When I first came across Tokihiro’s photographs I was fascinated. A representative image is above – points of light or strings of light in the landscape. He calls these photographs ‘breath-graphs’ or photo-respiration with the points of light or lines representing his movement through the landscape.
From a technical perspective how did he do it? He uses a large format film camera to make long exposures – while the shutter is open Tokihiro uses a small mirror to shine a point of light on the lens and then moves and repeats the process. The videos below give some additional insight to the technique that Tokihiro uses.
It’s starting to feel as though Winter is finally receeding in my neck of the woods. I still have snow in the garden but it’s less and less every day. How about you?
I feel as though I ought to have been out to photograph while we had all the snow and certainly now that the weather is getting better I should be getting out but I’m not. It’s all too easy to stay in bed for an extra hour or to have dinner with the family rather than making the extra effort to get out with the camera. Getting back into the routine of taking time one morning a week to get out with the camera when I’m at home is taking some doing. I’m trying though.
I’ve had my eye on this little stream for a while now with the idea that I would photograph it when there was more water in it. With the recent snow melt the water flow has gone from a trickle to a torrent in a very short space of time. Increasingly I felt that if I didn’t photograph it now I would have a long wait and so I got out with the camera at the end of last week and had a fun hour or two poking around.
Originally I had thought that I would like the reds in the weeds at the top of the image but when I got the image into lightroom didn’t really love it (the color version is below) and so made the switch to black and white. This is still a work in progress, the first stopping point before I reevaluate and decide where to take it next.
As always, thoughts and comments more than welcome.
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.
Over the last week or so I’ve been making a list of my top 12 influences, visual artists and their work that influence and inspire me. Consistently over the years Hiroshi Sugimoto has made this list. Born in Japan, Sugimoto moved to the US to study in the mid-70’s eventually settling in New York. While he’s returned to a number of subjects repeatedly over the years, including ‘American Theatres’ in which he photographs old movie theaters and drive ins using long exposures in an attempt to show time in his photographs; ‘Dioramas’ which are beautifully executed photographs of exhibitions in natural history museums and more recently of wax-work figures; ‘Architecture’ in which he photographs structures slightly out of focus which gives a sense of the form that the architect had in mind without you getting lost in the details and my personal favorite ‘Seascapes’. His seascapes, such as the one above, give a real sense of the vastness of the ocean that particularly appeals to me.
Check out the documentary below for more about Sugimoto’s life and work.
Often I find that I am crunched for time, which means that I need to quickly process my images and get on to the next thing. Having a little bit of extra time to work on learning new techniques, how to use new equipment and then to integrate that into my everyday workflow is a real luxury.
Over the last six months or so I’ve been dabbling a little with both of these – learning about new masking techniques and how those can be used to composite images together to make large files that will be used to make large prints.
The image above is one that I had struggled with earlier in the year. I posted an earlier version of this image here. With a little bit of extra time over the Christmas break I was able to play a little, make some composites and finally get close to the image I had felt when I was there.
I was photographing along the California coast last week, something that I’d wanted to do for a while but had never managed to connect the dots and make happen. Unfortunately I didn’t pick a good week for the trip, given that Northern California was experiencing the worst storm they’d had in 5 years. I was hoping to tick off one of my photographic goals and get some good photographs at Bowling Ball beach. Unfortunately that didn’t happen. I did learn a lot and got a few images that I thought were okay given the circumstances.
One of the things that threw me a little was the unpredictability of the waves on the coast. Normally I like to get close to the foreground element with a wide angle lens which often puts me in the water. Not a big deal, I’ve been around the ocean my entire life I know how the game works and respect the ocean like I would a wild animal. You have to pay attention at all times otherwise you may get bit! Here on the East Coast the waves seem to be generally predictable this was also true on the California coast in that every 5 th of 6 th wave would be huge and where there was rocks or beach for the previous few waves there would be a foot or more of water. It was quite unsettling and I eventually retreated to the relative safety of the cliffs and a long lens.
I thought that this was something related to the storm and an unusual storm surge until I spotted I sign that described ‘Sleepers’ – waves that were much larger that the previous ones which could easily knock you off your feet and cause you to be swept out to sea. Reading the sign you could easily think that it was a little alarmist but have experienced the waves up close and personal there’s definitely cause for concern when photographing at the beach in this area.
It certainly feels like Winter is upon us here in the New England. Even though we didn’t get thoroughly dumped on by the recent Nor’Easter as some parts of the region did there was still enough snow to get out and play a little.
What’s the weather like where you are? Here on the New England coast it’s been bitterly cold this last week – a polar vortex the weather guys seem to call it. I was in Jamestown recently to photograph around Beavertail lighthouse with the temperature cold and feeling colder because of the wind chill.
This was the first time that I’d actually gone to Jamestown with the intention of photographing around the lighthouse and, although I had prepared as well as I could, I wasn’t prepared for the difficulties that the cold would present. I was playing with the 24 mm tilt-shift lens again but what I quickly found was that I was too clumsy with gloved hands to operate the buttons and knobs that you need to work to adjust the lens. I struggled along the best that I could but was very frustrated by the time I was done.
I did however get a couple of images that I liked and managed to find a couple of fun spots that I plan to return to in the coming weeks.
I’ve enjoyed poking around on Tony Hewitt’s website as part of learning more about the photographers that make up the Ninety Degrees Five collaborative group. Tony is a wedding and portrait photographer although it’s his landscape and fine art work that I’m drawn to. I was curious to see that he isn’t just what I consider a ‘straight shooter’ but is will to add textures to his photographs and really push them to get the feeling he’s looking for in his photographs. I wasn’t expecting that from some of the work that I’d seen of his as part of the ND5 exhibitions but it just goes to show that it’s worth digging in to get a better sense of the breadth of work people are doing. Check out the interview and other videos of Tony below.
I thought that I’d share my first in the field experiment with a tilt shift lens. My first attempt with a tilt shift was this which of course taught me that in addition to manual focusing I needed to also be manual exposure. Probably not too much of a surprise for anyone whose used these lenses but it’s all new to me. I also was ready for the back end freak out where photoshop isn’t able to stitch my images together for me but that comes later.
So how did I get here? I’ve been worrying unnecessarily about depth of field. While you, like me, are setting the F stop to 22 (or some other high number) focusing a third into the scene and then firing away with the knowledge that you’re going to have good front to back focus. While this has served me well I realize that the only thing in your image that actual is in focus in the thing that you’ve focused upon and everything else in the same plane as that point of focus. Everything else is acceptably out of focus.
The medium and large focus photographers that have access to tilt and shift are able to angle the plane of focus and by doing so get more (all?) of the image in focus. Scheimpflug principle anyone? With a DSLR one way to achieve the same large depth of field is by taking multiple images with different points of focus and then blend them to extend the depth of field. Helicon focus is a well respected piece of software that can help if this is something that you’re interested in, beyond what you can achieve in photoshop. This approach is somewhat problematic when things in your image are in motion, such as my favorite subject – water. This is where a tilt shift lens comes in. It should give you access to the same tilt and shift functions that you would have with a medium or large format camera.
My playing so far has been restricted to the shift function which is how the image above was made. A vertical panorama stitched together and then cropped. See the images that I used below.
Which when stitched together give:
Which I then cropped to this:
I think that this is working. The next experiment will be to see what I can do with the tilt functionality. That should be fun.