A section in a book that I’m reading at the moment provided a twist to the ‘you’re the average of the 5 people you spend most time with‘ idea that has been circling the internet for several years now. Specifically it said that if you’re the smartest person you know then you need to get to know some more people, if you’re the most creative person you know then you need to get to know some more people and went on like that for quite a bit. It’s funny that the Ninety Degrees Five group is five people – all are very talented and successful, if the alphabet soup of letters that they are able to append to their names is anything to go by – I wouldn’t mind being the average of this group by any means!
Of this group Christian Fletcher recently won Western Australian Landscape photographer of the year and International Landscape photographer of the year. He’s based in Dunsborough in South Western Australia, which looks like a fantastic part of the world if his photographs are anything to go by and is now on my list of places to visit. Christian seems to work predominantly with digital medium format cameras, which allows him to create large prints of his work, working with photoshop to fully extract the potential in each of his images. Check out the videos below to hear more from Christian himself.
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 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.
While Alberto Placido’s commercial work focuses largely on architecture it’s his personal work that explores the natural world that I find most appealing.
The image above is the first image in the Inscape series. I have particularly enjoyed look at the work that deals with the coast (perhaps not too surprisingly), the very dark images of the ‘Invisible Landscape’ with highlights of white from the sky or breaking waves reminded me of my own pre-dawn visits to the coast, while those of ‘Between Sea and Sky’, such as the one below, give the sense of standing on the deck of a boat looking out at the ocean.
Alberto’s video below is interesting and I’d love to see the still images that came from this trip.