Friday Inspiration: Martin Henson

Dales Wind

Unless my skills with the google are failing me, there are surprisingly few interviews (I couldn’t find any!) with British photographer Martin Henson. Spend some time reviewing his galleries by clicking on the link here and you, like me, will wonder how that can be.

Martin is based in Leeds in the North of England and, from what I can tell, much of his photography is essentially local. Excursions to the nearby coast and the Yorkshire dales – places that I’m reasonably familiar with – result in photographs that really do give a sense of what raw and wild these places can be.

I hope that you enjoy exploring the work of Martin Henson and I’ll leave you with another favorite of his images below.

Scales Moor 2

Friday Inspiration: Edward Burtynsky – Water

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I find that I frequently return the work of photographers that have previously caught my attention. Edward Burtynsky is one such photographer. I had previously highlighted the retrospective of his work called Manufactured Landscapes and was pleased to see that he has recently completed a new project called Water.

One of the things that I am curious to see when I’m looking at new projects from familiar photographers is to see how their process has evolved, if at all. With Water, Burtynsky is no longer considering gravity as a constraint and uses a variety of tools that allow him to get the shot that he’s imagined, regardless of the vantage point. I’m not sure that I would be up for putting a Hasselblad on a model helicopter, especially after seeing Chase Jarvis’s experience, but sometimes you’ve got to do whatever it takes. Click on the link below to see a behind the scenes video of the making of Water.

Where I Stand – Edward Burtynsky from Flowers Gallery on Vimeo.

What I Did On My Summer Vacation

OB Rocks Final-1I was thrilled to be accepted into the exhibition ‘What I did on my summer vacation‘ curated by Jim Fitts, Founder of PhotoWeenie.com and Anne DeVito, Co-Owner of Panopticon Gallery. The exhibition opened in the private room at the Panopticon Gallery September 12 and runs until Jan 14. So there’s still time left to look at the selected images.

I really liked where the photo was placed in the room, in a little alcove as shown below.

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The opening was quite a scene. A couple of artist talks and tons of people. Really overwhelming.

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Friday Inspiration: Eoghan Kavanagh

Tree-Lake-Eoghan-Kavanagh-1024x787I wish I could remember how I came across the work of Eoghan Kavanagh. Most likely an extended wandering from some other Ireland based photographers.

Eoghan is based in Kenmare, Co. Kerry which gives him easy access to many of Ireland’s great locations. Check out more of Eoghan’s work here and in the videos below.

Evergreen Forest from Evan Payne on Vimeo.

Reenagross from Evan Payne on Vimeo.

Barley Lake from Evan Payne on Vimeo.

Practicing at Practicing

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I recently upgraded my copies of Lightroom and Photoshop which of course brought with it the headache of making sure that all the plug-ins that I have for both programs were installed and working properly. In photoshop my plugins are ‘grayed out’ and unavailable to be fired up unless you have a photo open. So to solve that problem I opened one of the leaf pictures that I had intended on working on but hadn’t gotten around to it. I opened the leaf image and started OnOne Software’s “Perfect B&W’ plugin. I tried some of my favorite black and white presets. There are lots panels with lots of sliders that you can use to further tweak the image. One panel that I wasn’t familiar with was the ‘blending’ and so I spent some time playing with the various options and was surprised and pleased to discover that using the overlay mode gave me the image above. I liked it so much more than the image I started with which is below.

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Could I have gotten there with just Lightroom or Lightroom and Photoshop? Maybe… I realized that the image out of the OnOne plug in had a vignette (easy to do in Lightroom), and was a bit crunchy – had either a lot of contrast or clarity or a combination of the two added.

Adding a vignette was easy – I generally use ‘Post-Crop Vignetting’ and dialed in -33 using the highlight priority option in LR5.

Leaves_Vignette

Cruchiness wasn’t so easy. I thought that clarity would give the effect that I was looking for. Ramping clarity up to 100% gives the crunchiness I was looking for but there’s still something missing.

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Adding a strong constrast curve gets us closer but the image is too green.

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Finally desaturating a little using both saturation in the Presence panel and also the green slide in the HSL panel gives the image below.

