how to handle the rock on the left being the main problems.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhT1iF9j5BH4KC-Aiv_awgjooVnWvnrV33e_WXX_iWnw1Vi7XmsScphBYY0b3dhQAsrcwrhyphenhyphen0kDmZfpQfNoJ-gwBC9sAORespvtEt77hU0ctVDMx0LGzv_QAaDMESbrzhyphenhyphen_eGBLyUt0kGEw/s1600/derwent+water+-+hawes+end+tree-as.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="287" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhT1iF9j5BH4KC-Aiv_awgjooVnWvnrV33e_WXX_iWnw1Vi7XmsScphBYY0b3dhQAsrcwrhyphenhyphen0kDmZfpQfNoJ-gwBC9sAORespvtEt77hU0ctVDMx0LGzv_QAaDMESbrzhyphenhyphen_eGBLyUt0kGEw/s400/derwent+water+-+hawes+end+tree-as.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Hawes End, Derwent Water - first interpretation</td></tr>
</tbody></table>Ideally I'd have liked to take the image in the direction of the trees I shot over Grasmere, stark treatment to the roots, dark mysterious treatment to the other regions. But this composition is very different and the contextual areas need to have more say. The lighting is also a major factor in the differences. After looking at the first conversion (a) I then worked more on the photograph - the first one is too strong on the roots, the island is insignificant, the sky very heavy and the foreground area is drab.<br />
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I saved versions up to (e), each subtly different, before taking stock of the set. I do this using Adobe Bridge, its easy to display the set of images full screen, flicking between them and comparing areas. Its an interesting exercise, watching how the emphasis shifts and in some cases jumps between the different conversions. My (c) and (e) conversions showed promise, so I opened these as two layers in a new photoshop file and worked between the two to create this - currently my final version.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPeImiKwDEFsziq-g8ANsOavzsW0y6eV7zLkFjiQbLKHjg-9wVo8Lf63OIX0Vt9PO4dpHT4WBeqtl6nfBCAEUot-PFvwoz1qhhrm3kZcpDh2o4K4__i7rVsfBMdP6ZWRxXAo5JkraYcQ5I/s1600/derwent+water+-+hawes+end+tree-c2s.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="287" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPeImiKwDEFsziq-g8ANsOavzsW0y6eV7zLkFjiQbLKHjg-9wVo8Lf63OIX0Vt9PO4dpHT4WBeqtl6nfBCAEUot-PFvwoz1qhhrm3kZcpDh2o4K4__i7rVsfBMdP6ZWRxXAo5JkraYcQ5I/s400/derwent+water+-+hawes+end+tree-c2s.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Hawes End, Derwent Water – Version (g)</td></tr>
</tbody></table>The main differences between (a) and (g) are the peripheral elements. The sky is similar, but the area to the right brightened, the island and water around it is reworked, then the whole foreground is completely reworked, making more of the textures in the grass and giving the rock more status.<br />
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I'm reasonably pleased with this version, but I do think the photograph has more potential. I will return to it at a later date, possibly taking it in a completely different direction. The subject is a real gem, my current thinking is to get back there and explore it further, and ideally see it in different lighting.<br />
<br />
Edit: Following Matt's comment and preference for the colour version I've had another look at my black and white conversions. Here's version (h), playing down the sky more with the intention of bringing the emphasis back to the main subject. It has a lighter, more airy feel.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhl_WItcgb83ZrKZyn0VQ4Gbxmk6btO8EtUaSIjnnj9Ffl5Neq4Tu1mIqwZ0Td7e2h202S3I3kaLcWwmMb93fQm7fmnUxzo0bDQsuSGD4XJ622rXFhYdVgHPqNjmkWOh96M_AislWf0g0U5/s1600/derwent+water+-+hawes+end+tree-hs.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="287" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhl_WItcgb83ZrKZyn0VQ4Gbxmk6btO8EtUaSIjnnj9Ffl5Neq4Tu1mIqwZ0Td7e2h202S3I3kaLcWwmMb93fQm7fmnUxzo0bDQsuSGD4XJ622rXFhYdVgHPqNjmkWOh96M_AislWf0g0U5/s400/derwent+water+-+hawes+end+tree-hs.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"> Hawes End, Derwent Water - Version (h)</td></tr>
</tbody></table><br />
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</div></div>Johnhttp://www.blogger.com/profile/01579816209067268666noreply@blogger.com2tag:blogger.com,1999:blog-8803271868058663457.post-35095918385191206312011-07-15T06:33:00.000-07:002011-07-15T09:56:55.711-07:00Always carry your camera with you...I'll keep this one brief.<br />
<br />
Photography is full of well meaning advice, but that one is about as useful as being told never to run with scissors in your hand. Its just someone being smart after the event.<br />
<br />
Although I usually make a point of taking my camera with me when going out for walks, there are times when I enjoy leaving it behind. I get that wonderful sense of freedom. Yes, countless shots come at me from all directions, but so what? Yup, leave the camera at home and I guarantee that Krawatoa will erupt, and just watch as those vildebeeste swarm by - but lets face it, had you had the camera to hand you'd no doubt be so focused photographing a bumble bee hovering on a piece of clover that you'd have missed all these other things anyway.<br />
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There are times when I see more for not having a camera weighing on my mind - so hopefully increases my awareness for the next venture...Johnhttp://www.blogger.com/profile/01579816209067268666noreply@blogger.com1tag:blogger.com,1999:blog-8803271868058663457.post-85803916145840812042011-07-15T01:30:00.000-07:002011-07-15T10:57:59.766-07:00Photography competitionsThe great unknown - what happens to a photograph once you enter a competition.<br />
<br />
I've entered a few, and enjoyed some success. In the early days I didn't get anywhere at all, but kept plugging away realising that my standard wasn't good enough or my photograph not unique in any way. My first success came from Coast Magazine. There were 4 categories, each based on the British Coastline, so I entered a photograph into each. For three of the categories I tried hard to second guess what the judges would be looking for, in the last, I thought what the hell, I'll put in a shot I like.<br />
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Excitement grew when I received an email to say that shot had been shortlisted and the overall winner would be revealed in the March issue of the magazine. Three months to forget all about it, but when the magazine dropped through the letterbox the tension and excitement was running high. I eventually got to the right page to find my photo spread right across - top spot!<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSEvK35GdcE_ckggHZDbHAoq8bwuhOasFArXpb4_aL-EiU6W8OzIgQAQ0NivBTIP2SO8IiXAWUKgYuLliC8Qm39csNBAaeICEs8bbMCY3OFT8csdTZoae-5VwQSUm75AeRfkKnbSlScIb6/s1600/weather-arnside+knot-s2s.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="285" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSEvK35GdcE_ckggHZDbHAoq8bwuhOasFArXpb4_aL-EiU6W8OzIgQAQ0NivBTIP2SO8IiXAWUKgYuLliC8Qm39csNBAaeICEs8bbMCY3OFT8csdTZoae-5VwQSUm75AeRfkKnbSlScIb6/s400/weather-arnside+knot-s2s.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Mist over Arnside Knott<br />
Overall winner of the Coast Magazine photography competition 2009</td></tr>
</tbody></table>I was obviously very pleased to have won (the prize was a 3 day workshop with Joe Cornish) - though also surprised that they went for such an interpretive image, I was sure they'd go for something more predictable. The result gave me more conviction in continuing creating personal images, and also entering them in further competitions.<br />
<br />
Competition success rate is low, and at times can be frustrating. When I see other winning entries it is usually obvious why they won, then on some competitions I think 'What?' But that's all part of the excitement. Part of what encourages me to enter more. Competition is good. Although I rarely go out with any particular competition in mind I do try harder because of them, exploring subjects more, searching for that extra something, and in most cases I end up reprocessing my photograph. But here's the key part for me, I don't want to compromise my ideals, I no longer try to second guess the judges. If they don't like my photograph, then they don't like it - I'll pause to contemplate, but if I still believe in the image and another appropriate competition comes along I will try it again (and have done with some success). Here's a shot that didn't make it in a recent competition. A nostalgic shot for me what I enjoyed shooting and processing, bringing back memories of a Monstera plant we had at home, fondly referred to as the Monster.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7bwqUQfHCIlHojFo8orFbnJGihd8HXR3WtO6iHjXUemp-u8Tap5rvyBeYmsligyGi78eHbsi5OfzxSjGdsBoB115LQu1PWgdwZTLr2Blm2pQSWxwar317mF5Mu77F_HIEhb8lFhr0qOYQ/s1600/monster-s.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7bwqUQfHCIlHojFo8orFbnJGihd8HXR3WtO6iHjXUemp-u8Tap5rvyBeYmsligyGi78eHbsi5OfzxSjGdsBoB115LQu1PWgdwZTLr2Blm2pQSWxwar317mF5Mu77F_HIEhb8lFhr0qOYQ/s400/monster-s.jpg" width="290" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Monstera Delicosia - The Monster<br />
Unsuccessful competition entry</td></tr>
