Friday, November 25, 2011

Donald Cameron - Mono Photography - Black & White Seascape Slideshow (HD)


Mono Photography by Donald Cameron - Monophotography.co.uk.

"The focus of my work is the landscape & seascapes of Scotland, predominantly shot in black & white. Photographing often deserted stretches of coastline creates an amazing sense of peace and tranquility that I try to get across in my images, with nothing but the camera and the vast endless ocean for company. I love being able to almost control the ocean through the lens, turning a choppy tide into a calm silky wash using long exposure. It is this that provides my constant inspiration and keeps drawing me back to the sea" Donald Cameron

Cameron's advice on how to lessen an over-exposed sky:

ND grad filter can help with this, or a polarising filter on top of a regular ND filter will do a similar job (an is usually less hassle to work with). Also try shooting when it is very cloudy, and near the start/end of the day when there is less light available, the skies won't be as blown out that way.

Iain Gilmour - An inspirational-fix

Seascape & landscape photography inspiration from Iain Gilmour

Continuing my search for inspirational Seascape Photographers I came across Iain Gilmour.

Not only is Gilmour a contemporary photographer but he is also a scientist based in Buckinghamshire. After studying Geology at University he found his love of the Landscapes surrounding his native country Scotland.

"I like the inherently surreal nature of monochrome photography and the artistic process involved from the taking of the initial photograph through to the final print". Iain Gilmour


Seascape & landscape photography inspiration from Iain Gilmour

Seascape & landscape photography inspiration from Iain Gilmour


Seascape & landscape photography inspiration from Iain Gilmour


Iain Gilmour Photography 11


Iain Gilmour Photography 9


Iain Gilmour Photography 15



Adrian Newcombe

Streaming Light, Ballyandreen, Co. Cork, February 2008.


I have found Newcombe's work very inspirational, not only due to the fact that he primarily works using black and white photography but also due to his feelings towards why he has become accustomed to photographing a certain subject matter. This therefore adding a personal array of feelings towards the concept behind his imagery.

He feels that due to him taking a representation of the world he is viewing, especially his fond love of seascapes, rivers and woodlands, has allowed him to become more accustomed to looking at the landscape more attentively then usually just on recreational casual walks without a camera to hand!

His working practice of photographing during 'Magic Hour Lighting' has allowed him to experiment using longer exposures this adding a greater degree of mystery and beautiful successfulness to his exceptional aesthetically pleasing photographs.

He states on his website (http://www.anewcombe.com)

"My camera became my constant companion on early morning and late evening walks, a time when the light is often beautiful and nature seen at its best. Through picture taking, I began to look at my surroundings differently, looking at details in the landscape and picking out shapes.


I use the medium of black and white exclusively. With black and white, there is always a degree of interpretation, as we do not see in monochrome. A monochrome picture can appear more dramatic or moody than the equivalent colour photo might. It also distills the scene to the essential elements within it - the shapes and textures that represent the subject.

Much of my work are long exposures ranging from seconds to several minutes. This is often a necessity of the time at which I take the photos, but also something I try to use creatively. With long exposures, movement is either accentuated or for very long exposures, movement is smoothed out altogether. Where movement is obvious, it can be used to draw the viewer into the scene, while where movement has been removed, it emphasizes the shapes and textures of the static elements of the scene."


Below are some of my favorite Newcombe's images from his Gallery, posted to his website titled The Shoreline

Ebb and Flow, Cork Harbour, February 2007.


Rocks and Surf, Guileen, Co. Cork, March 2008




Evening, Moy Estuary, Co. Mayo. September 2001.


Rocks and Light, Ballyandreen, Co. Cork, March 2008.



Sunset, White Bay, Co. Cork, September 2009.


It is not apparent on Newcombe's website as to which type of camera it is that he uses. At first glance I would take a chance at saying that he may use a Large Format camera with either a film or digital back. Quite possibly on some occasion's he may also use a hand held DSLR . . BUT to confirm the absolute truth; I am waiting on a reply to a email I have recently sent to Newcombe via his website.

Below is the email I have already sent to Adrian Newcombe:

"Hi Adrian,

I am a mature student currently studying the BA (Hons) Photographic Media Course at Blackburn University in Lancashire, England.

I came across your website whilst researching into Seascape imagery, which I have to say I have found your work very beautiful and inspiring.

Currently I am working towards a brief titled 'Professional Practice' in which we are to discover new techniques and processes and recognise technical proficiency in other practitioners and attempt to achieve their standards or beyond.

