Category Archives: Photography

Shoot Only Puffins, Leave Only Footprints

Puffin in flight at Dyrholaey, Iceland
Camera: Canon EOS 7D | Lens: EF70-300mm f/4-5.6 IS USM | Date: 28-08-2011 13:15 | ISO: 200 | Exp. bias: 0 EV | Exp. Time: 1/320s | Aperture: 6.3 | Focal Length: 180.0mm (~291.6mm) | Location: Reynisdalur | State/Province: South | See map | Lens: Canon EF 70-300mm f/4-5.6 IS USM

I was ready for a quiet day of mainly driving on Sunday. I was also ready to report a total of about 1800 shots taken, which is a bit lower than for the Cuba trip, not unreasonable given the slightly shorter duration and the fact that this was mainly landscape photography.

Then we got to the puffin colony… 🙂

Having visited a couple of interesting rock formations (basically basalt columns like Staffa or The Giant’s Causeway), we drove a short distance to the top of the cliff, which was essentially home to thousands of puffins, which were variously sitting quietly or diving off into the sea to catch food. They seem to be quite unafraid of humans, and because of the prevailing wind onto the cliff they had to glide slowly at take-off and landing, sometimes very close to us, which made photography feasible, if still challenging.

Of course, this is what my kit, consisting of the Canon 7D and 70-300 IS lens, is built for. Any minor inferiority complex relative to the 5D and medium format brigade vanished in the face of my 8 frames per second and high performance auto-focus, and I got a number of good shots. The above is probably one of the best, although there are several other good candidates.

It did put the shooting total up a bit. In less than an hour I took well over 300 shots, filling a 16GB memory card and flattening a battery, but who cares. Together with the other shots from the day the total now stands over 2150 – even higher than Cuba!

Our hosts had organised a wonderful end to the day. In the outskirts of Reykjavik we diverted to the hospital where Gruni (Finn’s wife, who had joined us on the tour) works. There we were doubly treated, both to a celebratory glass of champagne and a couple of chocolates, but also to an exhibition of the best of Finn’s photographs, in wonderful large prints. Definitely something to aspire to.

I’m back in the hotel, and busy packing for an early start. I’ll do a final post when I’m home, summing up and listing my tips for any future travellers, but it’s been a wonderful trip and highly recommended to anyone else who wants to try.

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A Day of Travails

Fire meets ice at Kerlingfjoll, Iceland
Camera: Canon EOS 7D | Lens: EF-S15-85mm f/3.5-5.6 IS USM | Date: 22-08-2011 12:59 | ISO: 100 | Exp. bias: 2/3 EV | Exp. Time: 1/80s | Aperture: 10.0 | Focal Length: 31.0mm (~50.2mm) | Location: Blákvísl | State/Province: South | See map | Lens: Canon EF-S 15-85mm f3.5-5.6 IS USM

You don’t realise quite how empty the interior of Iceland is, or just how much time you’re going to spend bouncing over unmade roads through deserts of rock and mud. It’s not surprising that NASA test their extra-terrestrial rovers here. Fortunately the scenery when you get to each location more than makes up for it.

We started Monday by driving up to Kerlingfjoll (which roughly translates as “Bitch Mountain” :)). This is an amazingly colourful geothermal centre reminiscent of The Artists’ Palette in Death Valley, only with ice, rain, snow and steam all mixed in! The only problem was that it was blowing a gale, tipping with rain and only just above freezing. I braved it with my new raincoat, Kata rainbag and cheap filter on the camera, and got some great shots. One of the rest of the party had a little Canon in a waterproof housing (like I use for snorkelling) which was maybe slightly OTT but worked well, and her husband had a rainbag like mine, but everyone else gave up on photography which was an enormous pity.

After lunch we travelled up to Hveravellir (“Hot Field”), to see another geothermal display, this time a mix of hot pools and small geysirs. On the way back we diverted up to the Langjokull glacier, at a point where the jeeps could actually drive up onto it. This was a brilliant experience.

Unfortunately at this point I realised that my main 15-85mm lens was starting to play up, and my photos from the glacier aren’t that great. I don’t know whether it’s the vibration, the moisture or just a fault which was waiting to happen, but I’m getting a nice soft focus at the top/left of the picture, whether I want it or not :(. Fortunately I also have the 17-85mm as a spare, so hopefully this won’t put too much of a dent in proceedings. Yesterday also saw the possible demise of one of the batteries for the 7D, but I won’t know until I’ve recharged and re-tested it.

