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

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

http://www.thedphoto.com/inspiration-fix/seascape-landscape-photography-inspiration-from-iain-gilmour/

http://smashingpicture.com/iain-gilmour-photography/

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.

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.

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.

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.

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

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.

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.

Ebb Tide

A mono study of the receding tide captured at dawn on the Yorkshire coast at Bridlington.

Photography by Don Tiffney.

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.

© Adrian Newcombe 1999-2010 http://www.anewcombe.com

http://www.thedphoto.com/inspiration-fix/seascape-landscape-photography-inspiration-from-iain-gilmour/

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.