I am just wondering if you wouldn't mind taking a few minutes of your time to answer a few questions to aid me with my studies as after reading your profile you do not divulge in which equipment you use to achieve your landscape photography . . . my guess up to now is you using a combination of DSLR and Large Format Camera's with both a film and Digital back?

So I am just inquisitive to know:

  • What Camera's do you use to achieve your desired visualization of your captured Sea Scapes?
  • Have you ever had any teaching's in regards to using your preferred equipment? Please elaborate if possible , thank you :-)
  • Could you describe your workflow?

I have not long got back from a trip of a lifetime to Cape Town, South Africa with the University and it was on that trip that I re-found my love of capturing Sea Scapes. At heart I would call myself a Documentary Photographer however I am hoping to become proficient in the fact that I am also able to achieve such beautiful Sea Scape imagery.

Any tips and advice on how to capture breathtaking Seascapes would be greatly appreciated (hope you don't think I am being cheeky however I am a great believer that if you don't have the confidence to ask the professional's you come across within your life time then it is very unlikely you will become successful).

Thank you again for your time and much appreciation to you for any advice you can give,

Kind Regards,

Joanne

Email: joannestudholme@gmail.co.uk

Website: http://www.joannejadephotographer.com/

Blog: http://joannestudholme-bahons.blogspot.com/"



Below is the response I received from Adrian later today (12.12.11) to which I am very grateful to him for :-)

"Hi Joanne,

Thanks for the kind words and the interest. I should say that I am not full time but rather have a day job around which I do my photography. I'm happy to share my equipment/workflow but perhaps the above may mean that you cannot use it in your assignment.

My equipment currently consists of Sony Alpha 700 and 200 bodies, Tamron 10-24mm, Sony Carl Zeiss 16-80mm, Sigma 70-200mm, Minolta, 100mm Macro, 28.. and 50mm lenses. The seascaptes you refer to are primarilty taken with the 2 wideangles lenses. Previously, I had used Bronica medium format and Canon 35mm film cameras and my older work has been done with those.

I use ND grads extensively for balancing exposure.


In terms of my current workflow, all work is captured in raw and processed in Lightroom for an initial selection of images. Selected images are then worked on in Photoshop for B+W conversion and usual dodging/burning etc. I have not had any specific teaching in respect of my equipment.

I hope the above helps. Best of luck with your studies and beyond.

Best regards,
Adrian."

Fotoviva Art Prints - MARKET RESEARCH


Fotoviva Photographers

The photographs on Fotoviva Art Prints are a collection of inspirational pictures from around the world by our group of photographers from the UK. This team have been brought together because of their dedication and exceptional skills at capturing the best shots from behind their cameras. Some are largely unknown in the professional photography world whilst others make a good living through their work, but all of them find photography a passion which they want to share with the world.

The photographs are mainly taken on professional DSLR cameras or scanned from film. Images are taken in the highest quality settings possible and some pictures are enhanced using Adobe Photoshop software in 16bit quality to bring out the real beauty of the image and create a special atmosphere to the shot.

http://www.fotoviva.co.uk/photography.asp


Sea Scape Art

Seascape prints are a relatively new form of wall art that have become very popular for home interiors, whether printed on acrylic or as canvas art.


Photographers are finding inspiration in the beauty and vastness of the ocean and how a long exposure can create wonderful photo art that inspires the soul. These seascapes transfer perfectly to wall prints in the home.

Seascape art can be anything from a dramatic photograph with a storm approaching a lighthouse to a quiet and relaxing scene with a soft-focus beach and subtle colours. Some of the best seascape wall art will feature a sunrise or sunset, delivering stunning colours across the sea and rocks. The beauty of the colours in the sky are usually reflected in the water creating a mirrored image. This works particularly well with long exposure photographs which help to give the water a soft, artistic and glass-like surface.

Below are some of the images which are currently being sold on Fotoviva Art Prints http://www.fotoviva.co.uk/ . It is quite clear that there is a market for such photographic art work such as Seascapes and it is working towards this style of artistic photography I wish to pursue in regards to my Professional Practice brief.

canvas art print

Peaceful II

A simple yet beautifully tranquil seascape print showing the horizon splitting up the clear blue sky and calm waters of the tropical looking sea.

Photography by Kathy White.


canvas art print

Tranquility II

Simple, beautiful and peaceful, this photographic work shows the horizon splitting the water and sky of the seascape in Selsey, Chichester.

Photography by Kathy White.


canvas art print

Simplicity

A long exposure photographic print of a deep sunset over Poole Bay in Dorset. The misty tide reaches out across the beach revealing the pebbles beneath the water's surface.