I’m going to start building up a list of tips for a trip such as this, but a spare everything, a rain bag and a cheap filter you don’t mind wiping with anything to hand are all essential!

Hotel Geysir may look nice, and dinner was great, but the rooms are a bit chilly and there’s really nowhere to type on the PC, so I’ll stop here… More tomorrow.

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Don’t Rush to Judgement

Worker at tobacco farm, Vinales Valley, Cuba
Camera: Canon EOS 7D | Lens: EF-S15-85mm f/3.5-5.6 IS USM | Date: 18-11-2010 15:52 | ISO: 800 | Exp. bias: -1 EV | Exp. Time: 1/250s | Aperture: 9.0 | Focal Length: 76.0mm (~123.1mm) | Lens: Canon EF-S 15-85mm f3.5-5.6 IS USM

As soon as I’ve downloaded a shoot from my cameras, I do a quick scan of the in-camera JPEG files, and usually mark about half of the images for deletion. Those which are irrecoverable go straight to the wastebasket, the rest go into an “others” file from which they will only be retrieved in exceptional circumstances.

When I first reviewed my day’s shooting from around Vinales, I nearly gave this shot that treatment. It’s not the clearest portrait I’ve ever done, and the low-contrast of the original meant it didn’t look worth much effort.

However something made me keep it in the “to process” group, and I’m glad I did. The trick was a small crop, and a simple curves adjustment to make the smoke almost white against the woman’s face. The increased contrast makes all the difference.

I’m a great believer in getting shots almost right in camera, when I can. However sometimes the image is hidden for want of a few simple adjustments, as it was in this case. It’s a salutary lesson to me to not be too harsh with my initial filtering.

 

Iceland beckons, and I’m going to repeat the Cuba experiment and try and publish a daily photo blog of my trip. Expect to hear from me again later this week.

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Seeing in Black and White – Follow Up

From the Ministry of Odd Coincidences…

This evening I watched this week’s Horizon, which, by remarkable assonance with my blog, was on the topic of the perception of colour. The programme made it clear that colour perception varies widely and subject to personal and contextual forces. However, given my post this morning, I was most interested in the fact that colour perception is strongly linked to the vocabulary you have to describe colours and their differences. The Namibian tribe who have words to describe slightly different shades of green, but who lump blues and greens together under a single word, can see the former, but not a blue/green variation.

Now I’ve always had a very good physical ability to remember and match or discriminate colours, but when I first met my wife I couldn’t articulate this. To exploit my colour vision in conversations with her (such as answering “do you think this will match X?” :)) I learned a more powerful vocabulary, and in turn further developed my colour visualisation skills.

When I took up photography seriously a few years ago I became aware of the colour of light, but again really got on top if it when I learned appropriate vocabulary to describe lighting causes and effects.

So maybe my visualisation skills relate to my ability to describe (even internally) what I see or the resultant image I want. I can do this in colour because I have developed an effective colour vocabulary. I don’t “see” in monochrome because I don’t mentally describe scenes using monochrome terms, unless I’m forced to because it’s all shades of grey, or just a single colour.

The great photographers of the early twentieth century developed the vocabulary I need. Ansel Adams’ Zone System was designed for exactly this purpose, and in his writing, such as Examples he actively describes scenes using the zone terminology. I understand the theoretical concepts, but I haven’t developed the habit of using them as linguistic tools to describe a scene. Clearly I could train myself to do so, but I don’t want to lose my skill with colours as a result. The interesting challenge is whether I can become visually bilingual.

Location:Bookham Rd,,United Kingdom

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Seeing in Black and White

Garden at Sissinghurst Castle, Kent
Camera: Canon EOS 550D | Lens: EF-S17-85mm f/4-5.6 IS USM | Date: 07-08-2011 14:11 | ISO: 200 | Exp. bias: 0 EV | Exp. Time: 1/50s | Aperture: 8.0 | Focal Length: 22.0mm (~35.6mm) | Location: Rolvenden Rail Station | State/Province: England | See map | Lens: Canon EF-S 17-85mm f4-5.6 IS USM

Some experienced photographers, particularly those with a background in traditional film photography, claim to be able to “see” a scene in black and white, visualising how a monochrome version might work. This focuses on the tonality, and ignores the colours in the scene.