</tbody></table><br />
At the presentation for Coast magazine the manager from Corbis told me that the second place image was a great photo, but they see 20 similar shots of that same view every day. Winning shots are generally unique, different from the rest. Competition has certainly pushed me harder and raised the level of my game, and it is great fun taking part.Johnhttp://www.blogger.com/profile/01579816209067268666noreply@blogger.com2tag:blogger.com,1999:blog-8803271868058663457.post-21256432931451082812011-07-14T05:06:00.000-07:002011-07-15T01:45:52.134-07:00Monitor BluesFor some time I've known my monitor has been hiding a multitude of sins in the shadow areas. People seeing things in my images which I thought weren't there or talking about each others photos in a way that made me feel like some passive background entity unable to contribute. I've used a Sypder3 calibration device for some time, which did help, but it was still obvious that I had problems. <br />
<br />
Two days ago I switched monitors, reviving a second one that has been left dormant attached to an unloved PC in the corner of the room. Well it made a difference alright. Suddenly nice enjoyable blues took on a weird turquoise quality - I was scared to look up any of my favourite images to see what they looked like. Out with the Spyder, and a giant step in the right direction, but those shadow areas, they still didn't look right. And my black and white images were distinctly greenish!<br />
<br />
Finally, I discovered an extra layer of controls on the Spyder software. Half way through the calibration process it paused and asked my to manually tinker with the separate rgb values. I thought the idea was for me to go and enjoy a cup of tea while the Spyder made the world perfect. Its all a bit hit and miss, altering the rgb settings, then asking the Spyder to take another look. After about 3 cycles of this, the software then plodded on to complete its process.<br />
<br />
At last... or was it? The colour temperature left the highlights looking a touch warm. No choice but to repeat the cycle, and a closer look at the °K options.<br />
<br />
Weeeheee, another 20 minutes gone, but its now working great. The tonal range gives lovely deep blacks, shows me things I've never seen before in shadow areas - and gives pure white highlights. Its taken a lot more effort than I expected, but the results have been well worthwhile.<br />
<br />
Just in time too. I've found a Landscape Photographer of the Year competition run by Charlie Waite what I want to enter. The deadline is tomorrow, and I know that I need to reprocess several images before pressing the button.<br />
<br />
<b>Tip</b><br />
Not so much a tip as a moral. I think the moral of this story is that labour saving devices such as the Spyder can be hard work, but ultimately worth it. After all, the monitor is the window to your computer's soul.<br />
<br />
Time to go and search through my photographs to decide what to enter into the competition!Johnhttp://www.blogger.com/profile/01579816209067268666noreply@blogger.com0tag:blogger.com,1999:blog-8803271868058663457.post-89148929322877934532011-07-10T15:05:00.000-07:002011-07-14T09:51:02.840-07:00Returning to Derwent WaterA week on, a chance for a return visit to Derwent Water. I was due to meet with friends at 11pm, which meant I had the best of the evening light alone on the shores of the lake.<br />
<br />
Earlier this week I'd been catching up with <a href="http://www.joecornishgallery.co.uk/">Joe Cornish's website</a>. I had the pleasure of attending one of Joe's landscape workshops last September, a most enjoyable, inspiring and informative three days based in Whitby (highly recommended). His site has been completely revamped since I last looked so well worth catching up with some of his latest work. Among the latest was tree photograph that I'd not seen before - Hawes End on Derwent Water. A splendid specimen right on the water's edge with an amazing tangle of roots typical of a lakeside tree - a touch of Cornish frost around the foreground. So although I fancied returning to Friars Crag to reconsider last week's images, I decided instead to drive round to Hawes End and see what was on offer.<br />
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The road is narrow on the west side of the lake, with few parking bays. One advantage of arriving late on a wet rainy Friday is having the place to myself. I parked near the zig zags and walked down to the shore from there. First up is the landing jetty for the lake's ferry boats. A nice shaded spot with large mature trees, their branches reaching low to the ground. Conditions were awkward with constant rain, so I ended up working one handed, or wedging a large umbrella between my chin and shoulder for two handed operations.<br />
<br />
Word of warning - MIDGES CAN KILL be prepared and either wrap up in midge-proof clothing or coat yourself in chemicals to keep them at bay. The rain helped keep them at bay, but I was still nibbled thoroughly.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXeQGMccJUp7BGDm8jqpcYREKaA-m8b8GVkFqNUOCPcL2gj9ojUkiGwn1ANS60tUVjPsBPvXqrSuClCk-u5NLmP4F5P3IX9SGo78x5nAOPveQVsi-sOrJQOJ_EfmId_ZGopQLf-UzFJD-u/s1600/derwent+water+-+hawes+end+jetty-s.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="288" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXeQGMccJUp7BGDm8jqpcYREKaA-m8b8GVkFqNUOCPcL2gj9ojUkiGwn1ANS60tUVjPsBPvXqrSuClCk-u5NLmP4F5P3IX9SGo78x5nAOPveQVsi-sOrJQOJ_EfmId_ZGopQLf-UzFJD-u/s400/derwent+water+-+hawes+end+jetty-s.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Hawes End Jetty, Derwent Water</td></tr>
</tbody></table>This photograph may as well be full colour, the scene was almost monochromatic. Raindrops splashing in the water.<br />
<div><br />
</div><div>The next tree along the shore bowed even lower to the ground. I'm not sure if the growth of the tree had adapted to the higher water levels of the lake, the leading edge being parallel to the ground. the exposure proved slightly tricky, requiring a two stop graduated neutral density filter to the sky even though I was only after a graphic silhouette. </div><div><br />
</div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-ygWEhDJY9Ew_XiEnIRKoABe0bHGRMYH1QCG229VTKWbqBz4Qr7Dylxmew-J_jmcnRkDiXO4Mbw3FOgKPLvJ6vKkznaS_iv4hfuvCoypvOGMAQiD0VlOfjtz8pDrWqnw5qlbMUjllo1G_/s1600/derwent+water+-+hawes+end+branches-s.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-ygWEhDJY9Ew_XiEnIRKoABe0bHGRMYH1QCG229VTKWbqBz4Qr7Dylxmew-J_jmcnRkDiXO4Mbw3FOgKPLvJ6vKkznaS_iv4hfuvCoypvOGMAQiD0VlOfjtz8pDrWqnw5qlbMUjllo1G_/s400/derwent+water+-+hawes+end+branches-s.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Branches, Hawes End, Derwent Water</td></tr>
</tbody></table>There was something happening to the left which influenced this composition, but I can't remember what. It must have been something pretty ugly as the branches to the left need more space, though the rock in the water to the right is an important element in the overall composition. I could have done with having my ultrawide lens which would have opened up some interesting options. A subject to return to at a later date.<br />
<div><br />
</div><div>The shore at Hawes End is dominated by trees and great round boulders - presumably having rolled down the fell, Cat Bells, above this area. The kind of boulder that would really hurt if it landed on your toe. <br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3TJkL7P5-sNK4dJHXsMN72mnR55zw_0WCouCa6u4VqBW3XaojleKAG_-Bh1xDzFrvE9dvhB-MefIdPeB59-n9Di25Te8Rh_txTvTzzeQocu7jQnVRNIDgzDhjzaHjVU6vcKFYojXOAZF2/s1600/blencathra+from+hawes+end+Gs.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3TJkL7P5-sNK4dJHXsMN72mnR55zw_0WCouCa6u4VqBW3XaojleKAG_-Bh1xDzFrvE9dvhB-MefIdPeB59-n9Di25Te8Rh_txTvTzzeQocu7jQnVRNIDgzDhjzaHjVU6vcKFYojXOAZF2/s400/blencathra+from+hawes+end+Gs.jpg" width="290" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Blencathra from Hawes End, Derwent Water</td></tr>
</tbody></table>Blencathra forms a nice backdrop across the lake from here. I was balanced on some slimy rocks for this photogarph, using my tripod as a crutch while walking out (wellies would have been useful though I may have disturbed the otherwise flat water!). The sunlight was fading fast, lights starting to come on in Keswick. A big bonus, the rain had finally stopped, so I was able to leave the umbrella. </div><div><br />