Photography by Howard Goff.



canvas art print

Moonrise

This beautiful Dorset coastline looks magical under the rising moon with a very deep blue hue over the incoming sea. Taken on the Hengistbury Head of Dorset, the head today is used as a tourist spot where country walks can be taken all over the head due to the well defined gravel paths, some of which form part of the Bournemouth Coast Path

Photography by Howard Goff.


Although I would call myself a keen, fast paced documentary photographer that strives with a passion in regards to communicating with photographic essays, I also believe that in regards to excelling within your professional practice that you must go back to basics to re-accustom what had drawn you to your intended career path within photography.

This so happened to be capturing the beauty of the landscape using film based photography therefore I intend to professionally capture technically proficient imagery using both 35mm and 5x4 Camera's.


Below are some Black and White Seascapes I find inspiring



canvas art print

Black Pebble Beach

This black and white print shows a very calm and serene view of the ocean with a cluster of pebbles half submerged on the shoreline. The long exposure has created a misty effect around the pebbles and the monochrome helps to simplify the scene and bring out the textures and tones of the photograph.

Photography by Jonathan Chritchley.


canvas art print

A Leap of Faith

This black and white print is an almost surreal scene as a quiet pier seemingly leads to a drop into nowhere thanks to the 30 second exposure which has created the still waters that merge with the misty horizon.

Photography by Doug Chinnery.

canvas art print

Ebb Tide

A mono study of the receding tide captured at dawn on the Yorkshire coast at Bridlington.
Photography by Don Tiffney.


canvas art print

Pier and Marker Buoy

Capbreton, Les Landes, France. Taken just before dawn at the entrance to Capbreton harbour, this wonderful black and white photograph shows a silky soft sea thanks to a long exposure

Photography by Jonathan Chritchley.


Black and White, Fine Art Landscape and Seascape Photography from Ireland.
© Adrian Newcombe 1999-2010 http://www.anewcombe.com


Thursday, November 24, 2011

Black and White Vs Colour

Black and White Photography


Black & White Photography has its own place in the art world and many of the greatest photographers specialised in this field. It does more to evoke an emotion and freeze a moment in time than any other medium and has helped elevate it to a fine-art form. The subtle tones of grays, the strong emphasis of the blacks, and the softness of the whites makes one look much closer at the subject and composition due to the lack of natural colour. Emotions are always much easier to portray with black and white, because of the stark contrasts and the sharp focus on the subject matter.

Why Black and White?

When we’re in a landscape, we see it in colour. Black and white photography strips away the colour, leaving the bare bones. The features of the landscap, such as rocks, trees and mountains, become compositional elements made up of light, texture and tonal contrast. Black and white is beautiful. The photo becomes an interpretation, rather than a literal representation, of the landscape. We’re seeing the artist’s personal vision, and emotional response to the landscape, as well as the place itself.

Large Format Camera '5X4' Practice Shoot

After becoming re-familiar with the 5x4 within recent practical lesson's I decided to set up the 5x4 camera, without the immediate help of any tutors.
Instead of taking the initial plunge and heading out into the wilderness straight away, I practised with the equipment and aimed to achieve a perfect exposure of the view from the studio window.

Below are my scanned negatives of the two same view from the window taken at slightly different exposures.

It is common to use a bracketing method whist indulging with film based photography, this is to ensure that you achieve a perfectly exposed negative.
Due to today's photographic market and the progressive rise of digital photography products, film is becoming more and more antique like. Extra pressure is more apparent to capture a film based image correctly within fewer frames due to the extra expense for film and developing costs.






EOS 5D Mark II Making of Video Reverie by Vincent Laforet

Reverie by Vincent Laforet


This was the first 1080p video widely released that was shot with the Canon 5D MKII. It was viewed more than 2 million times in the first week of its release.

Digital Vs Film - Are we still Photographer's? MARKET RESEARCH

As we are currently in a digital age and technology continues to improve digital sensors for camera's as small as a pin hole on mobile phones,

it is becoming more and more apparent that the term photography is becoming a thing of the past as professional and amateur photographer's are no longer CAPTURING an image using digital equipment but are now CREATING an image.

This new idea of thinking that Photographer's are no longer Photographer's but are now Image Maker's was highlighted in the August 2011 issue of Professional Photographer written by the Editor Grant Scott, titled

"Photography
is dead,
long live the
image . . ."