I’ve been trying to do this, with a little success, and I’m quite pleased with this scene I captured at Sissinghurst last weekend, where I managed to visualise in advance the effect of the statue against the hedge, and the shadow on the lawn.

But I’ve realised I can only do this where the scene is dominated by a single colour. In this case, it was all different shades and tones of green (or grey). As regular readers and friends will know, colour is very important to me, and when the colour palette is richer, I find it very difficult to ignore my interest in the colours and focus only on the tones.

I wonder whether the best black and white photographers are just less interested in colour in normal life, or whether they can switch their vision of the colour on and off, something I can’t do?

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The Challenge of Serenity

In the Chapel of Onzelievevrouw (Our Beloved Lady) Basilica in Maastricht
Camera: Canon EOS 7D | Lens: EF-S15-85mm f/3.5-5.6 IS USM | Date: 22-07-2011 17:16 | Resolution: 5160 x 3434 | ISO: 1600 | Exp. Time: 1/19s | Aperture: 5.59 | Focal Length: 17.0mm (~27.5mm) | Location: Mercure Maastricht Airport 3 | State/Province: Limburg | See map | Lens: Canon EF-S 15-85mm f3.5-5.6 IS USM

Our Summer city break this year was a short trip to Maastricht in Holland. No, I didn’t have a treaty to sign, but it’s still a charming old European town, with great architecture and great shopping. The high point was the last live music event of our Summer, a concert fronted by the Dutch violinist Andre Rieu. We didn’t know quite what to expect, vaguely thinking about violin solos. What they actually provide is a bit like a Dutch “Last Night of the Proms”, performed outdoors, with musical inputs ranging from a South African gospel choir to the current Three Tenors. Andre Rieu is just a great showman (I could follow much of what he was saying even though I don’t speak Dutch), and seems to treat his beloved Stradivarius a bit like other “front men” treat their tambourine or harmonicas – mainly something to keep the hands busy!

Talking about things beloved, the photo is from the Chapel of Onzelievevrouw (Our Beloved Lady) Basilica. The chapel is an “island of serenity” in a bustling town, and many of the visitors stop to pause here. Apparently they get through roughly 1000 candles a day…

I really wanted to capture this photographically, but the challenges are substantial. Firstly, the dynamic range demands HDR. Even allowing the candle flames themselves to blow out the range must be 14 stops from the candle bodies to the shadows, and I didn’t just want a white stripe across a black background 🙂 Flash would be completely unacceptable killing both the beautiful reflective mood, and also the very subtle lighting I was trying to capture. Using HDR gets to the next problem: movement. Not only are people coming and going all the time, but of course the camera flames themselves are moving. It wouldn’t be acceptable to use a tripod, and I didn’t have mine anyway. All these place a lower limit on the shutter speed, and require a fairly high “working speed” to capture the few moments when the other people are motionless.

This wouldn’t matter in a typical outdoor situation or even a well lit interior, but away from the candle tips the light levels in the Chapel are very low. At ISO 1600 I was looking at f/5.6 and 1/20s for the “nominal” exposure. That’s more or less the limit of my lens, and I wouldn’t want a much wider aperture for this scene in any case. This in turn implied a challenging 1/5s shutter speed for the “+2” shot. I didn’t want to crank up the ISO any further, as the noise would be unworkable in an HDR image.

Several attempts later, this was the best result. This Japanese couple paused just long enough to give me a nice composition without human movement. For some reason I can’t get a high-quality result using all three frames – I must have moved the camera between frames slightly more than the software’s limits – but the nominal and “-2” exposure combined well in Photomatix Pro using the exposure fusion method. Although there’s not quite as much shadow detail as I hoped for I think it works, but it also illustrates the limits of current digital photography.

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Image Stabilisation – Know Your Limits?

Ceiling detail from the Teatro Tomas Terry, Cienfuegos, Cuba
Camera: Canon EOS 7D | Lens: EF70-300mm f/4-5.6 IS USM | Date: 20-11-2010 17:48 | ISO: 800 | Exp. bias: -2/3 EV | Exp. Time: 1/13s | Aperture: 5.0 | Focal Length: 140.0mm (~226.8mm) | Lens: Canon EF 70-300mm f/4-5.6 IS USM

I’ve blogged previously on the other merits of Canon’s wonderful EF 70-300mm f/4-5.6 IS USM lens, but not really its image stabilisation characteristics. This shot from Cuba shows how good the lens is in that respect. The above is an interior detail from the Teatro Tomas Terry in Cuba, shot handheld in very low available light, at 140mm and with a 1/13s shutter speed. I’m very happy with its sharpness. Some of this may be down to my own steadiness, but it does seem that I can genuinely go to speeds 10 times slower than the traditional “1 over the focal length” rule. I’d be interested to hear what other people have found with similar lenses.

