Sunday, 12 February 2012

Exercise fifteen preparation: Positioning a point

The brief for this exercise is to take 3 shots composed with just a single point. The point being the most fundamental design element of a photograph.

Firstly, I've brainstormed possible compositions that could contain a single point.  There are too many to list, so here are the highlights:
  • Graffiti on a wall
  • A distant shot of a golfer on the fairway
  • The moon in the night sky
  • A lone horse in a field
  • A person in the distance walking on the beach
In preparation for the exercise I've looked through my existing library of photos for examples of images that contain a single point. 






It's worth noting that I've realised that I don't have a natural tendency to compose images with a single point (as these are the only images that I have that fit the brief).

As the study material point out, I should avoid being drawn to images on the grounds of colour when completing this next section of the course.  The door handle is a case in point - the vivid blue alongside the green was my motive for taking the shot at the time.  So from here on in I'll be endeavouring to convert images to black and white.

Wednesday, 8 February 2012

Preparing for assignment one

I had made a start for this assignment a few months ago but life took over.  In fact, the theme of transport started to develop.  However, my intention is to race through this first assignment now that I've got some momentum from the previous couple of exercises, and continuing the theme would have been too time consuming.

Instead, I'm planning for a Manchester theme with a view to taking all the necessary shots in one day.  A couple of the shots that I'd already taken fit with this theme - notably an image from John Rylands library the represents two contrasts in one (light/dark), and an overhead shot of a multi story car park (rounded).

I'm putting a lot of effort into planning the shots that I want; even going to lengths of sketching them out.  This should increase my chances of getting the shots that I want within a relatively small timeframe. I'll post some examples soon.

Sunday, 5 February 2012

Exercise fourteen: Cropping

So, the final exercise before assignment one. The brief was to select three images from my library with a view to creating 'new' images by cropping them.


Mauritius
55mm, 1/400 secs, f/8, ISO 100

Each alternative corp is an improvement on the original.  The landscape alternative falls a little short because of the empty space down the left hand side of the image.  The portrait alternative, however, is much better balanced.

Burj Al Arab, Dubai
20mm, 1/30 secs, f/18, ISO 200


The obvious alternative crop (portrait) is too flat, and resembles a run-of-the-mill holiday snap.  Although I tend not to opt for (or even spot) a square crop, it works very well here.  The building on the right that's flooded with evening light and the boat in the right foreground gives the viewer a greater sense of context.


Holy Island, Northumberland
18mm, 1/60 secs, f/18, ISO 200


I do like the original shot, framed to some degree by the reed on the left of the image - without it, all points of interest in the shot would be on the right hand side of the scene.  The landscape crop arguably provides greater balance but it suffers from the loss of the grassy area in the foreground.  The portrait crop works extremely well; conforming to the rule of thirds - firstly with the horizon and the shoreline, but also with the boat sitting on one of the intersections and the castle on another.


In conclusion, this was a nice little activity. Of course, composition is part of the thought process before a shot is even taken.  Following which, in post-production I may tighten/straighten up a little or occasionally I'll seek to find an alternative to the original composition.  This exercise has taught me that one image can yield several alternatives.

Wednesday, 1 February 2012

Exercise thirteen: Vertical and horizontal frames

There have been a number of obstacles to maintaining the pace that I'd originally set, but in some way this exercise was one of them.  The thought of having to take 40 images seemed like a sizeable effort - certainly the biggest one yet.

To recap, 20 pairs of images were needed; each pair consisting of a vertical and horizontal shot.  Intrigued by this exercise I've trawled through my library and I seem to have a tendency to take portrait shots (which probably breaks from the norm).

Here are the images I've compiled for this exercise.

