After the talk with Sally and Glenys the other week, it’s been wonderful to see so many images that have been created by the people who came to the talk (and some from people who didn’t get there live, but have watched the recording.)
I’m now inordinately glad that I said yes to having my bit recorded. No-one pushed me to say yes, but I’m so pleased that I did.
The shots taken ‘in the round’ give of course, anything from a 180 degree to 360 degree of combined images which takes pictures to a whole new level.
These are things that have been photographed a million times before, but sometimes not in the way you expected. Multi shot images create a whole new way of ‘seeing’ things, and the results are usually completely unexpected.
The thing is, that by changing the ‘where’ and the ‘how’, a whole new look and meaning can make themselves visible to you – it can be a revelation.
Dave Balcombe sent me the image below of the Market Cross in Wymondham, he said that he only used 13 individual shots, and didn’t follow any strict rules. The only critique that I offered (at his request) was to reduce the number of text references to a ‘certain’ bank, that repeated throughout the final picture. Other than that, the image was lovely.
He tells me that this is his first attempt at this style of photography and was inspired by my talk though he has seen this style before and admired my RPS A panel, he tells me he will try again, now he has the idea.
With his kind permission – I show it here:- he says that this is not too far from where he lives and so will be able to return easily and shoot it again.
What do we see? Windows that have their own worlds inside, the patterns of the stonework in the foreground, the balance of the trees either side of the cross. The whole image is transformed into almost a kaleidoscope of shapes, rather than a single cohesive one – and yet it works. You can see exactly what the image is about – it’s a totally different take on a subject that I would think has been taken a million times before.
Dave was open to seeing this, he didn’t look past it, he stayed sensitive to what was literally right in front of him.
Thing is, he tried something different – and it worked……. remember that as you go about your daily photo life……
So next time you go out and shoot something that everyone else has photographed, make it your own. Find a new point of view, or choose a different time of day, or combine images, or all three. The more you look, the more shots you take, the luckier you will get – but whatever else you do…….
In January 2019 (literally just before Covid hit us hard), I bought a new computer…. totally jet propelled, and knocked spots off my old one.
I decided to keep the old one, use it as a second screen for the new one…. turns out good job I did.
Thing is, that I started to use MAC computers back in 2007, and each time I replaced it, I used the migration tool to just copy everything across, and it worked. The ‘new’ machine carried it all, and did it faster, and usually more efficiently. What I discover now, is that you can’t do that for ever.
My latest machine, over the next 12 months got slower and slower – grinding it’s way to life each time I turned it on. Boot up times ran to 5 minutes or more sometimes, and no amount of messing would help. I bought extra software to see if there was malware or anything of that sort on there – but no….. and still the upsets, the unexpected quitting of programmes, and sometimes a refusal to even shut down.
A long talk with the Apple help desk a month or so ago helped enormously. I reinstalled the whole operating system, whilst leaving everything else untouched. It did help, but the boot up time was still far too long.
Exploring the library deep in the system, and I found lots of rubbish – including some dating back to my first MAC – 2007. Not good.
The decision was made that I had to reformat and start again. I knew that I could not do a system restore from Time Machine, as that would just put back all the dross I wanted to get rid of…. so last week, I backed up everything I needed, and did it.
Have to say that the system ran really well. Boot up into safe mode, and you have the option to format the hard drive…. and having done that, you are offered the option to install ‘Big Sur’ from scratch. So, a couple of hours later, and I have an ‘as new’ machine. Great…..
What’s taken the time, is not just reinstalling all the software, but making it run like it did before. In Photoshop, finding all the actions I’d added over the years, then fonts, then sorting the layout. Similar with Lightroom.
Then adding back the catalogue for Lightroom, and making sure all my re-added images could be found.
Then of course there is the extra software I collected over the years. I had a copy of NIK effects – when Google gave it away for free. For some reason, pre-format of machine – it worked perfectly – on the new system not at all…. but this was not the only problem.
