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.
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.
I think that photography and writing are similar in many ways, in that both need to draw the reader / viewer into the artwork.
A little while ago, I went to a gallery in Manchester to see the Vogue 100 exhibition. It was very busy, with a lot of people moving around to see the exhibits (which were stunning by the way!)… I watched the people looking at the photographs there, and in a moment of interest, timed roughly how long on average they were viewed for. Mostly it was for no more than a few seconds – but for some it was minutes. Seats were placed for those who wished to ponder, but were mostly a waste of time, as people stood in front of them.
It crossed my mind that each of those images had taken a long time to make – from conception to publication could have been weeks, and here we were now, giving them the most cursory of glances.
Sometime later, with this in mind – I went to see a small exhibition at Cleethorpes library, put on by a friend of mine as part of his degree project. I had seen some individual images earlier, and hadn’t been very excited by them. However, seeing them all together, as a collective body of work, tied together by a theme, was enough to make me realise that not all photographs can stand in isolation – they need the rest of the work around them – much like a good novel does. If the opening chapter doesn’t grab your attention, you are unlikely to read the rest of the book, or if you do, you do with some small bias. His body of work, I found extra-ordinary. Images of paths wandering through trees, with sometimes no way out. His work, called “Shul” can be found HERE.
Like the writer, the photographer has to have something to say – and it must be compelling enough to keep the viewer engaged. The measure of success is based on how well the photographer would have you believe in his own world. Minor White is quoted as advising us “to photograph not only WHAT it is, but what ELSE it is”.
After I had completed my Associateship panel in Bath last month – the judges all left the room to have some discussion…. in that time, a few people turned around to offer congratulations. However, the first question I was asked, was “How long did it take you to complete the panel?”. My instant answer was “6 months”, but when I thought about it afterwards I realised that although ‘these’ images had taken 6 months – the actual concept had taken much, much longer. I had been flirting with multiple exposures for a number of years, and it was only in this year that the project had come together in the way it did.
I feel sure that writers are similar – plots and sub plots must mature in their minds before pen is even put to paper, and once they start, further ideas, will flow, and changes will be made as output increases.
Going back though to the time people spend looking at photographs. I belong to a tiny group of photographers, who will critique each others images, and spend time looking at them. Recently, we developed a scheme where we ‘borrow’ each other’s images, so we can spend time at home with them, and I have found that some images ‘grow’ on you with time – rather like music can.
My Associateship panel of 15 images was looked at in detail for about 15 minutes by five people – and I suspect that’s the longest anyone has looked at them, apart from me, and my mentor(s).
Which brings me to the whole point of this blog post – which is about time, and about text and titles.
When I judge photographic competitions (which I love doing), not only do I look at the image, I have to rely on the title the author has given it. In providing a title, the things photographed can take on an entirely new context. They can encourage me to view the image in a different way. This is especially true when the theme of the competition is a complex one.
I’d like to challenge photographers out there, to write a short piece about one of their images – explain why they took it, and what story they are trying to tell. Just a few lines. I’m totally convinced that photography generally can be improved once people slow down, and think about what they are trying to say with their images.
I’ll start, and it would be nice if anyone commenting on this blog could do the same.
Taken recently in Western Australia – where the locals think nothing of driving hundreds of miles to get to the supermarket. I wanted to show the long straight roads of the country, with nothing there – no traffic. I wanted the viewer to feel the sense of isolation and remoteness for which WA is known. It’s about feeling, as much as it is about the view.