After two weeks of dealing with an virus that went through our household decimating everything in it’s path I’m finally getting back to something like normal. It’s interesting to me how presumably the same virus can manifest itself differently, shining a light on your weaknesses? My son and I both had respiratory problems which involved a trip to the hospital for him and a lingering shortness of breath for me. I’m still winded doing the simplest of tasks, even something as simple as walking feels like I’ve just done something strenuous. Hopefully it won’t last for too much longer.
I’m once again on the road. It was fun to see Massachusetts and all the snow that we’ve had this winter from the air. I was surprised that there wasn’t more ice in the bay but I should be careful what I wish for!
In a world where everyone is a photographer and there are more photographs deposited into the ether every minute than there were photographs taken in the 19 th century one has to wonder whether anyone is really paying attention to todays photographs. How many of these photographs are looked at again by the photographer let alone by the social networks that they are shared with.
The photographs that stand out, those that we return to, the images that we print, are the ones where we really connected with the subject. This is often easier said than done.
All too often the camera serves as a barrier, sometimes an essential protection, but frequently the thing that inhibits connection with the subject. The more you are thinking about technical details or what else is going on around you the less available you are to connect with your subject, whether that’s a person, the landscape or whatever you choose to photograph.
The more present you are with your subject the more likely it is that you will have an experience and photograph that will endure. For me this means doing all the thinking in advance, or at least allowing the chatter to fall away so that I can be attuned and respond appropriately to opportunities that come my way. To listen carefully to the voice sometimes quiet, sometimes a roar, that encourages me to take the photograph.
I’ve come to believe that the deeper your relationship with yourself – the clearer you are about what’s important to you, who your influences are – the more likely you are to recognize what caught your attention when you walked by a potential subject. Why sometimes it’s a quiet voice inviting you to take the photograph and sometimes a roaring demand.
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.
As I look around for ‘how to’ resources for lightroom and photoshop one of the people that I continually come back to is Julieanne Kost. Julieanne is the Principal Digital Imaging Evangelist for Adobe Systems, which means that she spends much of her time on the road speaking at conferences and teaching how to get the most out of lightroom and photoshop. I recently worked through her ‘Advance Photoshop Layers‘ course on the CreativeLive site which was excellent. She’ll be teaching during the upcoming Photoshop week on CreativeLive which will be worth checking out.
Many of the examples that Julieanne uses during her demonstrations are from her personal projects. Her book Window Seat is quite interesting and now available as a digital book. Well worth a look. It’s the photoillustrations, such as the one above, that of course really capture my attention given my interest in assembling images from parts. Check out the videos below to see more of how these are constructed:
We’ve been having an odd winter here in New England – lots of snow over a very short period of time. We’ve had about 80 inches (or ~ 2 m) of snow in the last 20 days with more coming down as I write this. During the last storm I made the misguided decision to head out to photograph in the nearby woods. Misguided because the visibility was poor and the snow plows were not managing to keep up with the snow which made driving interesting. Once at the woods the snow was quite deep even on the normally well trodden paths which made for slow going.
Increasingly I will explore ideas with my iPhone before pursuing them further with my DSLR. A couple of the images from my iPhone are above, I was at least thigh deep in the snow in this part of the woods. As I maneuvered my tripod around in the deep snow I heard a funny creaking noise. At first I thought that was the wind blowing the trees, but there wasn’t any wind. Then I thought it must be someone else out and about, but I could see anyone. Very weird. I picked my tripod up out of the snow to get it into a better position and and two of the tree legs came up, the third stayed in the snow. It had come detached where it joined the metal frame. That was pretty much the end of my photography for the day.
I’m not sure if you can tell from the images above but the carbon fiber leg where it joined the frame had delaminated and was soft. It was also crinkled which explained why the tripod leg did not fully close – there was always just a tiny fraction of leg extended. The metal also looks like it is badly corroded. While I may send this old tripod back to Gitzo I’m not holding my breath that they would be able to help me out.
I do have a new tripod that I’ve been using as a travel tripod – a Really Right Stuff 24L. I may now supplement this with the 34L, a beefier version of the 24L. The 24L to me seems a bit weedy, the lower sections of the legs are particularly thin and make me wonder how solid the tripod can really be. I guess time will tell.
Often as a beginning photographer you will hear the admonishment, ‘get it right in camera’, this is good advice when your starting out. It provides a restriction, a box to work in, and edges to push up against. It forces you to think about what is the subject, how do you frame the subject so that everyone knows what the subject it, are there lines that you can use to lead the eye through the image and on an on. A multitude of decisions to make on the fly that with practice become second nature, an instinct and perhaps one of the reasons that it can be so hard for some to teach what they are clearly so capable of doing.
I find that I am increasingly less interested in getting it right in camera and more interested in making sure that I’ve captured enough of the scene in front of me to be able to recreate what I felt when I was there. I’ll shoot different shutter speeds to capture waves with just the right amount of blur, I’ll focus at different points in the image so that I can get good front to back depth of field and I’ll shoot a lot of frames. I’ve actually been doing this for a while and it’s taking some time for my post-processing skills to catch up with what I’d felt and imagined I would be able to create when I was stood in various places around the world blasting away.
Brooke creates worlds that ‘she wishes we could live in, where secrets float out in the open, where the impossible becomes possible’, often using herself as the model for the photograph. She is able to create these new worlds using relatively simple techniques in photoshop.
