Sometimes you just see things, and have to take a photo – and sometimes you take something out with you to shoot – just in case – and get something unexpected.
This week, on the last sunny and warm day (I suspect) of summer, I headed out to the local woods with a glass ball in my camera bag.
I spent some time looking at the woodland, and playing around with light and shade….. then remembered I’d got the ball with me….. I jammed it in between a couple of tree branches and was delighted that I could see a view of the wood through it… of course, it’s a lens, and everything was upside down – so I’ve reversed the image…..
The woodland is small, no more than a few hectares, yet I find myself returning again and again. Last winter was when I first discovered it, and I played around with the lines of trees against the stark winter sky – in the summer, the canopy is so thick there’s little light getting through to the ground.
I’m looking forward to seeing it in the autumn.
Always go back to places you’ve visited before, it will be different every time, and there will always be something new to see.
In this small woodland, maintained by the woodland trust – work goes on all year round, and views I saw a few months ago, are just not there any more – but there are new ones to investigate.
Keep going back, keep looking…..
It’s not over till you quit, because you never know where the next picture will come from.
I have a friend (just the one) – who shoots film almost exclusively. He says that you can’t get the same quality of image from digital that you can from a film camera. He insists he’s right – won’t hear a word said against film (and I’m not going to here either).
The thing about this, is that the production of an image, has nothing to do with the medium on which it is taken. It’s a mechanical thing, whichever way you look at it.
There was a time, when I bought, shot, developed and printed from film. There’s a time now when I buy cards, shoot, process and print digital images – and the difference is? I can do it in the daylight, instead of sitting in (what was at the time) a stuffy little built in wardrobe, with the smell of chemicals wafting on the air.
When I did my photography courses at college – one of the first things we did, was go straight back to the lab, and process a film – ahh, you say – nostalgia….. nope – same old darkness (in a larger room to be sure) but with the same chemical smell that lingers long after you get home.
‘But”, my friend argues “we did it all ourselves, all the famous photographers of our time did”… well sorry to disillusion you…… but most of them had assistants, even if they oversaw the whole process.
Think this way as well. We didn’t make the film, as much as we didn’t make the memory card. We didn’t make the lens for the camera, or the electronics that are in there today. Someone somewhere along the line helped us to make that photograph. If we digital shooters produce a JPG, then the camera has done some editing in advance – if we shoot RAW, then we end up with the equivalent of a negative, to edit as we wish. I suspect it’s no coincidence that Lightroom has a ‘Develop’ module, or a library for that matter.
What I notice is that my friend does not print his own images, nor does he process his own film, and yet argues that his image making process, is more ‘pure’ than mine,
As photographers, and creators of images, I don’t think it matters if we leave some things to our virtual assistants – get our images printed elsewhere for example – it is entirely our choice, but if we leave the film to be processed into prints at the time we send it off -then we are leaving the final edit to the chemistry lab operators.
In the end though, it’s our creative vision, and the print, (if we choose to go that far) is our end product.
Put a film print and a digital print side by side, and most times I would defy you to tell which was which !
Feel free to argue the point – I’d be interested……..
Following on from my last post – I’m a bit excited.
Regular readers will remember that at the start of 2019 I started a journey down the Meridian Line from Yorkshire (Sand Le Mere) to the bottom of the county of Lincolnshire.
I ended with a trip to Greenwich, with some good friends.
The photographs themselves took 12 months to take and edit; and then another 7 months to organise them and write the text.
I self published using Blurb books, and have made both a hardback, and a soft-back.
I am really pleased with the end result – and in fact the statue on the front cover of the book (John Harrison of Longitude fame) was only installed at Barrow On Humber in March of this year. It was one of the images I had to wait to get before I could finish the book.
So, it’s done – and what next?
Well, Covid has put a stop to a lot of travel, but I am starting to get out and about a bit more – with other photographers too – though we go out in separate cars.
I’ve got a couple of ideas for projects going forward – which I’ll talk about when it’s more formalised in my head.
I’ve also got lots of people to thank who helped me get this book done – the naggers, the drivers, the pushers. The folk who have stood behind me when I got despondent and said “It’ll be OK”.
So – thank you to my other half for letting me travel at all hours, leaving him to dog-sit. Thank you to all the members of Lincolnshire Image Makers who encouraged me to keep going.
And to Mike Bennett, Keith Balcombe and George Lill for coming out with me – keeping me on the straight and narrow, and generally shoving me in the right direction.
I tend to try and finish what I start – though at my age now, a long term project (a very LONG one) may never get done.