120mm, 1/80 secs, f/16, ISO 100
18mm, 1/80 secs, f/16, ISO 100
105mm, 1/125 secs, f/18, ISO 400
75mm, 1/125 secs, f/18, ISO 400
18mm, 1/1000 secs, f/8, ISO 800
20mm, 1/80 secs, f/8, ISO 800
10mm, 1/500 secs, f/18, ISO 800
10mm, 1/320 secs, f/18, ISO 800
30mm, 1/50 secs, f/22, ISO 400
30mm, 1/50 secs, f/22, ISO 400
55mm, 1/4000 secs, f/5.6, ISO 100
55mm, 1/1000 secs, f/5.6, ISO 100
22mm, 1/60 secs, f/20, ISO 800
22mm, 1/60 secs, f/20, ISO 800
18mm, 1/13 secs, f/22, ISO 100
18mm, 1/20 secs, f/22, ISO 100
18mm, 1/40 secs, f//22, ISO 100
18mm, 1/40 secs, f/22, ISO 100
18mm, 1/60 secs, f/22, ISO 100
18mm, 1/60 secs, f/22, ISO 100
55mm, 1/800 secs, f/22, ISO 100
55mm, 1/800 secs, f/22, ISO 100
15mm, 1/400 secs, f/16, ISO 400
10mm, 1/400 secs, f/16, ISO 400
18mm, 1/1000 secs, f/10, ISO 400
18mm, 1/1000 secs, f/10, ISO 400
50mm, 1 secs, f/22, ISO 400
18mm, 2.5 secs, f/22, ISO 400
45mm, 1/1000 secs, f/5.6, ISO 100
35mm, 1/1000, f/4.5, ISO 100
45mm, 1/160 secs, f/5.6, ISO 100
24mm, 1/160, f/4, ISO 100
55mm, 1/60 secs, f/11, ISO 100
55m, 1/60 secs, f/11, ISO 100
50mm, 1/200 secs, f/11, ISO 400
55mm, 1/200 secs, f/11, ISO 400
20mm, 1/160 secs, f/11, ISO 400
24mm, 1/160 secs, f/11, ISO 400
50mm, 1/160 secs, f/2.2, ISO1600
30mm, 1/125, f/4.5, ISO 6400

Conclusion
As the exercise brief suggests, by this point of the course most students will have a bias towards shooting landscape.  I on the other hand am probably guilty of the opposite.

It still proved to be a valuable experience.  Very few shots only work in one of either landscape or portrait, and breaking with convention can work very effectively (both portrait shots of the Tudor buildings are a prime example).  Granted, a change of focal length, composition, angle of view and/or altering the distance from the subject may be necessary.

Monday, 30 January 2012

Toughest challenge yet!

It was with some trepidation that I agreed to take on my first piece of commissioned work recently – a music gig. To date I’d only taken shots for my benefit, not for others'.

It was an incredibly valuable experience and I’ve captured the key learning points below.

Before lifting the camera

Asking the right questions was critical.  Before the event I made a point of speaking to the band to understand what exactly they were looking for; whether there were specific shots that the band wanted; the light conditions that I could expect and how they intended to use the images.

This insight prompted me to research low light photography, specifically ISO and shutter speed settings.  This preparation removed much of the anxiety.

Manual vs. Shutter Speed Priority vs. Aperture Priority

Throughout the evening I chopped and changed my approach, but kept coming back to shutter speed priority.  Through advanced reading and initial experimentation, it became clear that I needed a shutter speed of at least 1/125 (if not 1/160) in order to capture the band members without motion blur.  Fortunately the band stayed relatively still throughout.

The light conditions were so changeable that shooting in manual mode was too tricky as I needed to be able to capture images instantly. The only exception was when I used my fixed 50mm lens, where shooting with shutter speed priority produced an aperture of f1.8 - resulting in the depth of field being too narrow.  I therefore experimented with aperture priority and manual.

(Throughout the evening I opted for an ISO of 3200/6400 and relied on reducing noise during post-production.)

Next time I'll start with shutter speed priority and be willing to improved but I've some further reading to do! I guess it also depends on the lens that I'm using at the time.

The more the merrier?

Over the course of the evening I shot 900+ images by using the burst function.  At the time this gave me the reassurance that it would increase my chances of getting a greater number of acceptable shots.  

In hindsight I should have had greater conviction and trusted my ability as it meant far much more work post-shoot and has brought about a couple of different problem... post-production workflow and storage (I shot RAW).

As for my chosen workflow, I tagged the images, sifted through them and picked out the stronger ones to work on before uploading them to my Flickr photostream. My mistake was not deleting duplicates and shots out of focus/poorly composed.  Next time I'll delete those surplus to requirements first.

For now, I've been able to delete a significant number of RAW files but it won't be long before I need external hard drives.


So, in summary, consulting with the band helped immensely but I need to find a more efficient workflow.

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