Wednesday 30 May 2012

Sunrise and Sunset (18)


Requirement
As many images as needed to show the transition of light and colour

Purpose
Show how to shoot sunrises and sunsets

Technical learning
  • Light and colour at sunrises and sunsets are always uncertain 
  • Presence of clouds either make or break the scene
  • Sunrise shoots need previous scouting since final preparation will take place in twilight, or even darkness, (so, take a torch to make it easier to set camera controls)
  • Be aware due to automatic adaption of the eye that light will seem brighter than it is (which how the camera will record it)
Exercise instructions
  • Shoot a sunrise scene with a similar viewpoint from twilight to a time when the sun is well above the horizon

Images and review

Taunton, Bridgewater Canal Sunset Transition


Exposing for the highlights creates a near
silhouette of the land mass except the water


Some of the detail in the darker areas
starts to emerge


...and now more so...
Twilight - as the dynamic range of
light diminishes so the metering system
produces a more even and brighter exposure.
This contrasts with how the eye experiences
the scene, i.e. as getting progressively darker

Monday 28 May 2012

Adding Light at Dusk (17)

Requirement
1 image


Purpose
Show how to create foreground detail and interest in twilight


Technical learning
  • Fill-in flash helps to illuminate an element in the foreground that would otherwise be in shadow or even rendered as a silhouette
  • However, bracketing is useful in balancing this effect with the ambient light so that the remaining scene still looks realistic
Exercise instructions
  • Select a scene at dusk with a prominent element, e.g. tree, in the foreground (i.e. within 20 feet)
  • Mount a flash unit to fore at this element and set it at 50% power to protect realism (e.g. adjust flash controls, cut aperture by 2 stops or cover head with handkerchief)
  • Bracket exposures to increase options for final image

Images and review

Exercise not attempted.



Saturday 26 May 2012

Dusk (16)

Requirement
3 images

Purpose
To show how to use twilight, especially to capture sky colours as a backdrop for silhouettes and reflections

Technical learning

  • Twilight, the light just before sunrise and just after sunset, is a complex source of light
  • Light is most intense at the horizon and then graduates upwards
  • Colour is warmer (reds, orange and yellows) at the horizon, cooler towards the upper levels of the sky 
  • Gradual shading of light and colour adds impact to images, especially with reflections of light and colour from water
Light conditions
  • Light and colour differ widely based on 2 variables (a) the time proximity of the sunrise and sunset (the closer in time the more intense) and (b) weather conditions (clear skies make the light more intense, broken cloud creates a haphazard scattering of colours, unbroken cloud at the horizon blankets both light and colour)
Exposure choices
  • Exposure decisions should take 2 considerations into account: (a) its level varies with the direction of the shot: towards the horizon needs less exposure than pointing away from it, (b) dialling down exposure intensifies colour and so focuses attention on the horizon, whereas raising exposure emphasises the cooler colours in the upper part of the sky.
Use of lenses
  • Wide angle lenses make colours more vivid (e.g. deep blues and oranges)
  • Telephoto lenses mute colours (magnification through the atmosphere)
Exercise instructions
Image 1
  • Photograph a car at twilight, facing the brightest part of the horizon and under a sky with broken clouds
  • Shoot from an elevated position so that the car roof lies below the horizon
Images 2 and 3
  • Shoot a silhouetted dusk landscape with a wide angle and a telephoto lens
  • Look for the tonal differences
Images and review

Dawn over Blagdon Hill, Somerset
(taken with a compact camera, resting on a gate for stability)


Wide angle - some colours
Telephoto - almost monochrome



Dusk over Zurich lake, as seen from Kilchberg


Wide angle - richer colours



Telephoto - more muted colours

Friday 25 May 2012

Planning My Portfolio (15)

Requirement
4 images of the same scene

Purpose
To show the effects of the seasons on the landscape, including characteristic changes in colour and light

Technical learning

  • None
Exercise instructions
  • Select a location that shows seasonal changes as effectively as possible
  • For this location shoot one image in each season, framed exactly the same way
  • Pick light that best illustrates the character of the season
Images and review

Tree in Bushy Park

Winter
Included in first assignment 




Spring


Summer




Autumn










Tuesday 22 May 2012

Changing Light: Changing Views (14)

Requirement
5 images of the same landscape, re-framed to suit the changing light conditions throughout the day


Purpose
To appreciate how differences in light caused by the movement of the sun affect the landscape and require changes in composition


Technical learning

  • Landscape composition must always attend to light and shade
  • These change during the day as the sun moves across the sky
  • Anticipating these changes is key to the successful landscape photographers art
Exercise instructions
  • Pick an interesting scene with prominent features and a good weather forecast for the day
  • Start early morning and shoot an image with a viewpoint, lens and composition that suit the scene
  • Take a second shot mid-morning with the same lens. Frame the image differently, if needed, to make the most of the new light and shade conditions
  • Take a third photo at midday, re-framing as needed
  • Take a fourth mid afternoon
  • Take the final one at the end of the day
  • Prepare a short commentary on your composition choice
Images and review

Exercise not attempted.

One Acre - Assignment 2

Requirement
12 photographs


Instructions

  • Select a small area of landscape of about 1 acre
  • Produce an essay on this area with a wide range of images, including 2 o 3 close-ups

Images and review



Images taken in 2010, whilst living in Switzerland. This is the assignment done first. Unfortunately, I have had no opportunity to return to this location to respond to the tutor's comments, except for another shots taken of the Church in its surroundings (image 1) which I have since added to the blog (see below).