I was reading about photographer David Hurn, who started a 10 year project about the village he lived in. He was inspired by a John Updike quote: “giving the mundane its beautiful due”
This seems a good project for other people too, though mundane could run things down a bit. Uninteresting could become interesting only when you start to do research.
Like my own village – there’s nothing here till I started to look. A pre-conquest minster church – now dilapidated, with all the roof lead stolen last year. Inside the burial of Sir John Skipwith, who died in 1415.
Investigation starts with a little knowledge, and involvement. It’s up to us to put the two together.
After that, it’s about where you stand, and when you press the shutter.
St Bartholomew’s Church at night – lit from inside with floodlights. There’s no electricity, no water – only the odd owl and a few bats in the belfry. Literally……… 🙂
I’ve not done a long photowalk for ages, and today seemed to be the day for it.
I cycle a lot, and earlier in the week, a friend and I tried to get along the old Louth to Grimsby rail line – closed by Beecham in the 1960’s – it started OK and we got a fair way down the track, but didn’t make it to the far end as the undergrowth looked too deep.
Today, I had this really good idea to approach it from the other end, and on foot – so armed with camera, and trusty dog companion – we set off.
It started OK
The track was a bit overgrown, but manageable, and dog was having a good time – lots of new stuff to sniff, and rabbits to look at – we even saw some roe deer.
Moving on towards the next village though, saw the track get more and more overgrown – the nettles got taller, and the brambles more treacherous with their trip hazards. Dog started to get a bit miffed, and complained about treading on spiky things. He was only mollified by getting a few blackberries to chomp on as we went along.
The grass got deeper and deeper, and I decided that no person had walked that way in years…. it was pretty obvious why….. It was a wonderful wildlife corridor though, with lots of butterflies. (Should have had a macro lens with me – hey ho).
Anyway, after about 45 minutes of trudging, we got to a point where we just couldn’t go any further – the trees / bushes / nettles etc were so close together it was just impassable, unless you were a rabbit.
After a brief rest in a field – we set off back the way we had come – dog happier now we were going back.
We stopped to have a drink, and watched some harvesting going on, and then turned our noses to home.
Much easier walking now – till we got to a stile that is a set of steps over a wall – Dog refused… so we had to go back – another return trip.
Anyway – job done – walk complete – both of us exhausted. Hard walking – but I was determined to get the camera out for a bout of fresh air……. Some mobile phone pics got taken too, as I needed the rucksack to carry everything the dog wanted to bring…..
It’s a bit frustrating this photo walk business…….
I’ve been reading about photography ideas – here’s one I like the sounds of, and intend to have a go with – I’ll publish the results in due course, and if I don’t, I’m pretty sure someone will remind me.
Why don’t you have a go at this too……
Go for a walk WITHOUT your camera. Go back and make one photo of something you saw on the walk.
Use negative space with ‘wild and reckless abandonment’ – make the main subject a very small part of the composition.
Walk an area you normally drive through. Bring your camera, and make one photo of something you’ve not noticed before.
Make a scenic photograph. Eliminate one element and retake. Repeat till there’s nothing left to take – see how many steps you can spread it out for.
So that’s one shot each for the first three, and a number of shots for the last……
Remember they don’t have to be masterpieces of artwork – just thoughtful things.
Now – there’s a bit of woodland I drive past all the time………..
Being insecure is good for the photographic process. Usually when you are out and about – you take a picture, and then review it on the back of the camera. You might then move about a bit, and take another. You might do this a few times, till what you see on the back of the camera accords with your own internal ideas.
You can’t do that when you shoot film of course. You don’t have the benefit of seeing the ‘result’ straight away, and so there’s that element of insecurity because you are not totally sure what you have got ‘in the can’. You are also limited by the number of pictures you can take. 36 on a roll, or 24, or maybe as few as 8 or 10.
What do we do? Digitallly, we take lots of images – but which ones do you like the best when you get home, and look at them all together?
I often find that the images I like the best are usually not the ones I thought I was taking at the outset – things move on, even as I shoot, and it might be the 10th image that I take that is the one that I use. The benefit of the digital camera is that you can check as you go – but is this always good for you?
Sometimes I wonder if by virtue of being able to look at the back of the camera all the time, I am just confirming that what I saw was good, or am I merely looking at a preview of my ultimate expectation.
It might be both – because looking at the back of the camera all the time can disrupt the shooting process – causing us to miss things….
When I was working as an agency photographer – most times I didn’t have the opportunity to look and check what was happening on the back of the camera – I just had to keep going, and trust that the settings were the right ones. I learned to adjust as I went, working on the principle that it had to be right first time, as there were no second opportunities.