On1 gave me real issues. The copy I had was version 9.5, with an upgrade later to version 10. I couldn’t find the download for such an old copy. On1 gave me a link, for me to discover it wouldn’t work with Big Sur, and they said they had no intention of updating such ‘old’ software…. so that ends that then. I’m not buying it again. Thinking it through though, I hardly used it anyway… and it actually still works on the other computer, so all isn’t lost.
Everything else loaded in fine, the plugins I’d bought, or otherwise acquired, all work fine.
Was it worth three days work – yes it was – Firstly, it made me reconsider what I actually wanted from software, what did I REALLY need, and what could be effectively forgotten about. Secondly, the machine boots up nicely in just under 20 seconds…….
All I need to do now is reorder the panels in Photoshop to my liking, check that everything works in Lightroom (no reason that it won’t), and get to play with the new version of NIK effects purchased yesterday.
For as long as Lightroom has been in existence, I’ve used it…. I’ve organised and sorted all my images using this system which has been so efficient for me. I can find anything fairly quickly, because the catalogue system is so good, and also because I understand my own file naming system.
Looking back though at what’s in there (there’s a lot of rubbish by the way), and I do start to wonder why I keep as much as I do.
I think I operated under the wild assumption that I would (one day) go back and revisit all those images, and edit them over again as software developed, and my skills improved.
But here we are – some 20 odd years later and I’m looking at some of the things I kept, that I thought were ‘good’ at that time. I think I can honestly say that most of the images are of no interest to me any more. My style, and ideas have changed, and there’s little that I did then that I like now.
The other week, I had a more radical idea. What if I removed from Lightroom, and indeed from my immediate hard drive everything I’d not looked at in the last twenty years, and started again. Keeping only recent ‘lockdown’ work and textures I’d made.
I couldn’t do it….. but in the end I compromised.
I’m older now, and hopefully a bit wiser. The person who made those images 20+ years ago doesn’t exist any more. I was a beginner with a Sony 3mp camera, with a 1 inch screen on the back.
So, the compromise was that I’ve backed up all those old images to an external drive – they include all my college work, and some family photos that honestly I can’t take again. That drive will be stored away with other hard drives, and hopefully I’ll take a look at it every now and again.
For now though, it’s time to look at what is left…. And I discovered some portraits that I took in 2011. My editing wasn’t that good at the time, so I’ve been able to go back to the original RAW files, taken with a Canon 5D, and work them up again.
I realise now that there’s no way I could have visualised those images, the way I do today. I think that then I was just ‘taking’ photographs, and maybe today I’m ‘making’ them.
As an aside, I was reading a book the other day, and the discussion was about the ‘perfect’ photograph, and the question was ‘what makes a photograph perfect?’ The answers were varied, and here’s a selection of them.
One that is sharp and in Focus.
One which gives the viewer a perfect experience, with no question about the content
One which survives over 100 years and still gives the viewer the same experience
One which is artistic and impressionistic
One which adheres to the rule of thirds
One which tells a story
All of these, or some of these. Maybe you think non of these….
The thing that makes photography so fascinating for me, is that all the above can be ‘perfect’. The photographer can be both objective, and artistic at the same time, and that’s probably why I love it so much.
I reckon I’ll keep looking back at the old stuff for a while longer.
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……..
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….
The above quote is from an Australian Photographer – Steve Coleman – he lives in Sydney, shoots film, and his images are different. He makes photography sound simple again – and so it should be.
Let’s all go out and shoot something that interests us…. and not something that might be interesting to someone else.
I’m not a street photographer, but I have the greatest of respect for those who can do it well. I have a friend locally who is a wonderful street shooter. I’ve been out with him a few times, and stood next to him as he worked his magic. I could see the results afterwards, but for the life of me, at the time, could not see what he was waiting for. He knows exactly what he’s looking for, and has the imagination, and creativity to make those images come to life.