</div><div>A final image for the evening taken from a similar location to the previous photograph. There are infinite permutations for the rocks along the shoreline, and to be honest, they all looked pretty good! The tricky part here is the relationship with the left edge of the image. I couldn't find an angle to keep this clean and simple, but felt this composition worked well. This collection of stones are far smaller than the previous shot, allowing the mountain to take control of the final photographic composition and become the main subject. An important aspect of the composition is the spot of light from a house in the background neatly reflected in the water. From time to time I combine the original colour photograph with my finished black and white conversion, and in this case the result worked out pretty well with deep inky darks and pleasant highlights. The colour balance of the final light of the day had shifted into the blue hour, giving a classic duotone print appearance.</div><div><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsBNMuZOQZzj8nH1_aLZvt9Od70Nr6OjO16WNm4zV_v4Jckg8zBrts7-hQkKInXRqtoELAATQpHE6i8c8JnRyABEPL_c8bKoMH2xfSke11-KdSRAJ3ic6zPvo1DKRY0LJXO8DijDjXbT4p/s1600/blencathra+from+hawes+end+2Cs.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsBNMuZOQZzj8nH1_aLZvt9Od70Nr6OjO16WNm4zV_v4Jckg8zBrts7-hQkKInXRqtoELAATQpHE6i8c8JnRyABEPL_c8bKoMH2xfSke11-KdSRAJ3ic6zPvo1DKRY0LJXO8DijDjXbT4p/s400/blencathra+from+hawes+end+2Cs.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Last light on Blencathra from Hawes End, Derwent Water</td></tr>
</tbody></table>I need to get into the habit of carrying my head torch on shoots in the dying light!<br />
<div><br />
<div><br />
<b>Compositional tip - composing square photographs</b><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjPjufPivM_tg_kSVenwaE6tI_Jsgl7CRg-r3viwcTuWY_-h87RDwRXCmhKR_m7M4jzVDorVQBC2TEJD7iE8ZbI0qnhtlSSDk39L0sEDdwO_Otc1de3wthv_hLiPw-QkmrdM3Drg1YhL2X/s1600/derwent+water+-+hawes+end+tree-2Q-crs.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjPjufPivM_tg_kSVenwaE6tI_Jsgl7CRg-r3viwcTuWY_-h87RDwRXCmhKR_m7M4jzVDorVQBC2TEJD7iE8ZbI0qnhtlSSDk39L0sEDdwO_Otc1de3wthv_hLiPw-QkmrdM3Drg1YhL2X/s320/derwent+water+-+hawes+end+tree-2Q-crs.jpg" width="320" /></a></div>When composing for a square image using a rectangular viewfinder it is often easier to use the camera in vertical format.<br />
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I'm not completely sure why (and it doesn't always work) but I find it easier to visualise where the boundaries are. The final square composition should really be in the centre of the rectangle to optimise the lens performance and minimise distortions. There is one undeniable advantage to using the camera in vertical orientation. It avoids certain distortion issues of cropping from a wide shot. If a shot is cropped to a square from a wide rectangle the square should really come from the centre of the frame. If the square is taken from either end and not the centre some unsightly distortions can occur.<br />
<br />
Although it won't make a difference for a lot of subjects, there can be tell-tail clues from some subjects which just look plain wrong, such as reflections not aligning as expected with the source. With a vertical original shot this doesn't happen.<br />
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Here's a subtle example of the effect. This is the right hand end of a landscape shot. The trees on the right should be vertical, but they clearly slope outwards at the top. A shift lens or technical camera would be the best way to correct them, though it could be done with software, preferably before the crop.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidq1B4XxK-srtt1uVO2DqhkzbJTkXO0UyKZlbdptyj8LxzK0QHzthuIMa5ZOxBDnrBywWjH408kSI2JwGzaz58wA2xg9oLDO3d_Coxa8eECanGTmhciFHjNyLKOL65L4yNc5eyn3w8p1jU/s1600/derwent+water+-+hawes+end+tree-2Qs.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidq1B4XxK-srtt1uVO2DqhkzbJTkXO0UyKZlbdptyj8LxzK0QHzthuIMa5ZOxBDnrBywWjH408kSI2JwGzaz58wA2xg9oLDO3d_Coxa8eECanGTmhciFHjNyLKOL65L4yNc5eyn3w8p1jU/s400/derwent+water+-+hawes+end+tree-2Qs.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Tree roots, Hawes End, Derwent Water</td></tr>
</tbody></table>Below is the corrected version using Transform - Skew. Its a poor man's workround after the event type solution. As the shot wasn't composed with the correction in mind, it seemed like the best option to minimise the resultant crop as any correction cuts into the image. Had I corrected it before the crop I could have used Filter > Lens correction, which is preferable - though maybe losing the ragged clouds on the top edge is a bonus in this instance?<br />
<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjPjufPivM_tg_kSVenwaE6tI_Jsgl7CRg-r3viwcTuWY_-h87RDwRXCmhKR_m7M4jzVDorVQBC2TEJD7iE8ZbI0qnhtlSSDk39L0sEDdwO_Otc1de3wthv_hLiPw-QkmrdM3Drg1YhL2X/s1600/derwent+water+-+hawes+end+tree-2Q-crs.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjPjufPivM_tg_kSVenwaE6tI_Jsgl7CRg-r3viwcTuWY_-h87RDwRXCmhKR_m7M4jzVDorVQBC2TEJD7iE8ZbI0qnhtlSSDk39L0sEDdwO_Otc1de3wthv_hLiPw-QkmrdM3Drg1YhL2X/s400/derwent+water+-+hawes+end+tree-2Q-crs.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Tree Roots, Hawes End, Derwent Water<br />
Vertical perspective corrected</td></tr>
</tbody></table><br />
</div></div>Johnhttp://www.blogger.com/profile/01579816209067268666noreply@blogger.com0tag:blogger.com,1999:blog-8803271868058663457.post-70060656736393036852011-07-07T02:19:00.000-07:002011-07-07T02:25:29.559-07:00Derwent Water - the prettiest lakeMuch as I enjoy the drama of Wastwater, I do find Derwent Water the prettiest of all the lakes here in the Lake District. My only regret is that its over an hour away, so as I'm spoilt for choice with Grasmere and Rydal around the half way point I don't get up to Derwent Water as often as I'd like.<br />
<br />
I had to be up there at 6pm last Friday so decided to make more of the day be setting off early, giving me an extra hour and a half to enjoy the Keswick end of the lake and Friars Crag. This is a near level walk from a large carpark near the Theatre By The Lake, and its excellent views over the lake mean it is always popular. My intention was to photograph the overly complex tangle of roots that hold the trees to the rocky crag - but these have now been covered over by a compacted gravel path for safer walking. Understandable, but a disappointment for me!<br />
<br />
Working out a composition proved quite difficult. Overhanging trees area favourite foreground interest - and quite fascinating to work with. The typical usage is to use the tree as a fringe to the top of the photograph - I like to use the background as a fringe to the bottom of the image. When using a standard or wide angle lens the trees are very close to the camera. This means that slight movements cause huge changes in the foreground/background relationship.<br />
<br />
Working out the composition without the tripod is the only practical way to establish a viewpoint. Initially, I walk around simply looking, studying the way the trees fit to the background. Standing tall, crouching low, leaning over a bit - moving and moving, then refining the spot. Once relatively happy the camera comes into play, checking the viewpoint through the lens - different zooms - minor tweaks. Eventually the spot is found and the tripod set up to match the camera position - then final tweaks.<br />
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I tried some long exposures from here, but the tree movement was frustratingly slight and the clouds didn't flow sympathetically in the frame - so the final photograph is 500th second at f8. The distance to the tree gave no real dof problems. PP was relatively straightforward, the key being to maintain the feeling of depth in the image. I processed it using three layers - two different black and white conversions using CS5 as the blue component needed to be played down in some areas, but held in others. The tricky part being to blend the two conversions seamlessly.<br />
<br />
<b>Time waiting for the light: </b>Once more I seem to be in a rush. As I knew the light would not be changing any time soon I didn't wait long. The cloud shadow was changing in the distance, so it was important to wait for good separation on Castle Crag - the small peak in the lower centre. The real changes in the light weren't due for a further 3 hours - but I'm due back up there tomorrow, so I'm hopeful for something different.<br />
<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhc1sAaOs2Uex14R_Fgp7enIbGaL3eSEI8AyPvVCkmmeABJSMXewrmt4Qa9SYhxj9HEcqjX7F8ddT5ahJtb1gZX5OLPfVGIzS_NonIMRVqEI8YeU8ogITxyBgTKEyMUs9CkPK7PL1vLntKo/s1600/friars+crag-s.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhc1sAaOs2Uex14R_Fgp7enIbGaL3eSEI8AyPvVCkmmeABJSMXewrmt4Qa9SYhxj9HEcqjX7F8ddT5ahJtb1gZX5OLPfVGIzS_NonIMRVqEI8YeU8ogITxyBgTKEyMUs9CkPK7PL1vLntKo/s400/friars+crag-s.jpg" width="290" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Friars Crag, Derwent Water</td></tr>
</tbody></table><b>Processing tip</b><br />
Trees that bleed off the edges of a print can create a serrated edge resembling rodent damage - it can be quite distrating. On this image I created a final layer to dull the highlights at the top of the photograph, then blended this with a simple graduated mask so as to avoid bright white highlights running into the upper frame which would draw the viewer's attention from the main subject.<br />
<br />
<b>Compositional tip</b><br />