That was the insecurity which was hanging over my shoulder all the time – it made me work harder, and faster. If I checked at all, it was briefly.
The best lesson I learned was to reset my camera to a default, at the end of every single shoot. So the camera sat at ISO 400, f5.6, RAW, and Aperture Priority. That would get me most times an OK shot – it also meant that if I’d previously been shooting at ISO 12,000 – I wouldn’t be doing that the next day, when the sun came out again.
It happens to us all, we make mistakes, but resetting the camera can mitigate things.
Why not try this – put some black tape over the screen – and go out and shoot – make yourself a little more insecure – and see what happens….
A few weeks ago, a friend told me that another friend was selling his drone, did I fancy getting one? I wasn’t sure……….
We decided in the end that we would buy it between us and give it a go.
What did we know about drones? – absolutely nothing…….
However, once it arrived, we found it easy to set up, and get running. The cables were a bit fiddly till you could sort out where they went, but once the batteries were charged, it can be put it into ‘idot’ mode, which makes for an easier start.
The basics are easy – left control, up and down and rotate, and the right for forwards, backwards, sideways – but getting the knack of using both levers at the same time was a bit more complex. You also have to take into account that the camera lens can be moved up and down through 90 degrees. Lots of permutations here.
The first lot of video was shaky to say the least. Stop start, and too quick rotation meant viewing made your head spin, and getting up the nerve to go to the maximum legal height of 400ft was a bit hairy.
The Boring Bit
To legally use a drone in the UK, over the weight of 250g, it must be registered. It can all be done online and there are two parts to this.
Anyone responsible for a drone needs to register as an operator. This is currently £9 annually.
Anyone flying a drone must take, and pass an online education package. This is free, and renewable every three years.
If you want to fly commercially, a whole raft of other requirements are in place.
So, registration complete, test passed (first time – though in fairness it’s not difficult) – and away we go.
Thinking in three dimensions is not easy for me – yet …. For a start, the thing is moving, and it’s far away from you usually. Taking stills is not too bad as it will hover and the gimbal helps keeps the image steady, plus you can see what the camera sees on your mobile phone app. Video though, for me, is a whole new skill.
So, I’ve got the footage (bad though it may be) and I’ve got some photographs. Processing them is easy – the drone shoots its own version of RAW – in this case DNG files, which I can deal with in Photoshop and Lightroom. The video footage though – well Lightroom can’t handle it – Photoshop is limited, so what else have I got?
I use a MAC, and the free software that comes with that is iMovie – and it actually works pretty well. I’ve got a fairly powerful computer that can handle video, but bear in mind that the files can be huge. I shot in 4K (which is the best quality this drone can handle), and after 40 minutes flying the other day, I came back with 30Gb of footage, which when downloaded and edited made for a bit of a wait whilst the files were exported afterwards.
I’ve also been learning a bit more about how YouTube works. The finished files are a bit too big for me to keep locally, and there’s free space so far on the web, which I can link to. Something else for me to learn….
The other interesting thing I found is that you can take a still image from the video footage, and the quality isn’t bad. (See Below)
So how am I doing? Well, it’s been an experience for sure – and some of the images I can already see potential for.
I was initially a bit disappointed with the quality of the stills. The camera is 12Mp but really does need good light to get the best from it. The sensor of course is tiny – but you can work the files to what I consider an acceptable standard – they can be noisy but software can sort most of that. It’s a bit like flying a medium quality mobile phone. (Though I know that some of the newer drones have much better cameras).
I’m always talking about taking a risk, and experimenting with photography, and this is a whole new way of seeing the world. It’s going to take practice, and although I’m thinking of buying another one (that’s all mine)….. I’m going to wait till I really get to grips with my half of a drone……..
For those of you who know all this already, I’m sorry to ramble on, but it’s an exciting time.
Fingers crossed I can keep up with this, and hopefully get to make some video that is actually worth watching….. till then… fingers crossed.
Sometime during March, my camera club closed down because of Covid19 – there was no big announcement, just a quiet closure, and a sudden end to the programme of events that were scheduled.
One member acquired a Zoom account for the benefit of maybe half a dozen people, so we could keep in touch. It soon expanded though to include the whole of the club, and since then has gone from strength to strength.
What this blog post is about, is the results of that closure, and what happened afterwards.
We had a couple of meetings to see how it would go, and, when it became apparent that most of the membership were keen, it fell to a group of three to work out the programme that would ensue. All the competitions had stopped, and there had been no club committee meetings, so we plodded on.
