Project 15 - Planning your Portfolio

The exercise requires four images taken throughout the year of the same spot to represent the seasons. I started in the Autumn of 2011 and took the following shot

It was not chosen originally for this purpose but because of the group of people on the right side of the image and the lines created by the preparation of the ground for sowing or at least I hoped it was for sowing! Taken using a tripod there were pointers to the location both where the photograph was taken from and within the image. The location was at the end of a narrow path leading into the field that broadened out and the shrubbery in the mid ground and on the right gave the appearance of permanency.  The shot used was the result of cropping because I used a wide angle lens (24mm) to encompass as much of the scene as possible in one shot.

I returned in in January 2012 to the same spot. I had hoped for snow and one night about 2 inches fell in the area. As the location (Ickworth House) is only a couple of miles away I was able to make the journey quickly to maximise my chances of getting the desired images both for this project and the others for my portfolio.

Not surprisingly the ground markers for the location were practically indistinguishable because of the snow fall. However the shrubbery, now bare of leaves, provided enough clues to allow me to set up the tripod in roughly the same spot. Again I took a wide angle shot to allow for cropping so that the two images (Autumn and Winter) were as near as possible of the same scene. On returning home I found that I was slightly to the right of the original location but that the error was within the range that allowed for successful cropping.

The third shot was taken in the Spring of 2012 and locating the camera was not a real problem. A wide angle shot was taken with the intention of cropping. I had hoped that there would be some indication of a crop beginning to grow and although there were some tender shoots showing through they were so sparse that they were only evident if one looked closely. However the shrubbery and the trees in the distance were beginning to show their Spring foliage as can be shown by comparing the Winter and Spring shots.

The final shot of the quartet was taken in the Summer of 2012. Again location was not a problem although the growth of the summer foliage made for a quite different appearance. Using the same technique of a wide angle shot I was able to include the main elements of the image so that it was then a case of cropping to achieve the final image. The failure of the crop in the immediate foreground is not something that I would have normally included but did so because of the purpose of the exercise.

General comments -  Whilst I feel that I achieved the aim of the Project which to make a record of one area throughout the Seasons and to show the differences the similarity of the images for Autumn and Spring requires some knowledge on the part of the viewer of what to expect in the two Seasons - the Autumn colours and the fresh leaf buds in the Spring. As always the photographer is very much in the hands of the elements. 

What were the learning outcomes? Having lived through 72 rounds of the seasons I think it fair to say that I know that landscapes change throughout the seasons and in some landscapes quite significantly. I chose to use the same lighting conditions as far as possible because I felt that this would allow for comparisons across the seasons. 'Winter' was taken in overcast conditions as the probability of the snow lasting 'til when the sun came out was low. Would I have gained more from taking other shots in differing conditions such as rain that seemed to be the dominant weather during the early and mid-summer? The answer is that I do not know. Certainly I can speculate that the appearance of the images would have been different but in ways that would not be difficult to predict. As other exercises in the Course have shown the type of light throughout the day, the time of year and the nature of the sky has a marked difference in what the scene looks like even though the same fundamentals are there.

I assume that the photographer using film would have faced more difficulties in post-processing than I did using digital. I deliberately took wider shots than were necessary to include all the elements that were common to the four images. I then used software to crop so that the images were the same. Having done some pre-planning it was a simple task. 

If I was creating a portfolio of my work throughout the Course without restrictions would I have included these images. The 'Autumn' shot would have stood a chance depending what else I wished to include but none of the others would, not because they are technically less than desired but I find them boring because they lack impact. 

Project 34 - Using a Graduated Filter Part 2

Hopefully I have got the necessary result this time.

The first image is without a filter and the second with a filter. There is a noticeable change with the filter set just at the horizon line. Apart from the obvious darkening there is a greater differential in the tonal structure of the clouds. This most unusual cloud formation is what attracted my attention and why I took the photograph.

Again the images are no filter and with filter. The addition of the filter provides a darkening of the sky and in common with the first pair there is a greater tonal range.

Same without and with filter sequence as in the two previous sets. Here there is a significant difference in the two although I would question the wisdom of suggesting shooting directly at the sun.