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A vast improvement over the original and I like it better than my target image. I found this to be a useful exercise in exploring the power of Lightroom which I’m sure will come in useful.

Friday Inspiration: Thomas Joshua Cooper

The people that I feature in these Friday Inspiration posts are artists whose work I enjoy looking at and so it’s natural that I follow what they doing. I particularly enjoy Thomas Joshua Cooper’s seascapes and was quite pleased to find a longer video of him talking about his atlantic basin project. Check it out below:

While I was looking for videos of Cooper talking about his work I found another video, a conversation facilitated by Roger Wilson between Chris Wainwright & Thomas Joshua Cooper about their work, the journeys that they take and what it is to be an artist. Well worth a look.

Playing with Presets Redux: Black & White Preset Download

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When I originally wrote about using presets to explore the potential in my images I had intended on providing the final black and white preset that I made as a downloadable file. Unfortunately I couldn’t quite figure out how to do it. Should be easy enough right?

I continued to use the preset and have used it on all of my black and white images that I’ve posted here over the last few weeks, including the one above. Then finally I figured out how to provide the file.

Click here to download the preset and instructions on how to install it.

Installation of the preset is quite easy:

1. Open Lightroom

2. Navigate to the ‘Develop’ module

3. Find ‘User Presets’ in the presets panel on the left hand side.

4. Right click or control click on ‘User Presets’ to open a menu.

5. The menu has 2 options – New Folder and Import. Click import.

6. A file browser will open that will allow you to navigate to the preset you downloaded. Click on the preset you wish to import and then click ‘Import’.

7. That’s it! The preset should now be loaded into the ‘User Presets’ section of the Lightroom develop module.

To use the preset is easy enough. Select the image you want to work with, open the develop module (I usually just hit the ‘d’ key), under the user presets click on the B&W Preset. Done!

Of course sometimes you might be done, other times you might want to work the image a little more. The most common additional edits that I do are: apply lens correction, change the vignette – which is found under the effects panel on the right hand side, and to change the grain characteristics – also found under the effects panel.

You might want to do other things but I hope that this serves as a solid jumping off point. Let me know if you like this, how you’re using it, what works, what doesn’t. I’d appreciate the feedback.

Friday Inspiration: Sebastião Salgado

Sebastião Salgado’s new book Genesis was waiting for me when I got home from vacation. It’s an amazing book, that represents the culmination of an almost 10 year project to photograph mountains, deserts, oceans, people and animals that have so far escaped change the onslaught of modern society. The book, it’s 517 pages !, is organized geographically into five chapters : Planet South, Sanctuaries, Africa, Northern Spaces, Amazonia and Pantanal. As you might expect if you know Salgado’s work the photographs are lush black and white.

This interview on the Canon Europe website is an excellent read.

Watch Salgado discuss Genesis below:

Sebastião Salgado: Genesis from Edmond Terakopian on Vimeo.

Salgado talks at TED

Get 'Em While You Can

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I’m back home again after a a family holiday at the beach. I don’t know how you travel but for us we always have somewhere to be and while our trips may take us through gorgeous parts of the country we’re always too time crunched to stop to explore. As we zipped across Shelter Island, somewhere I’d like to explore further, the image at the top of the page came to mind. It’s a view across Crescent Lake. I was obviously drawn to the reflections in the mirror smooth lake. At the time I was zipping down to Forks but decided that since there wasn’t any pressure to be in Forks at a particular hour I’d stop. I spent probably 20 or 30 mins photographing at this spot, working out of the back of my car with the music blaring. Most certainly a good time. I never saw the lake flat enough any other time during my visit to the Olympic National Park for this kind of reflection. If I’d done what I was thinking which was to ‘get it on the way back’ the shot wouldn’t have been there.

What was also cool was another photographer pulled in behind me and introduced himself – Jack Graham – a very familiar name to me. I’d looked at his guide to photographing in washington state and at his workshops as part of my researching potential ONP workshops. At the time I ended up going with Art Wolfe but having met Jack and emailed him a few times afterwards I’d recommend his workshops any day.

This experience not only underscores the need to get the shot when you can but also that by getting off the usual rails that we run on we may stumbling into interesting opportunities.