Looking at some of the behind the scenes videos on her You Tube channel made me realize how much you could do if you just understood just a few of the tools in photoshop deeply. Watch Brooke in action and hear her talk about her work and process in the videos below.
The world of Canon photographers was all of a twitter last week when the new Canon 5DS and 5DS R cameras were announced. Why the buzz? These cameras, that boast 50.5 MP sensors are Canon’s attempt to get back into the pole position of high mega pixel DSLR cameras, a position that they held for a long time until they were surpassed by Nikon, with the D800 and now D810, and then Sony, with the AIIR. I’m sure that these are not the cameras that everyone was looking for, but seems as though they will be interesting to play with once they become available in June.
While the world of Canon is waiting it will be worthwhile for those of us thinking of making the leap to learn from the Nikon folks who stepped up from 12 MP to 36 MP. Not only will we need larger memory cards, each full size raw file will be ~ 60 MB, but also we’ll need to make sure that our lenses are of sufficient quality to handle this resolution – this will be a great way to find out which of your lenses are slightly soft, and work on our technique to ensure that we’re getting the sharpest photographs that the camera will allow.
The video above is Canon’s introduction to these new cameras, there’s a lot more that we want to see a know but this was a good introduction. Also check out the interview below with Chuck Westfall the Canon USA spokesman. I’m looking forward to finding out more!
I’ve been thinking about creativity a lot in recent weeks, about ‘making’ images rather than ‘capturing them’ and about realizing your voice. To me Keith Carter’s work and particularly his evolution as a photographer is an interesting case study in this. His subject matter is wide ranging but most often draw the his surroundings in his native Texas – the children, people and animals. His approach seems to me at least to have evolved substantially over the years from relatively straight photography, to (mis)use of a tilt shift to give interest shallow depth of field effects to the increasingly grungy images of recent years.
I was interested in the video tour of his house below to hear and see that he deosn’t follow the often heard suggestion of live with your work but rather he surrounds himself with the things and work from others that inspire him and fill the well. Check out the tour of his house, the profile of Keith and finally listen to him talk about his work and his evolution as a photographer in the videos below.
I doubt that I am unusual in having an almost continual running conversation with myself. One of the topics of conversation with myself when I travel is is to manage expectations for the photographs that I’ll create. ‘You take you with you wherever you go’, I told myself.
Playing with that phrase over the weekend I came to ‘Wherever you go there you are’, which felt too familiar for me not to have seen it somewhere else. A quick search came up with the most likely place that I’d seen it before – the title of Jon Kabat-Zinn‘s book of the same name that deals with mindfulness. Other sources were fun though, particularly Buckaroo Banzai, a cult film from the ’80’s.
The chapter in Kabat-Zinn’s book that is titled ‘Wherever you go there you are’ the problem that I was coaching myself through is described perfectly. Namely this – we have a tendancy to flee from things, if it’s not good here it will be better there. The problem of course is that many of the things that we’re running from have an uderlying root cause and that is us.
Not being happy with the photographs you’re taking at home doesn’t mean that the photographs you make when you travel to an exotic location will be too much different. They will inevitably have your signature all over them, they will be you, that it if you’re doing anything right at all. For me this means that I won’t suddenly channel Michael Kenna or Michael Levin when I travel to Hokkaido. I may go to the same places and see the same things but the photographs will be different, either dramatically or subtly.
In fact you should be striving to take ‘you’ photographs, those photographs that are a unique expression of how you see the world, and being doing that whether you’re at home or not. I, perhaps we, need to get comfortable with that, own it and milk it for all it’s worth.
I’ve been involved in a couple of conversations recently about the value of printing your work. With most of us now using digital in one form or another there’s an overwhelming temptation to let your photographs sit on the computer, or on the web in one place or another and not be printed.
There are a number of reasons that we could debate for printing – prints have historically been the archival record – when the house is burning down you’re not going to run in and save your server, network attached storage or desktop computer in the way that you might have saved the family photo album. I’m sure everyone has their work backed up both in the cloud and physical drives at a secure distant location so this is less of a concern.
I would argue that printing does make you a better photographer though, whether your intended output is for the web or not. Prints are less forgiving than web and so you have to get it right, sharp where sharp is needed and appropriate and a file that is large enough to support the print size which forces you to ‘get it right in camera’
Even though the cost of ink jet printers has dropped substantially and the resources for obtaining a good print increased in equal fashion, making it quite possible to make good prints yourself at home, there are a number of companies that will make the prints for you. I was experimenting with the print service from Artifact Uprising while I was in Japan recently.
As I mentioned previously I’ve been using my iPhone camera as a tool to help me break out of the rut that I’ve felt that I’m in. I thought that If I could take 250 images that I like over the course of the year it ought to be possible to cull those to make a 50 image book as a record of the year. I’d heard good things about Artifact Uprising and wanted to try them out before I got to the book stage.
One morning while I was in Japan recently I had a few moments to kill and so I uploaded 5 or so images that I’d posted to instagram to the artifact uprising site using their mobile app and ordered a pack of prints. The whole operation took less than five minutes. When I got home from Japan I had a stack of amazing prints (5×5) on really heavy paper stock that I could handout to friends and family and to have as a record of the trip.
Not big prints for sure but a fun way to get my images off my phone and for me to start to look at them and really think about how they work as images. Give it a go, you won’t be disappointed.