General Comments:

It seems to me that adding the filter holder and filter to the camera  and then adjusting the filter is, with the advent of the digital camera, a questionable practice that risks losing the shot. The opportunity to take bracketed exposures when shooting and combining the resulting images offers a much better chance of achieving the desired image. Another alternative is to use the graduated filter tools in Lightroom or Photoshop that offer far greater flexibility.

I recently watched a training video in which the presenter ( a very experienced and well known landscape photographer) was constantly adjusting the filter(s) on his landscape camera and I was left wondering whether he ever got the shot he first set out to catch. It is true that landscapes don't move but this is to ignore the very powerful effect of the changing light both over a relative lengthy period of time such as sunset or sunrise or a very short period of time where clouds are passing quickly in front of the sun.

Filters

Spent a fair time yesterday trying to do the projects relating to Graduated and Polarising filters. Made a right bog of it. Have no previous experience of Grad filters other than as part of the software in Photoshop and Lightroom so found the mounting and moving of the filter unnecessarily complex. Less problem with the polarising filter which simply screws on to the lens.

Have to admit that part of the problem was my attitude that was one of Why am I doing this? For most of the problems that filters are designed to overcome there are other ways available such as two exposures or bracketed exposure of the same scene or using the filters in software. Still I suppose I must persevere so will have another attempt when the weather is suitable.

Project 37 - ways of dramatising a landscape

Inherently spectacular subjects - often these subjects are those elements that leave us in awe and aware of our own puny size in a world that includes 'giants' of all kinds. Far from being 'imaginary' the one that stands out in my memory and that provided some spectacular images was a visit to Niagara Falls. One only has to stand at the top of the falls to feel the sheer power of water. To experience the effect a trip on one of the Maids of the Mist boats that take you almost into the heart of the cascading water providess the sense of grandeur and spectacle.

An extreme focal length of lens: very wide angle or long telephoto - here we are able to create a perspective that by shifting relationships between elements create patterns or views that capture the imagination. The very wide angle lens offers the opportunity to include foreground elements that take us into the image whilst retaining focus across the range. The telephoto lens compresses the picture and draws together elements that in reality may be some distance apart. On a holiday in Tunisia I was fortunate to go on a two day safari into the Sahara desert. On the second day we were woken early so that we could be in position to see dawn breaking. We climbed a large sand dune with some difficulty (only to be met by the ubiquitous coffee and Coke seller at the top) and as the sun rose it revealed mile after mile of sand dunes. The combination of the early morning light and the use of a telephoto lens produced some unforgettable images as the dunes seemed like waves rushing towards the shore.

Rich colours at sunrise and sunset - my personal preference is for the horizon to provide some interest such as buildings, mountains or trees that give form in silhouette as the sun rises behind them. Alternatively the rising or setting sun over the sea or large expanses of water can offer a pathway of light that is both an 'in' to the photograph or an important element of the image itself.

Back lighting - I am not sure that this produces drama in a landscape although one could imagine a combination of landscape and sunrise/setting that gave shafts of light apparently rising from the mountains or other features which would add drama to the overall image particularly if the light catches the underneath of clouds in a darkening sky.

Unusual composition - Here the effect is one of surprise or possibly discomfort as the composition challenges the viewer's view of the world. The placing of a familiar object in an unfamiliar relationship with its surroundings such as shooting very low with a small pillar or piece of street furniture that appears much larger than in reality because of its relative size that would dominate the foreground.

Mist - Mist offers a range of possibilities both in partly hiding a feature such as foothills or only allowing the top of things such as trees to appear clearly in the picture. Here the drama is the mystery or the subtle changes caused by the softening effect of the mist on normally harsh features such as hills or mountains.

Snow - Changes the shape of objects and the nature of the landscape and can be of itself a dramatic subject for a photograph such as wind-carved drifts that take on a form that is surrealistic.The nature of the light also changes bringing a sparkling clarity.

Frost - After a severe frost and with a low temperature trees become glazed and if you are very lucky have icicles hanging like Christmas decorations. I was driving along the A57 in Lincolnshire when the roadside for about half a mile presented this sort of image.