The image above was taken when I was on holiday in Amsterdam. The weather was terrible, and I just took a set of images in Dam Square because I found this chap (who was feeding the pigeons) interesting. It’s not often that I let myself go, and just shoot for the sake of it – and it’s a picture that’s been sat on my hard drive for a couple of years. It’s only recently that I’ve come back to this set of images, and actually processed them up.
So, next time you’re at a loss for something to do, then have a look through your archive. I bet you’ll be surprised at what you can find. Technology moves on, and the shots you took years ago, can now be reprocessed into something acceptable.
I sat only this morning, talking to another photographer about images that languish on hard drives – he co-incidentally – was doing the same thing as me, and going through archived images looking for inspiration. We agreed that images previously thought to be lost, can be revivied.
Don’t forget that photography has to be fun – it has to keep you interested, and for you to be interested, you have to take photographs of things that interest you.
Thank you Mr Steve Coleman for reminding me of this simple fact.
I have brazenly stolen the title of this blog piece from another blog that I read – to remind me what photography is all about, and how we (as photographers) sometimes forget that a lot of the images we take can be mostly due to the actions of others.
When we go out as a group – we have to remember that sometimes it was one person who organised the trip, and without them we didn’t get to do the shoot. It was maybe a different person who drove you there, and yet another who suggested that rather good lunch in a cafe / pub.
There are the mentors, the friends, the people who just encourage you – the ones who are there for you no matter what. The ones who don’t always tell you that your photographs are ‘amazing’, but actually tell you to get a grip, and realise you’re not as good as maybe you think you are.
Plus the ones who tell you that you ARE in fact better than you think you are, and push you on your way.
These then are all the people I want to thank for my photographic trip through 2018:- I can’t name all of them, and besides if I forgot one name, I’d be eating more humble pie than I could comfortably consume – but I’m sure you know who you are.
So….. to all my family (they have to come first after all), the friends, the mentors, the groups, the naggers, the pushers. The drivers, cafe finders, sweet suppliers, makers of phone calls, companions, and supporters. Models, make up artists, dressers and lighters. The photoshop gurus, lightroom experts, camera tutors and computer experts. I thank you from the bottom of my heart. Without you I couldn’t be the photographer person I am today. I certainly wouldn’t have achieved as much as I did during 2018.
So, as this year comes to a close – remember that without family, friends and naggers behind you – the world would be a pretty dire place.
Take care everyone, and enjoy 2019…. because it’s coming, whether you are ready or not……
I’m ending with probably one of my favourite images taken this year. One that helped me achieve my ARPS in October.
See you on the other side……..
Why not click on the subscribe button ?- I’d love to hear from more of you during the next year……
A couple of weeks ago, I was invited to an Ice Hockey match…… something I’ve only done once before – but this time I was given access to the team tunnel, and the ice. An amazing experience. The game was fast, the light was poor, the ISO I was shooting at was incredibly high – so a lot of the images had noise. I had blurred pictures, over exposed pictures, underexposed pictures, and was generally not a happy bunny.
So, I sat and thought about what I was seeing.
The players faces as they waited their turn on the ice. The concentration, and the shouting of the team manager taking players off, and putting new ones on the ice was constant.
I moved more slowly, more deliberately, and almost forgot about the frantic movements out on the rink. I started to enjoy what was presented right in front of me.
I realised that you have to change your attitude to fit what’s going on around you, and not the other way around.
I took a LOT of pictures, and afterwards decided that they would all look better in monochrome. It somehow fitted the scene better, and in addition disposed of the pretty awful colour cast caused by the lights.
One thing I’ve learned is, that if you are given the opportunity to shoot something new – do it – if you never even use the photographs again, it doesn’t matter – you had the experience. If you don’t, you will end up kicking yourself for the lost opportunity. Do not let fear get the better of you, and never ever worry about not getting that ‘winning’ image. It’s about the learning, the experience, and the test. Go for it.