Issue 1 - February 2012
Chasing the Light; it’s what we do. Every photographer knows the highs and lows of the hunt; the waiting, the frustrations, and finally the exhilaration when it all comes together with a winning image as a reward. That’s what this eZine is all about; the joy of photography, pure and simple, nothing else. No advertising, no waffle, no techno babble; this is the word from muddy fields, lofty hill tops, windy cliffs and damp forests around the world, behind the lens, doing what we do.
It’s been a long road from 2001 when I first started writing my Despatches to here. Launching our own eZine has been a huge undertaking and a considerable challenge, but its going to be fun, and that is what Chasing the Light is all about. Reaching out to photographers and travellers around the globe is what we’re going to do, and this first issue is a just a start. We’ve big plans for evolving the eZine, with your help. To all our new f11 members we need your feedback, enthusiasm and pictures.
On the western horizon a thin line of cloud in an otherwise unbroken blue sky hovered over the flat calm Mediterranean suggesting land beyond. As Elba passed to starboard the first jagged peaks became visible.
We can all learn a thing or two from Leonardo da Vinci. He was one of the first of the Renaissance artists to master the concept of the vanishing point.
The benefits of a tilt and shift lens have been well known ever since Captain Theodor Scheimpflug of the Austro-Hungarian Army came up with his snappily named principle on camera movements in 1911. Typically the shift function is used to keep verticals perpendicular whilst the tilt function is used to achieve optimum depth of field. Converging or diverging verticals are a problem whenever the axis of view verges away from the horizontal.
There is something about a panorama that has immediate impact; big, wide landscapes in a letterbox format seem to match the way we look at a scene.
I had long wanted to do the classic desert trip. Every photographer I suspect yearns to shoot the curvaceous landscapes of giant interlocking sand dunes. The biggest sand dunes in the world are in the Namib Desert, so that?s where we headed in 1998.