August 2011

Scott dialogues his conversation to Chris Duffy, Duffy being the youngest son of the late photographic legend Brian Duffy,

"Chris Duffy was talking about his new-found love for photography: old school photography involving film, tanks and darkrooms. He made the point that photography was about capturing an image and that as digital capture created images through coding and dots, it could not be considered photography. It didn't capture an image, it created an image"

Therefore Digital Camera Operatives should no longer be considered to be Photographer's but Image Makers or even Image Creators

Scott also believes that the current professional market for photographer's is suffering due to the vast numbers now wanting to be involved within the photography profession, he highlights that

"The new photographic community grows as it indulges its passion for high-quality image making shared with an international community of like-minded individuals for free. Is this a professional community? Are they professional image makers? Well yes, many of them are, as their work demonstrates but they are embracing a new way of being professional. The new landscape allows them to cross from passionate creators to professionals and back again through personal and commissioned projects. The new landscape allows for maximum imagination and creativity. It also relies on these elements to ensure recognition of their work"


Wednesday, November 23, 2011

Large Format Camera '5x4' Workshop




A true professional practising photographer I believe should be accustomed to using a varied amount of different camera's, and so do the lecturer's agree that old school photography should still be a skill to which every photographer should be familiar and comfortable with using.

Due to it now being 10 years since I last used a 5x4 camera whilst studying the ND Photography at Blackburn College I was very pleased that within some of our recent practical lesson's we have had an over view on using the 5x4 large format camera and below are the images that myself and two fellow students, Gemma and Ryan, captured through the window of the top floor of the university building.





Both of the images are obviously taken at the same viewpoint with no movement made to the camera therefore we were just experimenting with different exposures to capture the correct one.

Below are examples of different Camera Movements available when using a 5x4 camera

Image Control and Camera Movements:
Creative Challenges and Simple Solutions
Controlling Perspective and Parallel Lines

rising front
Challenge: You want to photograph a building, or a stand of trees, yet keep all lines parallel even though you must angle the camera upwards to encompass the scene.

Solution: Rise. First, align the camera back parallel to the subject. Then, by using the rise movement, the lens' point of view is moved above eye level, thereby keeping vertical lines parallel. Rise, fall and shift are all parallel movements that move the lens up, down and sideways relative to the center of the camera back.

Increased Control of Perspective and Parallel Lines
Challenge: You need more control of perspective than you can achieve with front rise, fall and shift.



Solution: Drop Bed - Front and rear are tilted backward at the same degree and thereby kept parallel, giving the effect of increased Front Fall.

Incline Bed - Front and rear are tilted forward at the same degree and kept parallel, giving the effect of increased Front Rise.

Shift Bed - Front and rear are swung in the same direction to the same degree, giving the same effect as Shift, but with dramatically increased control.

Increasing Depth of Field
Challenge: You see a vast landscape with a field of flowers and distant mountains. You want to have both the flowers near the camera and the distant mountain in focus at the same time. Even if you used the smallest aperture on your lens, you might still need greater depth-of-field.

Solution: Front Tilt. Tilting the lens forward will extend the plane of focus far beyond the effect of using a small lens aperture and allow you to get near and far objects in focus at the same time. Front tilt is usually combined with using a small aperture such as f/16 or f/22. It does not replace using a small aperture, but rather enhances the effect over a greater subject plane.

Challenge: Imagine focusing on a white picket fence, running from near to far, diagonally through your composition. With ordinary cameras you can either focus on the beginning, middle, or end of the fence, use a small aperture, and hope to get most of it in focus.

Solution: Front Swing. With a field camera, you can swing your lens to position it roughly parallel to the fence. This will allow you to get the fence in sharp focus from beginning to end, even with a wide open aperture.

Selective Focus
Challenge: You want to focus on just one leaf or flower and leave everything else in the scene a soft blur. Or, you want to recreate an effect you may have seen in a fashion magazine where only the model's eyes are sharp, and all the clothes are softly blurred.

Solution: Front Tilt-Backward can be used to accomplish these selective focus effects with ease. Front swing can be used for a similar effect with objects to the left or right of your composition center. Swinging in either direction will bring objects in or out of focus.


Correct or Distort the Shape or Size of An Object
Challenge: You want to emphasize a large rock, or other visual element in the foreground of a landscape.

Solution: Rear Tilt. By tilting the back away from the lens, you will notice that the size and shape of objects in the foreground become exaggerated. Similarly,

Rear Swing will pivot the back from side to side, manipulating the shape of objects to the right or left of the composition.



swing and tilt


Swings and tilts

Left: distant object, small extension. Centre: nearer object, more extension. Right: objects at two distances -- use swing.