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Low Cost Geotagging Using Bibble

I decided a while ago that it would be useful to “geotag” my photographs, i.e. to automatically record the location from which each is taken and add that to each images’s metadata. As my next photographic trip is to Iceland and I rate my chance of correctly remembering and spelling all the Icelandic names as about 0%, this could be very useful.

I looked at commercial solutions, but they have several drawbacks, including the need to carry at least one more gadget, and some questions about how they would fit with my photographic workflow. Then I realised that I could achieve a similar result using just my new mobile phone and some low-cost software which can integrate neatly with my Bibble-based workflow. Read how my solution works in this article.

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Review: Don’t Stand So Close

A review of "The Eagle"

As a general rule, it’s good for an action photographer to get close to said action, but I’ve recently seen a few films that demonstrate there’s a limit. One key example was “The Eagle”. It’s a stirring tale, full of great human lessons, and a great romp through Roman Britain and Celtic Scotland. I liked the visual feel, even if some of the Celtic warriors looked more African than Scots, and counter to some reviews I enjoyed the performances of both leads, as I thought Channing Tatum’s calm portrayal of the Roman an interesting contrast with the more intense performance of Jamie Bell.

The area of concern, an unfortunate one for an action film, was the fight scenes. The camera was right in with the whirring blades, and this led to two problems. The first, which several reviewers have commented upon, was that it became impossible to follow the sequence of events, or the “big picture” view of the battle’s progress. You just couldn’t work out who had done what to whom. A key Roman character is killed in the final battle, yet neither Frances nor myself could work out when, or at whose hands. This stands in contrast to, say, Ridley Scott’s direction in “Gladiator”, when you are never in doubt about what has happened.

The other problem is more personal, and I don’t know how many people it affects. My brain obviously process visual information quite quickly, and at a certain point the world’s most popular optical illusion breaks down. If, say, a sword scythes across a large cinema screen in less than a second, I see it as a series of distinct jumps as my brain discerns the movement between successive frames. While at one level I follow movement, at another I’m distracted by “spotting the jumps”. This only happens in relatively extreme circumstances, with quick movements across large screens, but it’s consistent under those circumstances.

“The Eagle” is not the only film I’ve recently seen which demonstrated these problems. This excessive closeness to the action seems to be a developing trend. directors and cinematographers need to test their work by seeing whether someone sitting towards the front of a large cinema can follow it. If not, a step back might improve things considerably.

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Location:Bookham Rd,,United Kingdom

Categories: Photography and Reviews. Content Types: Film.
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Watching The Wall Go Up

0511 S95 0159
Camera: Canon PowerShot S95 | Date: 17-05-2011 16:59 | ISO: 800 | Exp. bias: 0 EV | Exp. Time: 1/25s | Aperture: 4.9 | Focal Length: 22.5mm | Lens: Canon EF-S 10-22mm f/3.5-4.5 USM

Thanks to some generous colleagues and the last minute availability of a spare “hospitality” ticket, I was lucky enough to get into a sold-out Roger Waters concert based on Pink Floyd’s The Wall this week. It was a really great show, and prompts several different observations.

First: the concert itself. I can only think of superlatives to describe it. Essentially while the music played and described Pink’s increasing isolation, the Wall of the metaphor was progressively built up, in front of the main part of the stage. The Wall was then used as a screen on which a variety of projections were shown: some simple graphics, many derived from the original Gerald Scarfe illustrations for the album, and others illustrating some of the social and political philosophies behind the lyrics. The projection technology was amazingly sophisticated, being able to extend to individual bricks as they were inserted, so that there was no “spill” onto the background activities which had their own lighting and pyrotechnics.

The music and sound quality were simply superb. I have been to concerts at the O2 where the sound was a bit muddy, but that wasn’t a problem here: every note and word as clear as on the album, albeit with the variations which you’d expect in a live performance, by a slightly different group of musicians, 35 years on from the original.

