Issue 16 - May 2013
Welcome to the May edition of our Chasing the Light eZine
In this month’s edition, David continues his seminal series Seeing the Light by considering the warm soft light of that special time of day, namely Happy Hour, on a photo trip to the Limousin in France. He also provides his regular essential Compositional Tutorial; this time measuring up the various perspective options as he views and shoots the Big Landscape in Canyonlands National Park, Utah.
For Behind the Lens, we remain in Utah and join David for the first five days of his latest photo expedition to that location. It starts badly, but things definitely pick up! And for Stepping Back, David treads in Constable’s footsteps, photographing the beautiful Salisbury Cathedral on a commission for Visit Britain back in the summer of 2007.
Professional photographer and ezine regular Ross Hoddinott pens an intriguing review of the Nikon D800, and this time Anita Stokes provides our regular Guest Feature, sharing her passion for black and white photography framed to a square format. And this month we have a particular treat in store in the form of two instructional videos from David, including his usual exploration of post production techniques.
To all our f11 Members, we need your pictures. If you fancy being featured in the Member’s gallery send us an email with three low-res jpegs and the story from behind the lens. We’ll look forward to hearing from you.
And for those of you not yet an f11 member, take a look at the benefits of f11 membership here. By joining, you’ll receive full access to the monthly edition of our ezine, as well as other goodies.
Chasing the Light eZine Editor
It is a humbling experience to be standing alone on the rim of the Island in the Sky, gazing down on the mind-bogglingly vast expanse of Canyonlands stretching away to the south as far as the eye can see. For once, the term all Americans love to overuse does seem appropriate; it truly is an awesome sight.
Everyone in the bar, apart from me, is wearing either a baseball cap or a Stetson. I feel out of place and, it has to be said, pretty ropey. As Wendy drove me to Heathrow I knew I was coming down with the lurgy, and despite some amiable chat with the lady from the Highland Cattle Society who sat next to me in World Traveller,
I am, ultimately, destined to fail. There's just not enough time. I can spend as many long hours as I like stood by the tripod watching the light paint the landscape, but there's no getting away from the fact that one lifetime just isn't long enough. Still, I'll just have to continue trying to really develop a feel for all the endless subtleties of natural light.
Fundamentals to Post Production, Stitching Panoramas, Part 1
Fundamentals to Post Production, Stitching Panoramas, Part 2
We photographers are always questioning ourselves. Where to go for dawn tomorrow? Should I be concentrating on the huge backlog of editing, or out producing more images? What colour space should I be using?
OK, I admit it. This time last year I was among the clamber of Nikon digital SLR users growing increasingly impatient about the lack of new full-frame models being released by the Nikon stable. Don't get me wrong, my old D700 was more than capable, but compared to its shiny new rivals its specification and 12-megapixel chip was beginning to look a little dated.
I can hardly remember a time when I didn't own a camera. I was about 6 years old when my Mother gave me a Kodak Box Brownie; she had been a successful professional portrait photographer in Scandinavia and was keen to teach me her photographic skills. This tuition continued for years and to this day, at the great age of 94, she is still one of my biggest and most helpful critics!