In a world where everyone is a photographer and there are more photographs deposited into the ether every minute than there were photographs taken in the 19 th century one has to wonder whether anyone is really paying attention to todays photographs. How many of these photographs are looked at again by the photographer let alone by the social networks that they are shared with.
The photographs that stand out, those that we return to, the images that we print, are the ones where we really connected with the subject. This is often easier said than done.
All too often the camera serves as a barrier, sometimes an essential protection, but frequently the thing that inhibits connection with the subject. The more you are thinking about technical details or what else is going on around you the less available you are to connect with your subject, whether that’s a person, the landscape or whatever you choose to photograph.
The more present you are with your subject the more likely it is that you will have an experience and photograph that will endure. For me this means doing all the thinking in advance, or at least allowing the chatter to fall away so that I can be attuned and respond appropriately to opportunities that come my way. To listen carefully to the voice sometimes quiet, sometimes a roar, that encourages me to take the photograph.
I’ve come to believe that the deeper your relationship with yourself – the clearer you are about what’s important to you, who your influences are – the more likely you are to recognize what caught your attention when you walked by a potential subject. Why sometimes it’s a quiet voice inviting you to take the photograph and sometimes a roaring demand.
With all the snow that we’ve been having here in New England you would think that I would have had time to finish working on my images from Japan wouldn’t you? A reasonable expectation but I’m swamped here at the moment. More about what’s going on in a few weeks.
I’ve mentioned here before that I generally take a lot of frames when I’m out shooting, particularly when I’m photographing water. With flowing water each frame will be different and potentially offer something unique. Also worth exploring is a range of shutter speeds – I generally try to keep some sense of motion in the water rather than blur the water completely with a very long exposure.
I’m still working on the image above – I’m happy with this version but will now live with this for a while to learn what I like and what I like to change.
As I look around for ‘how to’ resources for lightroom and photoshop one of the people that I continually come back to is Julieanne Kost. Julieanne is the Principal Digital Imaging Evangelist for Adobe Systems, which means that she spends much of her time on the road speaking at conferences and teaching how to get the most out of lightroom and photoshop. I recently worked through her ‘Advance Photoshop Layers‘ course on the CreativeLive site which was excellent. She’ll be teaching during the upcoming Photoshop week on CreativeLive which will be worth checking out.
Many of the examples that Julieanne uses during her demonstrations are from her personal projects. Her book Window Seat is quite interesting and now available as a digital book. Well worth a look. It’s the photoillustrations, such as the one above, that of course really capture my attention given my interest in assembling images from parts. Check out the videos below to see more of how these are constructed:
We’ve been having an odd winter here in New England – lots of snow over a very short period of time. We’ve had about 80 inches (or ~ 2 m) of snow in the last 20 days with more coming down as I write this. During the last storm I made the misguided decision to head out to photograph in the nearby woods. Misguided because the visibility was poor and the snow plows were not managing to keep up with the snow which made driving interesting. Once at the woods the snow was quite deep even on the normally well trodden paths which made for slow going.
Increasingly I will explore ideas with my iPhone before pursuing them further with my DSLR. A couple of the images from my iPhone are above, I was at least thigh deep in the snow in this part of the woods. As I maneuvered my tripod around in the deep snow I heard a funny creaking noise. At first I thought that was the wind blowing the trees, but there wasn’t any wind. Then I thought it must be someone else out and about, but I could see anyone. Very weird. I picked my tripod up out of the snow to get it into a better position and and two of the tree legs came up, the third stayed in the snow. It had come detached where it joined the metal frame. That was pretty much the end of my photography for the day.
I’m not sure if you can tell from the images above but the carbon fiber leg where it joined the frame had delaminated and was soft. It was also crinkled which explained why the tripod leg did not fully close – there was always just a tiny fraction of leg extended. The metal also looks like it is badly corroded. While I may send this old tripod back to Gitzo I’m not holding my breath that they would be able to help me out.
I do have a new tripod that I’ve been using as a travel tripod – a Really Right Stuff 24L. I may now supplement this with the 34L, a beefier version of the 24L. The 24L to me seems a bit weedy, the lower sections of the legs are particularly thin and make me wonder how solid the tripod can really be. I guess time will tell.
Often as a beginning photographer you will hear the admonishment, ‘get it right in camera’, this is good advice when your starting out. It provides a restriction, a box to work in, and edges to push up against. It forces you to think about what is the subject, how do you frame the subject so that everyone knows what the subject it, are there lines that you can use to lead the eye through the image and on an on. A multitude of decisions to make on the fly that with practice become second nature, an instinct and perhaps one of the reasons that it can be so hard for some to teach what they are clearly so capable of doing.
I find that I am increasingly less interested in getting it right in camera and more interested in making sure that I’ve captured enough of the scene in front of me to be able to recreate what I felt when I was there. I’ll shoot different shutter speeds to capture waves with just the right amount of blur, I’ll focus at different points in the image so that I can get good front to back depth of field and I’ll shoot a lot of frames. I’ve actually been doing this for a while and it’s taking some time for my post-processing skills to catch up with what I’d felt and imagined I would be able to create when I was stood in various places around the world blasting away.
Brooke creates worlds that ‘she wishes we could live in, where secrets float out in the open, where the impossible becomes possible’, often using herself as the model for the photograph. She is able to create these new worlds using relatively simple techniques in photoshop.
Looking at some of the behind the scenes videos on her You Tube channel made me realize how much you could do if you just understood just a few of the tools in photoshop deeply. Watch Brooke in action and hear her talk about her work and process in the videos below.
The world of Canon photographers was all of a twitter last week when the new Canon 5DS and 5DS R cameras were announced. Why the buzz? These cameras, that boast 50.5 MP sensors are Canon’s attempt to get back into the pole position of high mega pixel DSLR cameras, a position that they held for a long time until they were surpassed by Nikon, with the D800 and now D810, and then Sony, with the AIIR. I’m sure that these are not the cameras that everyone was looking for, but seems as though they will be interesting to play with once they become available in June.
While the world of Canon is waiting it will be worthwhile for those of us thinking of making the leap to learn from the Nikon folks who stepped up from 12 MP to 36 MP. Not only will we need larger memory cards, each full size raw file will be ~ 60 MB, but also we’ll need to make sure that our lenses are of sufficient quality to handle this resolution – this will be a great way to find out which of your lenses are slightly soft, and work on our technique to ensure that we’re getting the sharpest photographs that the camera will allow.
The video above is Canon’s introduction to these new cameras, there’s a lot more that we want to see a know but this was a good introduction. Also check out the interview below with Chuck Westfall the Canon USA spokesman. I’m looking forward to finding out more!
I’ve been thinking about creativity a lot in recent weeks, about ‘making’ images rather than ‘capturing them’ and about realizing your voice. To me Keith Carter’s work and particularly his evolution as a photographer is an interesting case study in this. His subject matter is wide ranging but most often draw the his surroundings in his native Texas – the children, people and animals. His approach seems to me at least to have evolved substantially over the years from relatively straight photography, to (mis)use of a tilt shift to give interest shallow depth of field effects to the increasingly grungy images of recent years.
I was interested in the video tour of his house below to hear and see that he deosn’t follow the often heard suggestion of live with your work but rather he surrounds himself with the things and work from others that inspire him and fill the well. Check out the tour of his house, the profile of Keith and finally listen to him talk about his work and his evolution as a photographer in the videos below.