Beavertail Lighthouse Scouting Trip

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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.

A New Tilt on an Old Theme

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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.

Top:

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Middle:

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Bottom

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Which when stitched together give:

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Which I then cropped to this:

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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.

Friday Inspiration: Arno Rafael Minkkinen

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Arno Rafael Minkkinen is a Finnish photographer who has lived in the US since 1951 and currently is a Professor of Art at the University of Massachusetts Lowell. I first came across Arno Rafael Minkkinen’s work through a documentary on PBS. I can’t find this program online but it is worth checking out to watch Arno in action. His photography has a sense of whimsy to it and is often slightly surreal, reminding me a little of Jerry Uelsmann’s work. His photographs are largely self-portraits: A naked Arno (or at least the part you can see is) integrated into the landscape. What is quite interesting to me is that all of his images are captured in camera on a single frame of film. No digital hanky panky here! In looking at his work I find myself trying to work out the ‘trick’ to how he pulled it off. His camera has a cable release and a 9 second timer, which allows him to get in position before tripping the shutter and throwing the cable release out of the frame. Even so, some still leave me wondering.

Check out the video at this link to hear Arno talking about his work.

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Getting Your Work Seen and Exhibited

I was fortunate enough to be able to attend a little of the Flash Forward conference that was held in Boston in early June this year. I was particularly interested in the panel discussion ‘Getting Your Work Seen and Exhibited’ and was pleased to see that a video of this session recently appeared on the Flash Forward website. Check it out below:

Pictures From An Exhibition

I’m back home after a cool and crazy time in Missoula last week. Hanging my show ‘Going Coastal’ went relatively smoothly, Alyssa and Melanie from RMSP were a huge help in getting the prints up on the wall and in dealing with the problems that cropped up along the way. I even got my name on the window out front. The RMSP staff are terrific and I’m looking forward to having a chance to go back later in the summer.

The Value in Competition?

It’s been a big few days for sport here in Boston. Friday was the first home game for the Red Sox and today is the Boston Marathon.

Fitting then that I had a conversation at the end of last week about the sport of photo competitions. If we ignore all the flat out bad things about photo competitions – that they are money earners for the organizations that are running them (not strictly bad) and attempt to get royalty free images – are they useful?

You could argue that competitions give you an opportunity to judge your work against that of others and also that this is also an effective way to market your work and build an audience. I would say no on all points. Art is subjective, ask three people and you’ll get three different answers. Competitions can be an effective way to get your work out to a broad audience, that is, if you win. Otherwise there’s probably not a lot of value in it.

It’s always nice to win, for some this is more important than it is for others,

Competitions bring out the worst in me. In a competitive situation I want to win and will do whatever it takes to win. I don’t think that this is terribly useful when it comes to fine art photography where the goal, or at least my goal, is to effectively capture my emotional response to the scene in front of me or to make the image that’s in my head. As soon as I start thinking about what it takes to make a successful image before I’ve made it then I’m not going to be true to myself.

I don’t view fine art photography as a competitive sport. For me it’s much better to use your own work to benchmark against, a little like the runner who is interested in personal best time, but to do that after the fact. After you’ve made the image and worked it up. Then see how it fits with the rest of what you’ve done and whether this meets the standard you’ve set for yourself.

Competitions aren’t an end game for me. I may enter the occasional competition but it will be will photographs that I made for myself not with the competition in mind. What’s your position on competitions?

Competitions bring out the worst in me. In a competitive situation I want to win and will do whatever it takes to win. I don’t think that this is terribly useful when it comes to fine art photography where the goal, or at least my goal, is to effectively capture my emotional response to the scene in front of me or to make the image that’s in my head. As soon as I start thinking about what it takes to make a successful image before I’ve made it then I’m not going to be true to myself.

Friday Inspiration: Michael Eudenbach

I think one of the challenges that we all have as photographers is showing the everyday in new and interesting ways. Michael Eudenbach is one photographer who seems to make doing this easy, making photographs that I always enjoy looking at. His photograph of the bow of Endeavour, shown above is a particular favorite. Michael has a talent for finding a unique way of representing the scene in front of him, resulting in photographs that make you feel as though you’re part of the action. You can find more of Michael’s photographs here. Check out the video below that shows one way that Michael uses to find unique viewpoints. For personal feedback on your images you can find Michael on PhotoSynesi

Michael Eudenbach from Wind Powered Productions on Vimeo.

Purple, The Most European of Colors

Increasing I find that while I’m happy to get up for the sunrise, I’m often less than pleased with the results. The vibrant colors that come with the early morning sunrise are increasing dissatisfying. While I can’t quite put my finger on why, purple bugs me the most. While I deal with my issues with purple, the most ‘European’ of colors, I’m trying out many of my images in black and white to see whether they can stand up on there own. I’m not totally sold on this solution but I’d be interested in your opinion of the black and white image above with the color ‘before’ image below.

Happy Accidents & Other Surprises


Were getting to the time of year when people review the year just gone and plan for the year ahead. I guess I’m doing the same, although I will leave the ‘my 12 best images’ post to others.

It’s interesting to look back over the last year and see what images I consider to be my best how these compare to last years work and how they relate to one another. I started the year with the intention of making a set of color images of the coast on clear mornings. This idea began to evolve during the course of the year as I made a number of images during foggy conditions, trying to make the most of my time photographing. Even with a clear plan of what you want to achieve, being flexible enough to respond to the situations you find yourself in, can lead you in directions you hadn’t expected. Perhaps for you, as has been the case for me, these photographs will be standouts and serve as jumping off points for new projects.