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Archive for the ‘Photography Talk’ Category

Just a quick note to inform you that I published an article about smart phones and photography on my other blog, which you might care to read. This blog isn’t usually about photography, it’s just a platform for my occasional ramblings and observations.

And, while we’re on the subject, I now have two dedicated sites for my iPhone pictures:

Souvenirs from the Surface of Last Scattering‘ is for my general and quite prolific artistic on-the-spur-of-the-moment shots.

The Cutout Kid‘ is…well, perhaps you’d better just go and take a look for yourself! (Don’t worry, it’s totally ‘work safe.’)

Here’s a couple of samples…

 

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“Giant Sardines” : Lisbon, Portugal, 7th September 2011

Another episode in my night-time shop window photography series.

After a hard day of tourism in the Portuguese capital, I retired to my hotel, only to slip out again late in the evening after dark armed with a low-light lens to see what I could find.

Just a few blocks down the main shopping street towards the centre and this little display in a fashion boutique window caught my eye.

These mock tins of fish, symbol of Portugal’s major exports, were actually very large, perhaps a metre and a half long, and very convincing, save for the mildly comedic cartoon-like expressions on the exposed marine critters…

Check out a larger version of this image here.

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“Grey Wave” : Hiroshima, Japan, 10th December 2011

Yesterday I went out on a photo shoot for only the second time since the beginning of September.

Various things have prevented me from taking anything other than iPhone snaps, but now I’m really excited to be able to get out and about with the Nikon again.

But, I got to thinking that the idea of constraint can actually be a force for creativity rather than merely a hindrance.

Let me explain. I’m a great fan of the French writer Georges Perec, an eccentric who deliberately applied constraints to his writing. He would often set up narrow parameters, often mathematical, within which he would set his words.

The most extreme example of this is perhaps his novel ‘La Disparition‘ (1969), in which he used no words containing the letter ‘e.’ Quite a feat when you think that this letter, in French as in English, occurs with greater frequency than any other. Even more remarkable is the fact that this work was successfully translated into English (‘A Void‘) – just imagine the headaches those constraints caused the poor translator!

The effect of this lexical constraint is to force a strange mood into the story, and the result is quite startling in its originality.

Similar artificial constraints can be applied to other art forms, too.

The late British DJ John Peel was once asked why he played so much ultra-minimalist European techno on his show, to which he replied that he liked to see what people could do operating within the narrowest of parameters.

So, why not apply this principle to photography, too? Of course this has been done before, but yesterday I thought I would force myself to stick to only using a 24mm focal range and shooting in monochrome. Not too much constraint, but it’s a start. One of the the results you can see here.

You could go much further – restrict yourself by location, time of day, subject matter – the possibilities are endless.

I think this is a good way to go about taking photos in your home environment, reinventing what would otherwise be a stale exercise in overfamiliar territory.

One could even take this further and apply random elements : before you go out, simply draw up several lists, one containing six locational criteria, one with six technical factors and other six relating to subject matter. Simply roll a dice for each list, et voila, that’s your assignment for the day!

Give it a try – and let me know what happens…

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Sometimes, just like other creative artists, we photographers can find ourselves in a rut, tired of taking the same old stale shots and feeling uninspired.

What to do in such a situation?

I’m reminded of a friend of mine who, two years ago, said to me, “Why do you only take pictures when you’re on holiday? Why don’t you document your everyday life too and look at your surroundings from a fresh point of view – there’s always new things to find if you take the trouble to look.”

She had no technical knowledge of photography and had only a simple point-and-shoot camera, but she was always doing creative and imaginative things that produced unusual and striking images.

Her advice totally transformed the way I take pictures, and stopped the pursuit from getting stale.

So, let’s look at a few specific ideas on what to do when your creative flame has gone out and there’s no trip to an exotic location on the cards:

  • Walk around your town imagining yourself as a tourist seeing it for the first time.
  • Take a train or bus out to a suburb you don’t know and wander around at random.
  • Try a style of photography you haven’t tried before. Go to a junk yard and and do abstract. Try ‘light painting,’ panning, night street photography, use an intervalometer or do anything you don’t normally do. Force yourself.