This is also a “photography” post for two reasons. Firstly, it was refreshing and encouraging to attend a concert with a realistic, liberal attitude to photography, which was clearly presented in both notices and an announcement: attendees were welcome to take photos, but would they please ensure their cameras were set to “no flash”. It was slightly disappointing to see that a few audience members couldn’t follow this simple instruction, but overall it worked well.

I had taken my tiny Canon PowerShot S95 in my pocket, and I’m very pleased with the results. The above was taken from the back of the hall, at ISO 800, on a camera about the size of a cigarette packet. This isn’t the limit of the camera’s capability: I got some decent shots at ISO 1600, albeit applying quite aggressive noise reduction in my RAW processor, and the in-body image stabilisation seems to have worked down to about 1/8s. OK, my photos are not going to blow up to A2 or sell as fine art prints, but as memories of a great concert obtained without carrying my normal (and probably forbidden) heavyweight kit they are very encouraging.

Finally, I must confess a slightly ambivalent attitude regarding “corporate hospitality”. I wouldn’t have got to the concert if it was not for some generous colleagues at Accenture, and I’m extremely grateful to them for that generosity. But while the Accenture box was full, the next box along was empty, as were several others, with seats at a very popular event going completely wasted. As someone who only normally attends such events via “general admission”, this is enormously frustrating. I don’t know that there’s any real resolution, but it’s something event organisers really need to think about.

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Spring is Here!

A montage in the style of Eadweard Muybridge, developed at a dance masterclass with Chris Nash
Camera: Canon EOS 7D | Lens: EF-S15-85mm f/3.5-5.6 IS USM | Date: 07-05-2011 15:34 | Resolution: 5184 x 3456 | ISO: 100 | Exp. bias: 0 EV | Exp. Time: 1/125s | Aperture: 8.0 | Focal Length: 28.0mm (~45.4mm) | Lens: Canon EF-S 15-85mm f3.5-5.6 IS USM

One of my birthday presents was a dance photography masterclass, hosted at the Victoria and Albert museum and led by renowned dance photographer Chris Nash. This was a bit of a departure for my photography, although followers of my blog may remember I captured a couple of satisfactory shots from late night entertainment on my Cuba trip.

The above is a montage of three shots taken trying to capture Soledad doing an impressive flying leap. It’s my homage to the work of Eadweard Muybridge. I think it works, although it has reminded me why I try and develop my images directly in the RAW processor, with as little messing around in PhotoShop as I can manage.

Thanks to the V&A for hosting an excellent event, to Chris and his team for leading a very inspiring and educational course, and to Soledad and her companions for working very hard, tirelessly and without complaint, and presenting us with some wonderful movements and shapes to work with.

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Compact Camera Alienation?

Are compact and cellphone cameras fundamentally unsuited to a significant subset of the population?

I am short sighted. With an SLR I look through the viewfinder at an image focused at the optical equivalent of about 1m, maybe a bit less with “diopter adjustment” applied, so I can view it fairly easily regardless of whether I need my glasses for the scene or not. With a compact camera I hold it at my natural reading distance of about 40cm (a bit less than 18″), which is both optically comfortable and a good distance at which to hold and operate the camera. The same will be true for those with normal sight.

This is not true for those who are long sighted, which includes a majority of those in middle age or older. These people will be comfortable looking at longer-range subjects without glasses, but will need them for shorter-range subjects.

The SLR, or even an “electronic viewfinder” camera with diopter adjustment, should be fine. As long as the effective optical distance of the focusing screen is 1m or more it should be viewable with glasses off if that’s correct for the target scene, and because it’s viewed inside a dark “tunnel” the effective distance is not an issue.

But a compact camera can be a real challenge. The user has to either hold it inside their comfortable viewing distance, and accept a blurred image and other display data, or hold it so far away that both camera shake and incident light become issues, or try switching between glasses to view the camera and none for the scene itself. None of these is a good option. The result is a camera which is effectively unusable by that person.

I saw this in action myself yesterday. I was sitting in a restaurant with Frances, and she had a good view of a potential photo, but I didn’t. Thinking it would be easiest, I handed her my little Canon Powershot S95. Useless. Eventually I rummaged under the table for the “big lump” (Canon 7D and 15-85 lens, all 1.6kg of it ;)). No problem.

I do wonder if the move to fewer and fewer small cameras having optical viewfinders is a wise one, or if it will alienate a significant proportion of potential photographers.

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