What happened was one of the best programmes of speakers I have ever had the privilege to watch – ranging from people with little experience, to solid professionals with years of speaking experience, based around the world.
The common denominator was the software called Zoom, which seemed to float to the top at the start of the Covid lockdown.
I certainly had never heard of it before, and I gather a lot more people were in exactly the same situation. At the start, there seemed to be glitches, and some security issues, but the company seemed to get on top of that pretty quickly, and ironed out the problems. Pretty soon I saw that many businesses were using it as a conferencing tool, including our own government.
There is always (for some) a fear of new technology, but under these trying circumstances, I have been pleased to see people I would have considered to be wary of this sort of meeting – happily joining in after a training session. Even some who said they were sure they wouldn’t like it, have been converted.
Of course – it’s not for everyone, and if it’s not a place you would feel comfortable, then that is fine. (But you’re missing such a lot!)
However – the results of the talks, coming as quickly as they have (and still do) has been inspirational.
Not just the club, but the Royal Photographic Society too, has put on a series of events and talks that simply could not be missed…. So what is the result so far….
Well, a cornucopia of ideas from an eclectic mix of photographers and artists.
We started with Art Nude, and nudes in the landscape, reflecting professionalism, and images you would be happy to show your aged mother. Not a genre I was planning on trying any time soon, but the photographs and the expertise was unmistakable.
From here we moved to stories, told by different images, and a whole talk and photographs based entirely on a work of fiction. Some stunning work by a master of wildlife photography, who showed us how he was able to attract birds into his garden, and gave us a tour round with excellent photography.
Based on this talk, the club ran a competition based on ‘birds’ – a fun competition with a very loose theme – images ranged from model kingfishers, to easter chicks in a nest of creme eggs.
So what have I learned?
Well, images can be produced that are interpretations, and not records of events, the subject comes first, and the images second. Planning is key, and if you are creating your own photographs from a work of fiction, then the image must be moved by the story itself.
The differences in attitude and experience of the speakers shows me that creativity is not necessarily something we can just learn. It can require a complete change of mindset, and is something that needs constant practice.
There will be many failures, but these are essential, as are the risks.
For example – Edward Weston produced a startling black and white image of a green pepper – called ‘Pepper Number 30’. What I hadn’t really thought about, was that there must have been at least 29 earlier versions, and who knows how many afterwards. The point is that Weston thought that number 30 was THE image, and the one he was probably most satisfied with.
Photographers must learn (I feel it should be compulsory) to cultivate a willingness to experiment, and think about the question ‘what if I did this?’..
I also learned that watching these excellent people present their work – that what we saw was a carefully cultivated, curated collection of images – and not just a thrown together selection of work. They all saw that there was no ‘one way’ of doing things – there was no wrong way, there was just a multitude of different ways. Some would just work better than others.
The images were not ‘scripted’ – they were born out of imagination, inspiration, and creativity. Even the loveliest landscapes that I saw of Mongolia, were thought through pieces, with the photographer even showing us one or two of his rejects, and explaining the thought process.
Each specialist image maker held true to their passions and convictions, and to a large extent didn’t worry too much about how others reacted to them. There is therefore a true correlation between creation and passion.
The other thing they do is make time for their art. It’s not created in between sandwiches on a Wednesday afternoon. They have spent time and effort looking at other people’s work, and at art. They have attended exhibitions, judged competitions, made work for sale, and importantly, made work for themselves.
So looking back at what I have seen so far – travel, people, factual, experimental, wildlife, landscape, nudes and totally different uses of camera and drones – my mind is racing with ideas.
I look at the programme to come, and see more projects, the Vikings, more wildlife, sports, astrophotography, underwater, street, work with textures, and composite photography.
Lots of things I’ve never tried, not thought about particularly either, but we all need to open our eyes and minds to different mindsets.
Lockdown has been an absolute pain in a lot of ways – there’s been a lot of agony and grief, but there has also been an abundance of creative imagery – some fantastically beautiful and poignant work, reflecting how photographers have responded to being left to their own devices.
Is there still going to be a place for the ‘traditional’ camera club after this? I’d say yes, because you can’t beat the personal interactions that you get when you meet up. Will they be different? I hope so – I hope that more photographers will be willing to experiment, and break the rules.
Is there going to be a place for Zoom, or equivalent? – again, I think yes. How else can you have a presenter from the other side of the world, or even Europe? Speakers from the deep south of the UK, or the north of Scotland.
One thing I do hope, is that clubs continue to have these brilliant speakers – so that we can see the amazing work that might be totally different to our own……
I look forward to hearing your comments, and seeing you let yourselves go….