Rain - Although often seen as the photographer's enemy sometimes it offers conditions that make for great images. Drops of rain on grass or leaves and the limited vision across the rainswept land provide many opportunities for the unexpected image. Almost any landscape looks and seems to 'feel' different when it is raining.

Subdued - The effect of mist or rain or the rays of the sunrise or sunset can produce a soft image where the drama is understated but nevertheless has an impact comparable to the more normal views of any of those things mentioned above. My own personal favourite is a shot I took across an expanse of water looking towards the foothills of a mountain range. The sun was setting at 90 degrees to the line of the photograph and the valleys between the foothills were covered in mist. For probably less than a minute the light and other elements combined to create a picture that was reminiscent of Oriental art. For once I was in the right place at the right time and had the camera in my hand.

Project 36 - defining a style

Eliot Porter

Although known as a Fine Art photographer Porter was, at heart, a naturalist and scientist having studied Chemical Engineering and Medicine. His scientific background is apparent in his use of the dye transfer process that allows for great control over the colour process. (For an explanation of this process see www.cartermuseum.org/collection.php?sec=dyetrans). ) His naturalist inclinations are evident in his photographic studies of birds and in his landscape photography. There is an elegance about his photographs which, combined with his mastering of colour production, make it easy to see why he is considered a Fine Art Photographer.

Dorothea Lange

Beginning her career as a portrait photographer Lange is best known for her work recording the Depression era in America. She was employed by the Resettlement Administration (later to become the Farm Security Administration FSA) her images concentrate on the individual or families suffering the worst effects of the Depression. Her early work as a portrait photographer is evident in her work during this time with stunning images of people facing a hopeless future. The underlying simplicity and the use of black and white grainy film underlines the message she is attempting to put across. Similar work can be found in her photographic record of Japanese Americans being forcibly evacuated to Resettlement Camps following Pearl Harbour in 1941.

Walker Evans

Evans goal as a photographer was to offer photographs that would "liberate, be authoritative , and transcendental". Like Dorothea Lange he was employed by the FSA and produced similar work providing images of rural poverty. He used a 10" x  8" large format camera and the qualities that such a camera provides is evident in his photographs. His images range from straightforward portraiture through images that used heavily cropped images such as the legs of four men from the knees down to buildings. Like Lange he was a photographer of conscience.

Ansel Adams

Adams work is notable above all else for his control of focus, heightened contrast, precise exposure and his skills in the darkroom. Creator of the 'Zone System' to maximise tonal contrast he used a large format camera which offered, for him, the best chance of achieving his aims. His photographs of Yosemite National  Park are probably his 'famous' ones but his real impact is created by his almost obsessive attention to detail. He argued that the photographer should pre-visualise the image he wanted to have before actually using the camera.

General Observation.

One has to ask oneself whether there is, or ever could be, a unique style that would be recognised as the work of one person without attribution. Whilst Adam's images of Yosemite are almost universally recognised as his work there is still the requirement that in some way there should be authentication of any image as his work. The best that can be said without this authentication would be to say the image was in the style of..... If you look at the work of Lange and Evans there is insufficient difference in their work for the FSA to say which photographer was responsible. Clearly where an image has become synonymous with a particular photographer, such as Lange's images of the ShareCroppers family, then recognition is immediate but this is not the same as being shown an image and asked to state who was the photographer.

Project 30 Wide-angle views - near and far

The first image was taken hand-held sitting on the ground and steadying the camera on my thighs. I followed this up by placing the camera on a convenient flat rock immediately in front of me and shooting in the usual way (manual pressure on the button).

I left the camera on the same rock but this time used a wireless remote control to avoid any possible 'shake'. I got the following image:

All three shots were taken within a short space of time and there was little if any change in the light. Close examination of the three images shows little variation in the 'sharpness' although this probably has a lot to do with the stabilising feature in  the lens (Tamron 28 - 300). Without this facility it would have been necessary to either use a 'gorilla' tripod or something like a bean bag to provide stability and certainly the remote control would have been essential.