Tutor's comments


Overview

Some thoughtful images here...I identify with some of the things in your images, some
of the habits and peculiarities of the Swiss and their country are quite unlike her neighbours...telling that this can be explored in quite a confined area, like a church and its yard...good observational skills



Further study
Look at these landscape practitioners. They all explore aspects of land and/or identities, without being pre-occupied with aesthetics or the picturesque:



  • Robert Adams
  • Fay Godwin
  • Simon Norfolk
  • Ingrid Pollard
  • Martin Parr
  • Simon Roberts





1. Church 
My ‘One Acre’ is the Swiss Reform church at Kilchberg, a small lakeside suburb of Zurich, a window into the Christian and other values of its residents.




...would have been good to see some of the agriculture juxtaposed with the church...nothing really critical here unlike other images.


Originally taken for the exercise on perspective,
this image shows the Church at end
of the path and amid the surrounding
growing wheat fields in June



2. Tower 
The Swiss generally prefer substance over style in way that goes deeper than the reformist Protestant tradition. No surprise then that the church building, like so much of Swiss architecture, is bland. 



3. Clock
If Christianity is the main religion, then measurement and keeping of time stands not far behind. The clock tower is commonplace, as are their chimes every 15 minutes, day and night. The Swiss hate being early for an event nearly as much as being late.






4. Thomas Mann 

Only the rebellious few stand out from the crowd, reassurance against the anxiety of being ostracised. In keeping with this, most of the headstones in the grave yard are uniform in shape (rectangular) and inscription (the name of the deceased and his or her year of birth and death). Just so for Thomas Mann, the German novelist, the cemetery’s most renown resident.







5. Headstones in a row

A sense of order is much prized in Swiss life. Stereotypically, this virtue makes the trains run on time, lest chaos strikes. As in life, so in death. Most of the graves in the cemetery are laid out to a precise pattern.




... wonder if you could have photographed the regimented graves even more regimentally?
In terms of sequencing, I like the way this image is place between the 2 'tall poppies'




6. Military presence 


Despite the Swiss reluctance to be a tall poppy, a handful of graves have spectacular headstones. This one commemorates an infantry commander. The military plays a significant part in Swiss life, much more a network than a fighting force. But how glorious is war, especially from 20th century onwards? The forging of national character or the slaughter of innocents?






7. Child death 
Again this grave of a 13 year old child is another justified ‘tall poppy’. Unusually, it has an inscription: ‘His life for an Edelweiss’. This and the shape of the headstone suggests that Walter Strauss died in a mountain accident. The Swiss sense of hygiene is also at work here. The headstone is almost 90 years old, yet it looks like new. Who is still alive in 2010 who would have known him? 








8. Flowers 


Which relative is planting this rich array of flowers at this grave nearly 40 years after the death of Milli Naegli-Zoebeli? None, probably. The church employs a squad of gardeners that keep the cemetery looking like a Victorian public park. The money to pay for this comes from the public taxes.





9. Visitors 
In fact, other than the gardeners it is unusual to see visitors to the cemetery. These two men talking in the garden of rest are a rare sight.




10. Tulips
Tall poppies may be shunned but tall tulips not.







11. Water 
Water flows through Switzerland from its mountains to numerous lakes and rivers. Its engineers pride themselves in controlling these flows. So no garden of rest would be without its calming pool.






12. Reach up 
Finally, in death ’into Gods hands we commend our souls’. This statue with arms outstretched stands at the entrance to the cemetery and reflects the aspiration that the souls travels to heaven above and not to hell below.




















Saturday 19 May 2012

Throughtout the Day (13)

Requirement

Enough!

Purpose         
To show the effect of the moving sun on a landscape


Technical learning
  • Light is the most profound force on a landscape
  • Within this the moving sun is one of the most powerful
  • The sun's path moves from East to West over the day 
  • It also changes with the length of day between the winter and summer solstice (in the northern hemisphere, 20/21 December and 20/21 June respectively). In southern England in mid June the length of day is 16 hours and the highest elevation of the sun is 60°. Whereas in mid December the day is only 8 hours long and at midday the sun is only 15° above the horizon.

Exercise instructions
Pick a scene with some prominent relief to create shadow. Choose a sunny or part sunny day. Set up camera with a tripod and cable release. Take a picture at regular intervals of the same scene, if possible every hour throughout the day from sunrise to sunset. Keep a note of the exposure. See how the landscape changes at certain times of the day.


Images and Review - exercise re-performed
 
I redid this exercise for the Art of Photography course - the sun falling on a mountain in Spain

Click to view images on AoP blog
 

 
Images and Review - original version

These images were taken of my garden between 15.30 and 20.30 (sunset) in the second week of May, one every hour until 19.30 and then one every 15 minutes.


The camera faces down the garden South East at at 113°


The surrounding trees and shrubs cast a shadow across the lawn, as does the house when the sun moves behind it. 


According to my Golden Hour App, the sun moved from Southwest/ West-Southwest at 15.30 (Azimuth - 237°)  to West at 20.30. 


At 15.30 the sun's elevation was 45° (below its peak of 55° for that time of year). It fell at increasing speed towards 0° at 20.30 (sunset). 


The aperture was f8 in every shot


15.30






Elevation 45°/ Sun position 237°
Shutter speed 1/250



16.30






Elevation 37°/ Sun position 252°
Shutter speed 1/250


17.30






Elevation 27°/ Sun position 265°
Shutter speed 1/180


18.30








Elevation 18°/ Sun position 275°
Shutter speed 1/180


19.30








Elevation 9°/ Sun position 288°
Shutter speed 1/90


19.45



Elevation 7°/ Sun position 290°
Shutter speed 1/90




20.00








Elevation 5°/ Sun position 294°
Shutter speed 1/45



20.15



Elevation 2.5°/ Sun position 296°
Shutter speed 1/30


20.30



Elevation 0°/ Sun position 300°

Shutter speed 1/15