Richard Peregrine
In this we went through what will happen in our weekly picture projects and about what we had to do that week for the next project.
Also we learnt about the hyperfocal distance
(28m lens)
~ 3m
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F22 F22
Also we learnt about the golden hour.
I found the information on a website about the golden hour very useful and it is also very helpful about how to calculate the golden hour.
http://www.photographymad.com/pages/view/the-golden-hour-in-photography
Some examples of photographs that have been taken within the "golden hour" are :
John Stewart Clarke
Tuesday 4th October
Richard Peregrine
Taking a photograph (the six key things) :
- Film speed (light sensitivity) ISO
- Shutter speed (time) seconds
- Aperture (size or diaphgram) f-
- Exposure reading/checking
- Focus (auto or manual)
- Compose,Frame,Capture
- As you increase one you must incrementally decrease the other.
- Increments are what photographers call stops.
Every situation has a light level.
- ISO -general light.
- Apeture deteermines the depth of field.
- Shutter determines capturing the movement.
- You decide what your priority is.
Shallow Depth of Field
- Per Foreby.
Factor affecting depth of field.
1) Apeture size (F number)
2) Lens focal length
- Smaller the focal length the larger the depth of field.
- Larger focal length smaller the depth of field.
3) Image size,film or Sensor
- Smaller the image size larger the depth of field.
- A phone camera with a tiny sensor has a infinitve depth of field.
Shutter Priority - You selec the shutter speed the camera selects the apeture
(1/60 or 1/125 T.V)
Manual Exposure - Time to concentrate on accurate exposure measured to maximise.
We were also told to look at the work of David Ward for examples on manual exposure and depth of field.
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Shallow depth of field portrait
- Select the widest apeture possible.
- Longest focal length 55mm on a 18-55mm zoom.
- Focus on the eyes.
- 'Contrejour' increases 'bokeh'.
- Be careful of inclusion and exclusion.
Systems and Processes
Week 1
Richard peregrine
Wednesday 19th October
Weekly Picture project – Landscapes
This week we were taught about landscape photographs and what equipment we should be using for this project. These are my notes and images from this lesson.
- Rectangular Landscapes are a traditional view of things.
- The aspect Ratio varies from 4:5 to 16:9.
- The portrait rectangle can emphasise on the depth of the foreground subjects.
(- wide angle lens and be careful of the camera angle (keep it level))
- Panoramic rectangles
(Usually a view or a landscape with an aspect ratio of 16:9 onwards)
- Square images are balanced and need careful composition (Hasselblad cameras are good for this)
- 2 Commercial Photographer are Charlie Waite and David Ward.
Charlie Wait
David Ward
- Aesthetics (Pictorialist)
- Environmental a photographer of this was Ansel Adams .
Ansel Adams
- Cause and politics (sociology)
- Ansel Adams took only natural things, nothing on his images was man made.
- Michael Kenna.
- Documentary Landscape
Michael Kenna
-Ansel Adams
-Walker Evans (sociology)
Walker Evans
-John Davies (look at some of his work as he was a photographer who photographed local places including Accrington and Blackburn)
John Davies
John Davies - Stockport
- John Blakemore
-Showing movement that is still in the photograph, some things adamant and then things shimmering.
John Blakemore
John Blakemore Example of his work
- Fay Godwin
-Catalogued Northern Landscapes.
-Shot into the light.
Fay Godwin
- Paul Hill
Paul Hill
This week’s project is to create a long exposed landscape image.
The rule of thirds does not have to be used but try and consider it.
Equipment to use:
- DSLR set to 200ISO, RAW, Shutter Priority (S , T.V, or Manual (M) )
- Tripod
- Remote or release cable
- Polythene Bag
- Tape Measure
Camera Settings to use are:
- 200ISO (100ISO if there is not enough light)
- (T.V) (S) or (M)
- RAW or the finest jpeg available
- Manual Focus
- Daylight colour temperature
- Screw the camera firmly onto the tripod.
- Use the remote cable release or self-timer.
- Take bricks or rocks in a polothene bag and hang t from the tripod to reduce the shake due to wind or other weather.
- Take exposure readings using a spot reader, grey zone, grey card or average tone area.
- If not take a recording with minimal sky in the frame and then recompose the shot and shoot.
Spot Metre
Take a reading with your camera pointing down and then recompose and shoot.
Incident – light following onto the subject.
Reflected – light radiating off the subject.
Use DSLR independent spot metre setting.
Hyper focal distance
An example of Hyper focal distance.
- Use this work out your optimum focus point.
- Wide angle 20-25mm.
- Have a tape to measure to the closest part of the image.
- Infinity f16 parameter or smallest aperture and read off the distance, lined with the other.
Tuesday 8th November 2011
Richard Peregrine
Weekly picture project 4
Still Life
Robert Mapplethorpe 1
-Two parts of his work.
- Vase of flowers is a very iconic subject.
- Paul Grogan
An example of Paul Groans work.
- Simple composition with shallow depth of field, light, and simple but subtle.
- Manual focus.
- Andre Kertesz, iconic photograph of a vase of flowers in the home of Piet Mondrian. Painter. Has a unique vision and ability to make things look special.
This is the image that is talked about above by Andre Kertesz
- Good composition and use of lighting.
- Fork, plate and shadow made simple things look good.
The iconic photograph by Andre Kertesz. Creates lovely shadows
- Cloud, New York city (during the time of Hitler, European immigrant when we went to New York)
- Eric Fossum
- Andre Kertesz (1894-1985) Acrial vie Paris 1930’s.