Complex and chaotic shots of trees filling a frame can produce some great results. I've found the weakest compositional aspect to be in the top corners. Watch out for branches which cut diagonally across the corners creating a small triangle - these invariably draw attention and can distract from the overall melee.Johnhttp://www.blogger.com/profile/01579816209067268666noreply@blogger.com0tag:blogger.com,1999:blog-8803271868058663457.post-55392556441556537082011-07-04T10:12:00.000-07:002011-07-07T02:26:23.131-07:00Wastwater, England's Favourite View<div dir="ltr" style="text-align: left;" trbidi="on">Wastwater always looks good. Its menacing screes running steeply into the water set it apart from all the other lakes. In grim conditions it is foreboding, very atmospheric. In bright conditions it is quite spectacular. Running roughly east-west is ideal for golden hour photography at the start and end of the day. Despite being one of the more difficult lakes to reach, you have to either walk over the tops or drive all the way around to the west side, it always proves a popular tourist spot. Especially during the longer days when hoards of walkers taking part in the Three Peaks Challenge migrate to Wasdale Head to start their second peak of the day, Scarfell Pike, the highest mountain in England.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGnGPNtP9SRYwicNjMNv8FR5BFmG4HN7Wbwn9gwpKZNsYSYGfNXJivLAKQInvNeHvXjjKLYaHigWeNPCcOeKPAAsYBZi-RmGN2nlSLBewrRyXn-bdt7_eoEGlgRTvgTGWFCIi5KbFxoHqW/s1600/wasdale1gs.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="287" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGnGPNtP9SRYwicNjMNv8FR5BFmG4HN7Wbwn9gwpKZNsYSYGfNXJivLAKQInvNeHvXjjKLYaHigWeNPCcOeKPAAsYBZi-RmGN2nlSLBewrRyXn-bdt7_eoEGlgRTvgTGWFCIi5KbFxoHqW/s400/wasdale1gs.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">First light, Wasdale<br />
130 seconds ƒ8</td></tr>
</tbody></table><br />
I was there on Saturday morning supporting a different challenge. A Dallam Running Clubmate, Jarv, was racing against the clock, 24 hours to scale 42 peaks and return to Moot Hall in Keswick - The Bob Graham Round. This meant I was arriving in Wasdale around 4am, the dawn light well underway. Access to the north side of the lake is easy from the narrow road leading to the head, assuming there is space in the small parking places (not the passing places!). The best views are looking up the valley from the shores of the lake towards the western end, though there are great views along its full length. Groups of rocks provide plenty of foreground interest (possibly too much when the water level is low), the peaks of Yewbarrow on the left, Great Gable heading the Valley and Lingmell on the flanks of Scarfell Pike to the right create a dramatic backdrop.<br />
<br />
My previous blog entry questioned how long a photographer waits for the right light. A tinge of irony, I was tired having only had an hours sleep so far that night, and knew I needed more if I was going to function in my support role later in the day. My total time on location was maybe around half an hour. Another photographer was already stood by the rocks, tripod set, bacon frying in a pan, messing about with filters. We chatted briefly, mainly about how stunning the scenery is and how disappointing the morning colour was. I doubted it was going to improve, so set up a couple of compositions before heading to the end of the lake for more sleep. But there's the problem - I don't know if it improved or not. However, I'm pleased with this image with its bold graphic shapes.<br />
<br />
Stark lighting with no real colour present - not the most flexible image to process, though the kind of light I enjoy in landscape photography. Do you see in black and white? When the lighting is like this the question doesn't really apply, there was no real colour present to the naked eye. I generally do look for colours in compositions, being mindful about subtle nuances of hue which can be exploited when creating black and white conversions using photoshop in order to hold separations between what would otherwise be similar tones. In film photography there is a need for careful previsualisation at this stage as a filter my need to be selected to modify colour - and once committed to an exposure on film, the photographer has largely determined the way the image may finally be printed.<br />
<br />
Ansel Adams excellent book, 40 Examples, covers this topic. Its an interesting read and gives an insight into how Adams worked in the field and how he related this to his knowledge of the darkroom and printing techniques. The importance of previsualisation to his process. The book also brings out how, despite his skills and knowledge, he'd often end up with a negative that wasn't quite ideal for his purposes and could prove tricky to create repeat prints consistently.<br />
<br />
The digital photographic process has removed the need for such detailed knowledge and skills. The principles may well be the same, but the fact is black and white conversion performed with software are not a one way process. The data is flexible and many different conversions can be created from one original, effectively using a different colour filter for each conversion. What's more, these can easily be combined so give the best result from multiple filters in one final image. The sky may well benefit from a very different set of conversion values to the land - though the success of the final image is how those separate images are combined.<br />
<br />
Back to Wasdale: The exposure was straightforward. A test exposure with no filter using the camera meter, 1/6th @ ƒ10. Checking the histogram showed the highlights nicely held but quite a dense shadow block. Then an exposure with the 10 stop, 30seconds @ ƒ8 - way underexposed for most tastes, though I think it could give an interesting result. However, 30 seconds wasn't really long enough to flatten the water fully. Finally, 130seconds @ ƒ8 proving to be about right - just holding the highlights, smooth water. The day was slowly getting brighter, so subsequent exposures were getting correspondingly shorter.<br />
<br />
I also processed a colour version of the shot... this shows how little colour there was!<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrfZ8C8gGckotJ33hNS4tKGaLZP2WJIoziOcedvK1o6nOVgrCCbwKRsQVoytHKN-ABCwiBgPJEDX5JRIJ75D3h7vIhzZLccLt_Hx0P0THYNRzoJ4AQBbMUBmFhwTZFHb0Eibu777GQM4YE/s1600/wasdale1cs.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="287" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrfZ8C8gGckotJ33hNS4tKGaLZP2WJIoziOcedvK1o6nOVgrCCbwKRsQVoytHKN-ABCwiBgPJEDX5JRIJ75D3h7vIhzZLccLt_Hx0P0THYNRzoJ4AQBbMUBmFhwTZFHb0Eibu777GQM4YE/s400/wasdale1cs.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">First Light, Wasdale (colour)</td></tr>
</tbody></table><br />
<div><b>Technical tip:</b></div><div>Shooting raw files captures the most data possible when using a digital camera. The exact exposure of a shot may not be too critical, especially if the total dynamic range is well within the capacity of the camera (ie, the full histogram fits comfortably on the screen, neither end extending beyond the limits). </div><div><br />
</div><div>If you are used to standard exposure lengths of fractions of a second, when adapting to long exposures it is too easy to think the duration needs to be within a few seconds of perfection. Pause for thought - if the exact exposure should be say 1 minute, but its an image with a limited dynamic range, the tolerance is actually pretty wide - what constitutes a 1 stop variation?</div><div><br />
</div><div>One stop under would be 30 seconds, one top over would be 2 minutes. The exposure tolerance would be one and a half minutes! Make the most of the subject and lighting - if the dynamic range is too great for your camera, then the exposure will need to be fairly accurate, but in other circumstances its not worth getting down to the last second or ten. It is often better to err on the long side rather than the short. </div><div><br />
</div><div>Photographers will often debate what the correct exposure should be for a given situation, but for a creative photograph the correct exposure is the one which captures sufficient data for you to process you final image. </div></div>Johnhttp://www.blogger.com/profile/01579816209067268666noreply@blogger.com0tag:blogger.com,1999:blog-8803271868058663457.post-50755376334237801602011-07-01T01:33:00.000-07:002011-07-07T02:22:22.887-07:00Question - how long do you wait for the light?<div dir="ltr" style="text-align: left;" trbidi="on"><br />
Here's a guy who could help you redefine yourself and your approach to photography.<br />
<br />
<a href="http://www.fatali.com/gallery/index.php" target="_blank">Michael Fatali</a><br />
<br />
He has some stunning photography. Stunning.<br />
<br />
With the exception of shots that I've taken from my bedroom window where I could argue I'm still waiting for the light, I reckon the longest I've waited for the light is, ooooh, I'm guessing now, but maybe 35 minutes. I suspect I'm typical, I'll go out there, see something I like, reckon the light is OK, set up, glance around to see how clouds are changing, then hey presto. I'll move around, though I will take note and consider returning the the same spot either later that session or on a different day or season.<br />
<br />
I suspect I'm not alone in being guilty of chasing light rather than waiting for it. Knowing good light when I see it, so try my hardest to capture that before it goes. The opposite approach to seeing the potential in a location and knowing the right kind of light to make the most of it... so waiting... waiting...<br />
