Issue 4 - May 2012
Welcome to Issue 4 of the Chasing the Light eZine.
This month you can join us kayaking in the Canadian Arctic, island hopping in the Philippines, avoiding the tripod police in Australia or blurring clouds in Italy.
We’ve features on complementary colour, long exposures and outback composition and go seriously far north to the polar regions of Nunavut. In the Guest Feature, Paul Sanders, ex Picture Editor of The Times we take you to the frontline, with hard hitting images and behind the scenes insights from hot spots such as Libya; it’s fascinating stuff.
We’ve a spread of images from Skye to New Zealand in your Member’s Gallery, with constructive comments by yours truly.
To all our f11 Members, we hope you’re enjoying the ride, but we need your pictures. If you fancy being featured in the Member’s gallery do send us and email with your images, no more than 3 low res jpegs with the story from behind the lens. We’ll look forward to hearing from you...
I'm all set up on San Juan Beach under the overhanging palms in the late afternoon light with the camera on the tripod and fitted with the 17mm TS-E lens. As usual in this part of the world the simple stratagem of setting up and letting Asia come to me is working; a couple of local lads are larking about in my foreground.
From the Canal du Midi to Glastonbury and on to Hindustan we've considered vanishing points, frame dynamics and internal windows so far on our compositional journey. Now let's go Down Under and pull it all together.
It wasn't a great introduction to the Arctic. Fuelled on decades of wildlife series like Kingdom of the Ice Bear and Life in the Freezer, we thought the high arctic was one epic icy scene after another, but Resolute was a sad disappointment.
Last month we looked at how prolonging exposures can have a profound effect on the look of landscapes. When branches and grass are swaying in the breeze, rivers are flowing, waves breaking and clouds scudding, exposures longer than 1/30 sec will have a marked effect.
The 'dawns' are shots of the Cowdray House ruins and exemplify EP (extreme pre-visualisation) following a notion that I could capture rays of the rising sun peeping through the windows.
I am certain of one thing: all photographers and artists love poppies. The appeal of the vivid scarlet flowering plants cannot be denied. I'm hooked but in good company; so was Monet. Just one in the frame can give a vivid splash of colour that lifts the whole picture. Barley swaying in the breeze is another perennial favourite; the lush verdant grass is just so, well, green. Combine the two and we're in landscape photographer's heaven.
To be a successful news photographer you have to be resourceful, streetwise and able to adapt as a story develops. You can be sent anywhere at a moment's notice and be expected to deliver images to your picture desk in time for the edition, no matter what time zone you are in. Photographers are masters of communication; the very best can get an image from the most remote parts of the world without making a fuss.