Swings and tilts are used to hold a receding plane in focus, or (more rarely) to isolate a narrow plane of focus and throw the rest of the image out of focus.We find it easiest to think of swings and tilts is in terms of focus. When you focus closer, you wind the lens further out. Now, imagine that you have two subjects at different distances, both of which you want to stay in focus. You need the lens focused at two distances at once: one nearer, one further. Swings and tilts allow you to do this.


The Scheimpflug Rule

The gloriously named Scheimpflug Rule says that if the subject plane, the plane of the lens panel and the image plane all meet at a common line, everything in the subject plane will be in focus in the image plane.


scheimpflug example


The problem, of course, is that few subjects are dead flat. Even so, swings and tilts allow you to hold a receding plane in focus, without having to stop down anything like as much as you would have to if you did not have the movements.

The most important thing to remember when applying the Scheimpflug Rule is that the image is reversed on the ground glass, so the direction of movement required is (at least at first) counter-intuitive. If, for example, the left side of your subject is further away, the left side of the lens panel should be nearer the subject (and further from the film/sensor).

http://www.rogerandfrances.com/subscription/camera%20movements.html

It is my intention to again become more familiar and confident with using the 5x4 camera, I am therefore planning to go out into the wilderness at some point in the near future to take some beautiful landscape photography and experiment with the different camera movements.

Digital Manipulation - Lightroom Vs Photoshop

As I am relatively new to using Photoshop due to being accustomed to using Lightroom since the beginning of the FD course back in 2009, I have decided to test my editing skills on both software packages.

Due to having only very basic knowledge of using Photoshop 5, I directed my attention to the vast amounts of tutorials widely available on the web to help with my editing techniques.

Below is the RAW file and two edited versions of one of my favourite photographs I took onlooking the sea meeting the sky - from the top of the Lion's Head Mountain in Cape Town, South Africa.

RAW Image - ISO 400, 28mm, f22, 1/350

I found the view breath taking however the colours captured via the digital sensor are never a true reflection of what the human eye can see. It is an interpretation of a seascape representation via digital code however the RAW image does not reflect or evoke enough emotion due to the bland colour palette depicting what is the sky and sea.

Lightroom Edit

I used my typical workflow within Lightroom to achieve the above image but I was not satisfied with the colours' dullness. Both the Sky and Sea lacked a richness resulting in the overall image displaying flat tones of colour.

I therefore searched for a useful tutorial to aid my landscape / seascape editing techniques and came across this Blog called RL Creative: Blog about Design and Photography by Roland Glukhov

image


The tutorial explains how to achieve the best possible landscape photograph by making virtual copies within Lightroom at different exposures to the original, then combining the copies together and layering certain areas within Photoshop over the original exposed image.

As with any Landscape or Seascape Photograph due to the difference in exposure needed for the sky and land or sea, unless using a filter at the time of capture on your camera, it is highly unlikely to achieve a perfectly fully exposed negative . . . but with this editing technique . . . anything is possible . . .


Cape Town, South Africa



My initial idea for the Professional Practice brief, whilst on the trip of a life time to Cape Town in South Africa with the University in early October, was to over come my fear as a documentary photographer in taking photograph's of people from a different culture.

My previous ethical practice within this genre has been where the people I have photographed have been aware of my presence and subsequently been asked permission - for example when I documented Freestyle Dancing in early October 2010, - http://joannestudholme.blogspot.com/2010/11/photojournalism-past-reveals-present.html,
however within South Africa I wanted to over-come my fear of photographing people without necessarily asking their permission beforehand to capture a true recording of the scene set before me AND also in some cases having the confidence to ask a foreign stranger if they wouldn't mind me taking their photograph so to indulge in conversation and socially learn about a fellow human beings different lifestyle to that of my own.

On the trip along with the lecturer's were further photography students from both the College and University Centre. This proved an even bigger challenge to myself to feel comfortable in taking photographs whilst so many other photographer's where taking photographs of a similar scene especially when we visited the poverty stricken townships.

Time and time again at the townships whilst the majority of the team where photographing instantaneously without a thought whether what we were doing was right or wrong at the masses of children that surrounded us I began questioning myself "Is this ethical?"

Regardless to my personal beliefs and after taking time to become a little more at ease after watching my fellow colleague's I began to join in and take photographs, the children where quite happy to be in front of our camera's so this relaxed my initial reaction and view. However I still felt that I was unable to make any kind of connection to any of the children I was photographing due to the many of us photographing at the same time.

Below are a selection of my photographs captured whilst we where travelling through the townships on a coach with Uthando Tours http://www.uthandosa.org/ and subsequently my photographs captured on both my DSLR and Film Camera whilst having a little freedom to roam within a small community area of a township.
















Images taken within the Township