<br />
If you're going out to take photos, how many do you come back with?<br />
<br />
How many are any good?<br />
<br />
Now come on, I mean goooood.<br />
<br />
Under each of Fatali's images is a link to field notes. In here he has all the usual techno stuff, but also includes that all important one which I'm sure most of us pay little regard to: Waiting for the light.<br />
<br />
I've flicked through most of the shots on his site. For most, his wait is measured in hours, for many the wait is in days.<br />
<br />
I'm not really sure what this means. Did he set up his tripod then sit there in the lotus position for a week? Did he set up and then play frisbee for a few hours. Did he arrive, take note of a potential shot - then go take all the usual crap we all have while his third eye scanned the sky waiting for the moment?<br />
<br />
I've seen vids of <a href="http://www.michaelkenna.com/" target="_blank">Michael Kenna</a> working. He seems to be constantly on the move, constantly trying different things - but he's using a hassy, far quicker to move around than a technical camera.<br />
<br />
These 5x4 guys need to take more time to set up - so before they even start they need to take more time in selecting exactly where to set up. But I still have a minds eye view of Michael Fatali stood like a praying mantis, not moving...<br />
<br />
Viewing sites from these 5x4 guys makes me realise my approach to photography is opportunistic. That's not to say portability and spontaneity don't have advantages, but its difficult to argue with waiting for the light. Here's one I prepared earlier - though I'm afraid I didn't set my stopwatch to determine how long I waited for the light.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirc1qo6kjoxYBN0nmtZ5-04YPBNDSCEZLJgJWByRp2O-ZjVSqG5N99yBYXN_xQETSl9XWsm9jO9cuCip9kRHqtR4QoOSAk1z0L1reQ0Plwy2hsia2zutRkMjiYa8gDl0GvHHpNrbH43zwj/s1600/dawn-morecambe-bay-s.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="287" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirc1qo6kjoxYBN0nmtZ5-04YPBNDSCEZLJgJWByRp2O-ZjVSqG5N99yBYXN_xQETSl9XWsm9jO9cuCip9kRHqtR4QoOSAk1z0L1reQ0Plwy2hsia2zutRkMjiYa8gDl0GvHHpNrbH43zwj/s400/dawn-morecambe-bay-s.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Morecambe Bay Dawn<br />
Long exposure using 10 stop plus 6 stop plus 3 stop ND grad</td></tr>
</tbody></table><br />
<br />
</div>Johnhttp://www.blogger.com/profile/01579816209067268666noreply@blogger.com2tag:blogger.com,1999:blog-8803271868058663457.post-19763674534386648582011-06-28T07:07:00.000-07:002011-07-07T02:27:23.069-07:00Composition in photography<div dir="ltr" style="text-align: left;" trbidi="on">This is a brief summary of how I currently see composition and its importance in photography. I am documenting my current feelings together with some points that I've noted from analysing photographs and paintings. I'm making no attempt to create a 'kit' or set approach for people to use in creating compositions. Formulaic approaches can't be applied to all situations, and besides, composition has to be personal. We are all calibrated differently and need to develop our own form of expression in order to express a personal perspective on a subject.<br />
<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGFnr7TBAtQ3jfnlm2PscLti5ayGFHjKd0srUtIFUbge-g0hKhxNXGoK-w9ZB3OidYFpbV1VXnpk7PqCr6kr1gRQmx9-4Qg9Kc0lJe_-nZKYLQ2n9DkMWme0iuX_XYyPLMbRcSRCrk16pQ/s1600/kirk+fell-s-s.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="287" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGFnr7TBAtQ3jfnlm2PscLti5ayGFHjKd0srUtIFUbge-g0hKhxNXGoK-w9ZB3OidYFpbV1VXnpk7PqCr6kr1gRQmx9-4Qg9Kc0lJe_-nZKYLQ2n9DkMWme0iuX_XYyPLMbRcSRCrk16pQ/s400/kirk+fell-s-s.jpg" style="cursor: move;" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="padding-top: 4px; text-align: center;">Red Pike, Mick's BG<br />
Is this and example of balance or imbalance? They guys are all off to the right of the image, yet there is a large mass of mountain to the left to balance the image - and the light source is pretty much central</td></tr>
</tbody></table><br />
<br />
<b>Sections:</b><br />
My at a glance approach to composition<br />
The rules of composition<br />
Conclusion<br />
<br />
<br />
<b><span class="Apple-style-span" style="font-size: large;">My at a glance approach to composition:</span></b><br />
<b><br />
</b><br />
1. Subject - decide on what the subject of the image is, or how to combine multiple subjects so that they work together.<br />
2. Backgrounds - backgrounds often make the difference between a successful photograph and a snapshot. When we look at something with our eyes we tend to focus intently at the main subject and filter out what else is happening around. The camera is more literal and less forgiving. Everything that the camera sees in the frame is captured in the final shot. Not all elements may be in sharp focus, so with control over depth of field we can control the emphasis in the finished image - but distractions are generally to be avoided. A slight step in any direction may help to eliminate a distraction, either by moving it out of shot, or behind the main subject.<br />
3. Edges - distractions lead the viewer's attention from the main subject, and if distractions fall at the edge of the image the composition is usually weakened considerably. Another example of a weak composition is when the main subject is placed so that part of it is juuuuust kissing the edge of the image. Items touching the edge of an image set up a bond which is difficult to escape. Curved subjects are especially prone to this effect. Rather than just kissing the frame, most subjects benefit from what I refer to as a decisive crop. <br />
4. Corners - if the edges were bad places for distractions, just wait until they fall in the corners! Corners form visual hotspots in a composition - a distraction in a corner inevitably leads the viewer away from the subject. Though I do not believe in the concept of leading lines in composition, I do agree with Andreas Finninger in his book 'Composition in Photography' that lines exiting the frame at the corner lead a viewer out of an image. Other people think the exact opposite and feel the best exit for a line in an image is the corner...<br />
<br />
There are always exceptions. Each shot is individual, none of the above may matter. For instance, images with very strong geometrical shapes can often exploit the edges and corners of a frame to good effect.<br />
<br />
<b>Hot tips</b><br />
1. Especially in landscape/still life /formal portrait images, get into the habit of checking all four corners of the frame and right around the edges before committing to the shot. These areas are every bit as important as the main subject - possibly more so.<br />
2. If you are starting out in composition, try turning the image upside down, either on your monitor or as a print. By doing this you take the emphasis and power away from the main subject and see the more abstract qualities of an image - the pure compositional elements. It helps to determine which components are visually dominant. You can then decide what is distracting from your real subject. <br />
3. The best tip is to experiment. This is one of the real joys of working digitally, it is so easy to take an extra shot or hundred, or to try different crops on your monitor back on the computer.<br />
4. Beware of overcropping in-camera. You can always crop on the computer, but it can be very difficult to add something back in if you missed it out in the first instance! As you develop your sense of composition you will find determining your crop and composition on location far easier and the number of shots you take will decrease.<br />
<b><br />
</b><br />
<b><br />
</b><br />
<b><span class="Apple-style-span" style="font-size: large;">The rules of composition</span></b><br />
<br />
There is only one rule in composition:<br />
<br />
RULE NUMBER 1: <b>THERE ARE NO RULES</b><br />
<br />
There are plenty of principles - but rules? Rules are too prescriptive and lead to ludicrous statements such as:<br />
<br />
<i>'You've got to understand the rules to break them.'</i><br />
<br />
Err - no you don't. I can't think of any area of society where this is true - and I certainly oppose the idea when it comes to composition. Principles often work in pairs, each principle having a counter principle which can be an equally valid approach to composition.<br />
<br />
<b>Balance v Imbalance</b><br />
Balance creates calm and harmony in an image. Imbalance creates tension and can add to drama.<br />
<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1hNGmXRjyR5VfLIvVmOusrE3p9ZaPXFxZv0hkm05oh39ZN1GOZERx-KEs59DvXRy71sJ0z8fEYYcw_ukR5QkKSShCEsAIX9Bf9lzXcSTqLSOrFZvHWBJqkzlL3RI-AkpWNYCrMLvJkKsV/s1600/maryport+light-T3s.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1hNGmXRjyR5VfLIvVmOusrE3p9ZaPXFxZv0hkm05oh39ZN1GOZERx-KEs59DvXRy71sJ0z8fEYYcw_ukR5QkKSShCEsAIX9Bf9lzXcSTqLSOrFZvHWBJqkzlL3RI-AkpWNYCrMLvJkKsV/s400/maryport+light-T3s.jpg" width="290" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Maryport Harbour, Cumbria Coast with Scottish Mountains of the Solway Firth in the distance<br />