Rail Bridge Fence

  • Buy some coffee-table books of great photos or look at quality images online and try to emulate your favourites – challenge yourself to work out how they did it.
  • Break the rules – ditch all that constraining baggage and experiment! Try shooting from strange angles. For example, put the camera on the ground. Use inappropriate white balance to artistic effect. Position items unusually in the frame. Deliberately blur things or underexpose to create mood. Crank up the ISO to make atmospheric grainy black and white images.
  • Take pictures at a different time. If you usually shoot in the afternoon and evening, try it early in the morning, and vice versa.
  • Learn new post-processing techniques. Go wild with your software – play with curves and filters with reckless abandon to create new bold art.

  • If you have some cash, buy new gear, which can act as a catalyst to creativity, even though we are often told that the gear is unimportant.
  • Start a project – a themed or constrained framework to force you into action. Start a ‘photo-a-day’ blog like this one, or take a series of pictures at regular intervals in the same place, documenting change. Photograph nothing but postboxes, street signs, drainage covers, food, bicycles or silhouettes for a month.
  • Try extreme macro and transform your home and its contents into a treasure trove of abstract shapes, patterns and textures.
  • Stop taking clichéd shots of dogs, children, birds and flowers. Or, if you never do that normally, start doing it!

  • Enroll in a photography class.
  • Walk around taking random shots from the hip without framing – you may be surprised at what you come up with by chance.
  • Draw up a list of different photographic styles and subjects and assign each a number. Roll dice and make that your assignment for the week. Stick to it rigidly.
  • If any of the above fail to inspire you, start a new hobby which is so unspeakably dull, you return to photography with a vengeance.  :)

I hope some of these ideas serve to reignite your passion if you’ve been losing it.

Feel free to add anything else you can think of…

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I finally got my hands on Nik Software’s Complete Collection yesterday, which was pretty exciting, as I’d heard only good things about these products, and the black and white converter I’d tried as a demo is excellent.

So, for a first test run, I’d thought I’d revisit Photo of the Day #20, my shot of the Venetian lagoon from the island of Burano, and see if I could improve it with this suite of new technological wizardry.

Here’s the original picture, with post-processing done in Aperture 3, which consisted of a bit of edge sharpening, some level adjustments, saturation and contrast tweaks. Click on the picture to see a bigger version.

I reverted back to the original JPEG (yes, folks, I don’t shoot RAW), then worked my way through the suggested workflow for the Complete Collection.

First up, I put it through Dfine 2.0, a noise reduction utility. To be honest, I couldn’t really notice any difference afterwards – perhaps because the photo was shot at ISO 100 and so wasn’t too noisy to begin with?

Next came Viveza 2.0, a tool for selectively adjusting colour and light. I think I just darkened the sky a bit.

Next, the main event – Color Efex Pro 3.0, an amazing collection of digital filters. I guessed some kind of graduated filter would help to enhance the sky, and after playing around with various configurations, I came up with something that I think adds impact without being too unnatural.

Finally, I launched Sharpener Pro 3.0 and cranked things up a bit: I think I may actually have over done it, but never mind.

Here’s the result. Better? Or too over the top? I’ll let you decide…Click on the picture to see a bigger version.

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I must admit I’m obsessed with the moon and have been photographing her regularly for the last couple of years after I found out how to do it.

Now, I’m no expert when it comes to this – I’m something of an anarchist photographer who can’t be bothered with ‘rules’ – but here’s what I do, which might be of help to beginners.

  • You’ll need a zoom lens for this – I use the cheap Nikon 55-300mm VR, which is fine for the amateur.
  • Switch to spot metering (otherwise the the moon will be a burnt-out sphere…)
  • Use single-point focus (not that the multi-point mode is going to miss the moon, but just in case…)
  • Set ISO to 100 (or whatever is lowest on your camera) – yes, it’s night, but the moon is very bright when you’re spot-metering it, and you’ll need the best image quality since you’ll be cropping later.
  • Choose an aperture around f8-11 to make sure you’re shooting at a high enough shutter speed to offset any motion blur.

Now, here’s where I’m radical – I never use a tripod! Why? I don’t like them – too cumbersome and annoying to set up, and I much favour spontaneity. Surely this affects the quality, you might think – but no. I’ve done tests with (using a remote shutter release) and without, and there’s no appreciable difference. That’s because you can shoot at fairly high speeds, so the extra stabilisation isn’t really necessary. In addition, I’m good at using railings, etc, to stabilise myself, and practice the art of holding my breath after exhaling while shooting. This deals with any possible motion blur issues.

After shooting you’ll need to crop the image in your software, then add some sharpening and adjust contrast and levels to taste. It’s actually quite a fine art to make sure it doesn’t look over-processed or too unnatural – but then again, this is art, so anything goes…

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