Techniques to concentrate on this week:
- Macro
· True macro is when True macro is when your lens can produce the subject at a life size image. (I.E 1.1)
- Some lenses have a macro setting enabling close focussing that is on the wide end of a zoom focal range. When using this setting on the closest focus and perspective distortion by the lens and can give dramatic effect.
- Manual exposure should be used to show down, use a tripod and take the time to get the exposure right.
Colour temperature setting is it set to the appropriate one for the pre dominant light source.
- Change it to what is right for your lighting.
- Colour temperature range.
An example of a colour temperature chart.
Creatively think about:
- First and foremost ‘light’. Whole reason to take photographs.
-Primary – stars, incandescent materials.
-Secondary – Moon, Walls and reflections.
- Secondly the aesthetics of vase of flowers. Take time to choose objects in relation to the location.
- look at the book flora photographia.
- Emphasise of this brief is on the capture and camera work.
- Black and white or in colour.
-Horst P Horst, flowers and vase 1940.
- Vanished from Paris to America when things were tough during Hitler time.
Horst.P.Horst Flowers and Vase.
Composition – quite subjective
Image management:
- Storing
- Enhancing (manipulate or change)
- Output them
Henry Peach Robinson
An example of Henry Peach Robinson's work.
- Took photography and made surrealism with it.
- First photographer to do this.
-Airbrushing was 70s talk and happened a lot.
Quantel Paint box
- Big hardware to create a simple task.
- Very early editing to hardware.
Mac adobe Photoshop 1
- More compact software manipulates blocks of colour very much a graphic designers software.
- Only worked on macs at first.
- Primarily for enhancing images.
- Bob Carlos Clarke complained about this.
- Terence Donovan and …..
- Photoshop is great for enhancing and out putting.
- Light room is run by adobe.
- Aperture is run by apple.
Tuesday 15th November 2011
Richard Peregrine
Weekly Picture Project – ‘Vase of Flowers’
Information on the selected images I have chosen for this week.
Image_2133
Focal length – 48mm
¼ (0.25s)
F5.6
Aperture 5
White balance – tungsten
ISO 100
Shutter speed …
I choose this image because of the way the flower looks disconnected to the stem that is in the water and because of the shape of the vase it looks in a way a bit surreal. This is because when the stem starts to look disjointed it is when the vase starts to get larger at the top.
I choose this image because of the way the flower looks disconnected to the stem that is in the water and because of the shape of the vase it looks in a way a bit surreal. This is because when the stem starts to look disjointed it is when the vase starts to get larger at the top.
Image_2135
Focal length – 48mm
¼ (0.25s)
F5.6
Aperture 5
White balance – flash
ISO 100
Shutter speed….
I choose this image as well because of the lines and curves that are created but as well as this to pick out a bad spot in the image with the sticker being there and the water mark/ shadows at the top of the vase.
I choose this image as well because of the lines and curves that are created but as well as this to pick out a bad spot in the image with the sticker being there and the water mark/ shadows at the top of the vase.
Image_2228
Focal length – 46mm
1/3 (0.3s)
F5
Aperture 4:63
White balance – tungsten
ISO 100
Shutter speed ….
This is one of my favourite images from the shoot because of how differently it has been shot to the previous two images by photographing straight down but only shooting half of the vase instead of all of it and because there are petals just scattered around the floating flower.
The feedback for this weeks images was that I should try and include more of the bottom into the shot and have the flower above the vase. Also to not have the sticker on the side of the vase and create more space at the sides.
This is one of my favourite images from the shoot because of how differently it has been shot to the previous two images by photographing straight down but only shooting half of the vase instead of all of it and because there are petals just scattered around the floating flower.
The feedback for this weeks images was that I should try and include more of the bottom into the shot and have the flower above the vase. Also to not have the sticker on the side of the vase and create more space at the sides.
Tuesday 29th November
Richard Peregrine
Photographic Laboratory
In this lesson we talked about different types of paper and we also looked at and got introduced to David Farnells printing company.
We also learnt about the different types of printing paper / material that are available such like:
- Canvas
- Glossy photographic paper
- Matte photographic paper
- Satin photographic paper
- Pearl photographic paper
- Rag Paper
There are also a wide range of other printing materials available they are just a few ideas of what is available.
We also got recommended to use these papers:
- Black and white – fibre based paper
- Black and white – glossy paper
- Black and white – RC Lustre/Pearl
For inkjet paper the fibre based glossy or matte paper is advised to be used. Also if we wanted to try lab prints then another recommendation would be to try metallic paper.
When setting up our images for print we should make sure that are settings are set to
Colour space
SRGB not adobe
300DPI
Tiff not Jpeg
8 bit
When exporting images it is advised that we use light room and aperture because it will give you the options to change the above settings .
For smaller prints it is advise that we use jpegs but when we are using larger prints then we should use raw file types.
E6 PROCESS
C42 PROCESS
A.O.P
Tuesday 22nd November
Richard Peregrine
Weekly picture project 5
Great British
In this lesson we were looking at the work of Martin Parr and the theme of great British here are my class notes.
The Great British theme is about our nation and how it has a proud history of imperialism allowing us to form trade and exploitation roots throughout the world.
There are different subject headings in what could represent Great Britain:
Sport
- Football, rugby, golf, boxing and tennis.
Language
- The English language is widespread throughout the world and most countries can understand or talk it.
Culture
- The British culture includes movies, literature, pop music and T.V.
Industry and invention
- Steam engines, Jet engines, electric light bulbs and computer science.
Tony Ray Jones
Tony Ray jones did a series called ‘The English’ and between 1966 and 1969 he worked hard to capture the vision he had of the English and their rituals to help him promote photography as an art form.
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