The main visual interest it pushed to the top right, but the mass of dark mud attempts to balance the overall composition. </td></tr>
</tbody></table><div style="text-align: center;"><br />
</div><b>Centred v off centre</b><br />
Centring a subject or working with symmetry in an image will lead to a strong sense of balance. The vertical axis tends to be the key one for symmetry, but why not the horizontal axis as well? A vertically centred composition usually calls for absolute precision - slightly off centre often looks wrong. A horizontally centred composition has more flexibility.<br />
<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding-bottom: 6px; padding-left: 6px; padding-right: 6px; padding-top: 6px; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgU7UW_uX558qkWfS2zSxPcEuyLLqi1e48doW2ktdT4DDjie9zzLpxYv1PrP62Tp68-RqQlZA4D3aJMcVVCOUfY-_bVvBfHRlZLlAKjjo_XwB0xKdi2flTApGiIlmCIZKfv79NbkYb7_k_4/s1600/another+place1bs.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgU7UW_uX558qkWfS2zSxPcEuyLLqi1e48doW2ktdT4DDjie9zzLpxYv1PrP62Tp68-RqQlZA4D3aJMcVVCOUfY-_bVvBfHRlZLlAKjjo_XwB0xKdi2flTApGiIlmCIZKfv79NbkYb7_k_4/s400/another+place1bs.jpg" style="cursor: move;" width="290" /></a></td></tr>
<tr><td class="tr-caption" style="padding-top: 4px; text-align: center;">All Alone<br />
Another Place art installation by Anthony Gormley, Crosby, Liverpool<br />
Centred composition with some asymmetry from the Welsh hills in the background</td></tr>
</tbody></table><br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAQ4aPkln2v2o6AeFZ90CAoYIZlCLEvGTPIy3P4JNdJZbyvLq0EXqFXgBnw1fpxNJusw4qqbY1mq7Hck7VWtL6XCsDzxJcp4COkJyje6QpQcT-DI8prHQskN6diA66robTbgvhu5lxiNmB/s1600/another+place2fs.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="287" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAQ4aPkln2v2o6AeFZ90CAoYIZlCLEvGTPIy3P4JNdJZbyvLq0EXqFXgBnw1fpxNJusw4qqbY1mq7Hck7VWtL6XCsDzxJcp4COkJyje6QpQcT-DI8prHQskN6diA66robTbgvhu5lxiNmB/s400/another+place2fs.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Another Place art installation by Anthony Gormley, Crosby, Liverpool<br />
This time off centre, same subject but a slightly different mood. Same location but a different context.</td></tr>
</tbody></table><br />
<b>Big sky v little sky</b><br />
Big skies often give a feeling of vastness and can add huge scale to an image. Thin strips of sky can help anchor an image and make it feel whole, though keep the emphasis firmly on the other content in the frame.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioy6GXJ2z4c5HapZ3rMT0-7kmltTGytFaG_xJi5_gDzx0VoTzYw0te57QdjoiQp9zDy5K7PrZPt0bwbYo4N_4wnB5FHvFSKL61GrL4nm0JQpTsy7lmXeAgBgf0RAS6y8GGHuT6-dXx_ng5/s1600/howgills-fs.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioy6GXJ2z4c5HapZ3rMT0-7kmltTGytFaG_xJi5_gDzx0VoTzYw0te57QdjoiQp9zDy5K7PrZPt0bwbYo4N_4wnB5FHvFSKL61GrL4nm0JQpTsy7lmXeAgBgf0RAS6y8GGHuT6-dXx_ng5/s400/howgills-fs.jpg" width="290" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Distant Howgills<br />
I tried several compositions of this tree, but found the distant hills and wafer thin slice of sky essential to bring the image together and give the tree context. </td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyxzW8ktGOz8_4rSt0PnWzUbYdL04HC1vxTkBxHxGVthJX9A37Ho0oOR2j1_oyJvbgkfmQ03zQvh5ZbZQ0orABzx6iddBHULIwgXA6brVumh-JeKYF7NJPdp-Nvj4bGno-7Ee_AvI9W-yT/s1600/whispies+over+the+knot2as.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyxzW8ktGOz8_4rSt0PnWzUbYdL04HC1vxTkBxHxGVthJX9A37Ho0oOR2j1_oyJvbgkfmQ03zQvh5ZbZQ0orABzx6iddBHULIwgXA6brVumh-JeKYF7NJPdp-Nvj4bGno-7Ee_AvI9W-yT/s400/whispies+over+the+knot2as.jpg" width="290" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Wispies over the Knot<br />
These wispy clouds take up most of the frame but the thin line of cloud near the base and the line of dark hills anchor the shot and stop it drifting away.</td></tr>
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<b>Simplification v complexity</b><br />
Keep it simple, stupid. KISS, a principle adopted by lots of photographers. Few elements, simple relationships, no clutter or distractions. If the elements are resolved and working together the resulting image will be easy to look at and the photographer should be able to guide the viewer through the image.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjL8PPeEaSsFjT5zi2R5suV9y1uMvwR5uEgFQOg5mY7hqfHkb_UW7lsV7kkRlhuw8WvU75KtZ7attESaXIFMlgyJJ6GT5U2MN3ao_DgUuNgjQQ3ks8gJQgDQLDt58KFpWp6ymO07s4MZz3U/s1600/scarborough2s.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjL8PPeEaSsFjT5zi2R5suV9y1uMvwR5uEgFQOg5mY7hqfHkb_UW7lsV7kkRlhuw8WvU75KtZ7attESaXIFMlgyJJ6GT5U2MN3ao_DgUuNgjQQ3ks8gJQgDQLDt58KFpWp6ymO07s4MZz3U/s400/scarborough2s.jpg" width="290" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Promenade, Scarborough. An example of the KISS principle of composition - Keep It Simple, Stupid</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdr2LonFYlObuNKcQitcMGvSzc0SPQHyQPkdXPdEcS37NvUMO2sKlRLWVZuWPtQFr__mLvLXEz950BOCPg9wFN5gmPn8psG44gVQejYzUxYIE3XXSibUkiTrnsVDrv0hKIbXyOofa6suTa/s1600/breakfast+at+Hotel+Florida2s.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="287" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdr2LonFYlObuNKcQitcMGvSzc0SPQHyQPkdXPdEcS37NvUMO2sKlRLWVZuWPtQFr__mLvLXEz950BOCPg9wFN5gmPn8psG44gVQejYzUxYIE3XXSibUkiTrnsVDrv0hKIbXyOofa6suTa/s400/breakfast+at+Hotel+Florida2s.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Breakfast at the Hotel Florida, Biarritz, France<br />
Maybe not that complex as most elements are repeated in a simple pattern. Plenty of room for the viewer to roam around until they latch onto the solitary couple sat on their balcony enjoying breakfast. </td></tr>
</tbody></table><br />
A complex image takes the opposite approach. There may be key elements in the composition which required careful positioning, but they could equally be such a confusion elements the exact composition is quite arbitrary. The idea here is that there's such a lot to look at the viewer wants to roam freely and discover something new each time they see the image.<br />
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<b>Completeness</b><br />
Put simply, work out the full subject, then make sure you include it all. So if you are shooting your dog sprawled on a rug don't just ponk its cute little face right in the centre spot of your viewfinder and press the button. You will end up with at least half its legs chopped off, yet a great space of nothingness above its head.<br />
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But this is where completeness gets more complicated. You may decide that its cute little face is the bit that really matters - so want to zoom right in on that. Make a decisive crop and all should be fine.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhF6CbJU3VcQglpX0JVBrEQ3VhRhT89TpTIkn3i0kxV4amxlA2PU-Cm78mgq5cNKlac3Ha6Ag_9_29WVKrazWmvC6TMOFneJdMj0aDZF3p6MytMH4Zhexooo8tLltJ-3TyYXQ65gHVUlmKm/s1600/_DSC1306s.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="287" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhF6CbJU3VcQglpX0JVBrEQ3VhRhT89TpTIkn3i0kxV4amxlA2PU-Cm78mgq5cNKlac3Ha6Ag_9_29WVKrazWmvC6TMOFneJdMj0aDZF3p6MytMH4Zhexooo8tLltJ-3TyYXQ65gHVUlmKm/s400/_DSC1306s.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Bruno<br />
Zooming in on his cute little(!) head. Looking at this shot again, the toy cropped on the left of frame is incomplete and does weaken the composition, as does the overly large gap at the base. </td></tr>
</tbody></table>The opposite, incompleteness doesn't quite work as a concept - it simply implies a crop, where the real use of incompleteness should really be to create intrigue in a shot. Something missing, but the viewer's attention is drawn into the image and a story starts to formulate in the viewer's mind.<br />
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Street photography (and to some extent sports photography) is an excellent example of creating intrigue. Strange crops, crooked frames, tangents, corners, edges - its all fair game in Street photography, pretty much essential. All these features add to the spontaneity of the finished image and lead viewers to believe that the images were pure luck!<br />
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<b>Emphasis</b><br />
Emphasis can be achieved in composition, lighting, depth of field, motion blur and/or post processing. One of the great aims and reasons for black and white conversions is to control the emphasis of different elements of an image, for example the stark tree set against the Howgill Fells photograph above.<br />
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<b><span class="Apple-style-span" style="font-size: large;">Conclusion</span></b><br />
<br />
So what is good composition? Having looked at thousands of images through my work I've come to the conclusion that there isn't any such thing as good composition, unless good composition is defined as a composition without weaknesses. Ideally, all the elements work together and there are no distractions - the viewer is left to enjoy the subject and purpose of the image.<br />