For the next couple of pictures I turned to my left to obtain a different view. I achieved the following results:

The first of these two images was taken standing up which produced the limited view of the loch side. In the second the camera is placed on a convenient rock and the remote control used.

General

Having done the exercise the results seem obvious but it reminded me that taking photographs standing up limits the variety of shots available. Certainly I personally find the second of the two images immediately above more satisfying than the first. I was fortunate to have conveniently placed flat rocks upon which I could place the camera otherwise the results would have been difficult to obtain. I had not taken my 'gorilla' pod which shows a lack of forward planning and I hadn't taken a jacket that I could have used as a makeshift bean bag. The latter 'decision' was a mistake because the other thing I learned was that the many tales about Scottish midges are decidedly true!

In order to get the view I was aiming for I used 'live view' although in all honesty I was largely relying upon educated guesswork on what the likely results would be.

Project 32 telephoto views -a variety of images

All three images were taken from the same point. In this first image I wanted to include the rocks (part of a breakwater) in the shot with the small rocky island in the mid-ground and the large island (Skye) in the background. The lens used was at 28mm for this shot which gave a wide angle that included the headland that comes into the image from the right about at the mid-point of the image.

The second image was taken with the lens set at 42mm which has the effect of only moving the viewer a small part of the way into the picture. I did try a number of other settings up to 100mm but my personal preference was for this particular one. In the others the small rocky island became very much the dominant part of the picture and foreshortened the distance between that island and the larger one.

In this final image I have used the small island to provide the foreground interest and to emphasise the distance from the camera of the larger island.

Project 27 - By the light of the Moon

I seemed to wait for ever for a combination of a clear sky and a full moon which were necessary prerequisites for this exercise. However last night my opportunity arose and so I took the images shown above. All were taken in my garden which fortunately is not affected by extraneous lighting.

All three were taken with the camera on a tripod with a wireless remote control fitted to avoid any camera shake with the necessarily long exposure time of 20 seconds. All three were shot with the aperture set at f3.5 which is the widest aperture available on the lens used (Tamron 28 - 300mm) with a setting of 28mm.

It was a clear night with a full moon and the images were shot at approximately 2215 hours on Wednesday 1st August.

With the camera set to manual the only changes made was to the ISO (100 for the first; 200 for the second and 400 for the third image.

I then turned the camera round to take the following three images:

The same camera set up was used although the images from top to bottom have ISO settings of 400; 200 and 100.

I had looked at a number of pages of information on the Internet to make a preliminary calculation of the shutter speed and used the average of 20 seconds. I checked the initial image and found the result acceptable for the purpose of the experiment and stuck with the 20 seconds throughout.

The first set that is obviously looking away from the house were a surprise to me particularly the ISO 400 shot that clearly has colour information. The shadows that can be seen are moon shadows and the lighting of the area is solely the effect of the moon. As is stated in the Course material our eyes do not see colour in such situations and yet obviously the camera's sensors capture the colour elements albeit somewhat muted. In Photoshop I did move the Exposure slider to increase the level and it became almost like a summer's day!

The reason for turning the camera round was to catch the effect of the moonlight on the house. To me, although my eyes had adjusted to the darkness, the house looked dark with the only obvious light being from the Garden lights. The nearest image to what I was 'seeing' was the ISO 100 image and even then there is more light than I was conscious of. In the ISO 400 version the amount of light was totally unexpected and the change in the colour of the sky was equally a surprise. The smudge of light left of centre in the picture just above the horizon at that point is a plane coming in to land at Stansted that is probably 30 miles away.

Project 26 - Shooting the Moon

The first image was taken with settings 1/250sec f7.1. The moon was high in the sky as it was necessary for the sky to darken. At moonrise the moon was barely visible.

The second image was taken with settings of 1/125sec f5.6. some two minutes after the first image.

As an exercise this was frustrating largely because of the weather that meant there was rarely a clear sky when the moon was full. On a number of occasions I had set up my camera ready only to find the cloud cover increasing.

I found the 'landscape' element of the project something of a problem. Using Photoshop or Lightroom it would have been possible to lighten the landscape element  and I also considered creating a montage with the moon and a landscape but felt that neither of these options were not in the spirit of the project.