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No rules, just a handful of principles to consider and adopt if they fit.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCsd6zN65JmH6nuTn1DGR3CBrT9JOgoR9fu0yMQsdGyBA6d9KujoFh8w1jUW5o6jtpPbdoxzhy2oTLiPItFuA_aldioCfa9OHArtjuriDfSZBCZSI0u9A0CP2hl2M5XCqSniCZ9HEGq1FZ/s1600/rock2s.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCsd6zN65JmH6nuTn1DGR3CBrT9JOgoR9fu0yMQsdGyBA6d9KujoFh8w1jUW5o6jtpPbdoxzhy2oTLiPItFuA_aldioCfa9OHArtjuriDfSZBCZSI0u9A0CP2hl2M5XCqSniCZ9HEGq1FZ/s400/rock2s.jpg" width="290" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Rock tree study, Hampsfell, Grange over Sands</td></tr>
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</div>Johnhttp://www.blogger.com/profile/01579816209067268666noreply@blogger.com2tag:blogger.com,1999:blog-8803271868058663457.post-7476016582441629072011-06-28T03:50:00.000-07:002011-07-07T02:27:56.935-07:00Promart, Grange over Sands<div dir="ltr" style="text-align: left;" trbidi="on">The first Promart event took place about 5 years ago to realise the dream of Robert Leach (no relation - different spelling!), our mayor at the time. Robert was inspired by seeing art displayed in the open air by the banks of the Seine in Paris. He wouldn't be deterred by people pointing out that although Grange is lovingly referred to as the Lake District Riviera, we all know its not quite Paris.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCYnFzXHlLL1OXXV6YAO5LAbdJsycxqb0COAbN4nZac9EXAhQ4rK9gGRmbe3-TLA5eOrT8qxYaQUCuhe6N_-9AX_LxYPyc7_3a_0XS3YB01FuBfSeTkIPQa_mnGZd8XrZxb_o9bqC3gFR_/s1600/greetingscards-fans.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCYnFzXHlLL1OXXV6YAO5LAbdJsycxqb0COAbN4nZac9EXAhQ4rK9gGRmbe3-TLA5eOrT8qxYaQUCuhe6N_-9AX_LxYPyc7_3a_0XS3YB01FuBfSeTkIPQa_mnGZd8XrZxb_o9bqC3gFR_/s400/greetingscards-fans.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">My set of black and white greetings cards -<br />
trees and landscapes plus one of Another Place, the Anthony Gormley installation at Crosby, Liverpool </td></tr>
</tbody></table>I designed posters and leaflets for the event, and rented a space for the day, as did about 30 other artists. It was a great opportunity to show my watercolour paintings, chat with people and meet other artists. The day proved a success, the visitors all enjoying a fine day out in Grange and a pleasant walk along the prom despite the final half hour being washed out by a sudden rainstorm! Promart has now become a feature of Grange one the last Sunday of each month from April to September.<br />
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This year I decided to show my photographs at all 6 of the Promart events. The fair takes place on the final Sunday of each month, last Sunday marking the half way point, three Sundays left including the final event for 2011 on the 25th September. I'm displaying my black and white landscape photographs including a set of postcards and greetings cards.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLy2wnyBxOf8h6GzxPi4M6MuNynxR6xGpjSBpNGCRqbGLcUGjIdRGfN2ez0dNj7Qsp5fsqBPp_6uitzI2CmXaMchQzxgY6BD6qmGNd26ouv9pK8EdXxfrt0s1xKQQ-_zC73U6-N-L2b8nP/s1600/postcards-fan.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLy2wnyBxOf8h6GzxPi4M6MuNynxR6xGpjSBpNGCRqbGLcUGjIdRGfN2ez0dNj7Qsp5fsqBPp_6uitzI2CmXaMchQzxgY6BD6qmGNd26ouv9pK8EdXxfrt0s1xKQQ-_zC73U6-N-L2b8nP/s400/postcards-fan.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Set of 8 black and white landscape postcards featuring Grange over Sands and the Lake District<br />
The set includes Cyborg Kiss, my portrait of the Lloyds Building in London</td></tr>
</tbody></table>A constant stream of people walked along the prom, enjoying the variety of the displays and chatting with the stall holders. I finally met Sara from The Tinner's Rabbit gallery in Ulverston, and pleased to say she has taken a full set of my postcards for the gallery.<br />
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</div>Johnhttp://www.blogger.com/profile/01579816209067268666noreply@blogger.com0Grange-over-Sands, Cumbria, UK54.178913798109448 -2.91927375146485754.15360429810945 -2.9484292514648569 54.204223298109447 -2.8901182514648571tag:blogger.com,1999:blog-8803271868058663457.post-76545916342833514422011-06-23T14:41:00.000-07:002011-07-07T02:28:29.488-07:00Sunset glow over Silverdale<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMMLGGzYexI2HsAYPKW9x0iuoNE7ewFBe90hn9VLGvr1Ua9QTVRPqIzK-t3dJ8LmRoEq9zKz0ZlsnOEHQ59a8Mcj9ansSMSeggZGiFcXs8fLPtTVvZ4Ds1HlLeAmYtKf7yWnim50hsFtBZ/s1600/sunset+glow-s.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="287" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMMLGGzYexI2HsAYPKW9x0iuoNE7ewFBe90hn9VLGvr1Ua9QTVRPqIzK-t3dJ8LmRoEq9zKz0ZlsnOEHQ59a8Mcj9ansSMSeggZGiFcXs8fLPtTVvZ4Ds1HlLeAmYtKf7yWnim50hsFtBZ/s400/sunset+glow-s.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Sunset glow over Silverdale (click on the photograph for a larger version)</td></tr>
</tbody></table><br />
The sun rises across the bay from Grange over Sands, then sets behind the hills at the back of our house. We don't see the sun go down, but when the conditions are right we often get a warm glow on the opposite side of the bay. I was working at the computer and missed most of the show tonight until Sue called out to look at the clouds. The hills behind us had already cast their shadow across the water and was reach up into the cloud, but enough sun was still reaching in creating a fiery glow which appears to emanate from inside the clouds themselves.<br />
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Knowing the effect wouldn't last very long I dashed to the upper windows of the house. The buildings and trees across the road from us interfere with wider views, I had to get above those for a clear shot. Needless to say, my 10 stop filter was still mounted, card not present, half the settings left for anything by what I required. Joe Cornish uses the phrase 'if you can see it, you've missed it' and this always rattles through my mind as I watch special light slowly changing. Time to ditch the tripod and get on with shooting what was left - catching the tail end of the show.<br />
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One of the advantages of shooting away from a sunrise or sunset is the dynamic range is usually quite small, there were no tricky exposure problems with this shot or desperate need for graduated filters. I did darken the top of the frame slightly in pp, so maybe a 1 stop grad would have had its use, though I wasn't about to turn my back and run around the house looking for that! A quick check of the histogram, the main point to watch is the right side of the red channel. Sunrises and sunsets are notoriously difficult to hold the red highlights, but no problems here, a combination of low dynamic range and orangey values rather than outright reds.<br />
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The shutter speed was slower than I'd like for hand holding at 1/50th, but with both elbows firmly planted on the window ledge and using mirror lock-up it proved adequate. I use mirror lock-up frequently for hand held shots, especially when well braced against a solid object. It means you aren't 100% sure of what is in the frame when you open the shutter, but its one less source of camera movement. OK for landscapes, I can't see it catching on in sports photography or if precise edge detail is required. <br />
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Balancing colours is always a bit of a game with sunsets, though somewhat easier when the computer is only seconds away from where the photograph was taken and memories still fresh. My studio site is dedicated to black and white photography - although this would have made a dramatic black and white shot I felt it was important to retain the colour - making use of LAB colour processing to separate the colour values from contrast while working on the final image.Johnhttp://www.blogger.com/profile/01579816209067268666noreply@blogger.com0tag:blogger.com,1999:blog-8803271868058663457.post-14770055807164757982011-06-19T02:33:00.000-07:002011-06-19T04:09:58.474-07:00Aira Force, UllswaterAira Force is a dramatic waterfall near the Glenridding end of Ullswater in the Lake District, England. Ullswater is more of a journey from where we live at the southern end of the Lakes, but even so, I still wonder why its taken me so long to visit the falls. They are managed by the National Trust with easy parking and a nearby cafe. A short steep walk (wet and slippery on places) from the carpark takes you to the bottom of the falls, and a further loop takes you to the bridge at the top. However, we walked there from Glenridding, misjudged the distance, and didn't have time to complete the circuit. Walking from Glenridding along the main road is not recommended. It is busy in both directions and although the first couple of miles is very pleasant if you walk along paths to the lakes edge the latter section is on the road itself, not pleasant, fast cars, too many blind bends.<br />
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The lake side walk is thoroughly recommended. Some pebbly beaches and dramatic rocky areas, lots of overhanging trees and wonderful views across the lake itself. I could have spent a day scouting the area for photos, but as we were walking as a four it was unfair to pause for too long. This old oak tree stood out as a subject worth revisiting. I took this quick snapshot, but I will return to make a more considered study when I have more time. I haven't spent much time processing this version.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgE9MUndOh1mJWhbSJ6nqZhggn9QRkryLxh3P4At0PO-H76gsKiMO1jrAH30iSqIYZ1HdXcwQ4knfZ_vB2ccvRV2nbpGuQFzZpBcNmHIwHiriuyQXEJOuSng2BRUDwRJhy4gLGpn-KX8IFS/s1600/ullswater-s.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="288" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgE9MUndOh1mJWhbSJ6nqZhggn9QRkryLxh3P4At0PO-H76gsKiMO1jrAH30iSqIYZ1HdXcwQ4knfZ_vB2ccvRV2nbpGuQFzZpBcNmHIwHiriuyQXEJOuSng2BRUDwRJhy4gLGpn-KX8IFS/s400/ullswater-s.jpg" width="400" /></a></div><br />
Onward to Aira Force. We arrived with just 20 minutes to see the falls and get back to Glenridding to meet the rest of the family for a barbecue. No phone signal, no chance of sorting out a lift. I took photos of a Monkey Puzzle tree before catching up with the others at the base of the falls. Its quite a popular spot and not much choice over where you can set up a tripod, no wonder that all the shots you see are a similar composition. Lighting was tricky, it is inevitable that the light at the top of the falls would be many times brighter than deep in the gorge. Even with 5 stops of graduated ND filters the dynamic range of the scene was greater than I'd like. An initial exposure was made to check light levels and composition, then a follow up exposure with a 10 stop ND added to the grads. A 3 minute exposure had the sky right on the edge of blowing out, yet the shadows were still filling (though I didn't see that as a real problem). Click on the photograph to see a larger version.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhqs4ZLyOKMZbecgw_jV8uOAMAotccAgPrNjF29TZdRfvfEYLkOjmEJ0sg8dVwKQhSOVOOhPti8wHCdwrXdo7L3aPXr9NDxvYEJBvJas8bi3BiPYuhgOcjMAk-5ti4G1xn7Z3veVN5d4Z0/s1600/aira+force+-+ullswater-as.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhqs4ZLyOKMZbecgw_jV8uOAMAotccAgPrNjF29TZdRfvfEYLkOjmEJ0sg8dVwKQhSOVOOhPti8wHCdwrXdo7L3aPXr9NDxvYEJBvJas8bi3BiPYuhgOcjMAk-5ti4G1xn7Z3veVN5d4Z0/s400/aira+force+-+ullswater-as.jpg" width="290" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Aira Force, Ullswater, The Lake District</td></tr>
</tbody></table>The processing was quite involved. Although I had plenty of detail in the vegetation to either side of the waterfall I decided that I only wanted the shaft of water cascading through the image. The bridge is obviously an important element and what gives Aira force its unique character. I eventually forced the sky darker allowing the bridge to dominate the top section, then endless tweaks to get the balance between the three elements working together - the lower portion of the falls proving tricky. The final step was to repeat the whole process at higher resolution - I had batch processed a set of photographs for web use last week so changed the defaults on ACR in order to save time... and forgotten to return the settings to what I'm used to!<br />
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Now we have our camper van I aim to return to the falls before too long. I'd like to see them near to the ends of the day to see how the lighting changes, though I suspect the evening light will be far too dark down there to be of value. One of the main benefits of visiting this location in anti-social hours will be avoiding other visitors which will give more flexibility in viewpoints and compositions.Johnhttp://www.blogger.com/profile/01579816209067268666noreply@blogger.com0tag:blogger.com,1999:blog-8803271868058663457.post-50104855169961993182011-06-14T15:58:00.000-07:002011-07-15T06:19:45.080-07:00Ghostly yew trees above Grasmere<div class="separator" style="clear: both; text-align: left;">This is the first post on my new blog to accompany my black and white photography website, <a href="http://www.johnleechstudio.co.uk/">www.johnleechstudio.co.uk</a>. My intention is to give more information about photographic days out and a some insight to my approach to photography and processing. Feedback is always welcome. </div><div class="separator" style="clear: both; text-align: left;"><br />
</div><div class="separator" style="clear: both; text-align: left;">Click on the photographs to see larger versions. </div><div class="separator" style="clear: both; text-align: left;"><br />
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<tr><td class="tr-caption" style="text-align: center;">Distant Howgills</td></tr>
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</div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">In May I took this photograph of a twisted tree on Whitbarrow Scar. I'd spent most of the walk looking for shapes in the limetone pavement, then saw the tree with the distant Howgill Fells forming a suitable backdrop. Several exposures were made - access was a little awkward, a prickly bush having grown in the exact spot I wanted to stand. This composition was by far the best of the outing, though the processing proved quite difficult - just how much emphasis to place on the background and how bright to make the main subject. I was pleased with the end result. Trees are a favourite subject and I have a few tree themes which I'm constantly looking to expand upon. I'm now looking for similar trees that will process to a bright ghostly foreground then a subdued background to create depth and mood.</div><div class="separator" style="clear: both; text-align: center;"><br />
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<tr><td class="tr-caption" style="text-align: center;">Above Grasmere, Study 3</td></tr>
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A familiar area of fell south of Silver How between Grasmere and Great Langdale is peppered with wonderful old yew trees. I've often run over the ground, The Old Counties Tops and John Broxhap's secret race (!) both cross here. The trees always attract my attention, yet I've rarely walked the area looking for compositions. A few weeks ago I was up there looking for an improved race line and I noticed an uprooted tree which had long since died. It seemed to have some potential, but I hadn't time to look closely. A mental note of its location was made before I ran off to join the rest of our group. My mental note drawer is overflowing with potential shots from fell running locations!<br />
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A couple of weeks later the evening light looked promising for a return to the tree. Sue and I walked up onto the ridge from the Elterwater side, though Sue then went back to the car as the weather started to look a bit grim. Not so bad if you're the one doing the photographing, but tedious as a bystander! I pressed on, pausing as several trees on my way, looking for compositions. The relationship between the trees and the Fairfield ridge beyond wasn't easy to work with. Having recently broken my 10-20 zoom lens I was restricted to a maximum width of 17mm. However, with so much subject choice there were compositions available for pretty much any focal length.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLCyQiZdN17fW2kCgmZc5paxFVTP0vYLo23QicL5VTI8ss5ojQSZOmZhRpg_yDApYklnv4n1XokMojhDMeQJhpi2ah6meDL7hb2nmlqc9ZfDXeMQoX_xzD5Xuhr0CQhVrsHO6itozzf10K/s1600/rydal+and+grassmere-CRcs.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLCyQiZdN17fW2kCgmZc5paxFVTP0vYLo23QicL5VTI8ss5ojQSZOmZhRpg_yDApYklnv4n1XokMojhDMeQJhpi2ah6meDL7hb2nmlqc9ZfDXeMQoX_xzD5Xuhr0CQhVrsHO6itozzf10K/s400/rydal+and+grassmere-CRcs.jpg" width="306" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Above Grasmere, Study 2</td></tr>
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<div class="separator" style="clear: both; text-align: center;"></div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"></div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">Here's the shot I went up there to take. There's obviously a lot of processing on all these shots, making use of the colour differences between the wood and the background grasses to achieve strong contrast - the yellow slider in the black and white converter being pushed pretty much to the extreme to darken the background. The sky needed some more subtle handing, I was keen to underplay the sky in order for it to recede, maximising the impact of the branches. </div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;"><br />
</div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">I was pleased with the shots of my target tree, the others were a bonus. This last one is my fave from the evening. The light of the evening didn't quite work as hoped and the resultant processing proved quite tricky. I've revisited each shot several times to arrive at the photographs displayed here. </div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;"><br />
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<tr><td class="tr-caption" style="text-align: center;">Above Grasmere, Study 4</td></tr>
</tbody></table>Johnhttp://www.blogger.com/profile/01579816209067268666noreply@blogger.com4