Chasing the Light, Issue 26 - March 2014
Welcome to March 2014’s edition of Chasing the Light Online Magazine for our f11 Members.
Many of you will have heard about the incident that took place on the Copacabana beach during David’s recent visit to Rio, and in this month’s Behind the Lens David talks through that first part of that trip – those lows, and some photographic highs, too. In Seeing the Light, David considers the most effective lighting for travel portraiture and analyses some great accompanying examples. Hot Legs is the aptly titled name of this month’s essential Low Down and Video Blog by David, as he discusses…tripods. And there are David’s usual two post-production Video Tutorials.
We are delighted to welcome onboard David Taylor as a regular contributor, and this month he kick-starts his brand new series Taylor Made by considering the heady question ‘Does Your Camera Matter?’ For our How It’s Done feature, Ross Hoddinott reveals how he captured his stunning shot of a marbled white butterfly. And for this month’s Guest Feature, world-renowned wildlife photographer Chris Weston pens a thought provoking piece on the role of the photographer as a storyteller, accompanied by a stunning selection of his wildlife shots.
To all our f11 Members, we hope you’re enjoying our magazine, but we need your pictures. If you fancy being featured in the Member’s Gallery, please send us an email with three low-res jpegs and the story from behind the lens; we’ll look forward to hearing from you.
For non-Members who wish to purchase individual issues of our magazine, click any of the blue highlighted 'view this article' headings, which will take you through to purchase the magazine at a price of £4.20. Or to ensure you can read and enjoy all of the back issues over the last two years, simply upgrade to f11 Membership. Take a look at the benefits of f11 Membership.
Chasing the Light Magazine Editor
23 January 2014 - How is it possible to spend 9 hours sat, snoozing, snoring, eating and drinking just millimetres apart from a fellow passenger and somehow contrive to not even acknowledge their presence? Well, I can now vouch that the lady next to me on the TAP flight from Lisbon to Rio de Janeiro managed it.
The light was perfect: a wide, diffuse illumination permeating the dark, narrow confines of the barber's shop from the open door, side lighting his face with a quality that a studio portrait photographer in Kensington with fish fryer, hazy heads and reflectors would struggle to replicate.
I have a theory, a couple actually. You can assess the quality of an Indian restaurant by the nan bread; it works every time. You can also unerringly spot real professional photographers by their legs, all three of them.
This month I examine the process of making a panorama from multiple images using image stitching, with particular attention to the use of lens profile corrections to ensure seamless joins in clear skies.
In Part 2, I consider how to prepare an image for printing by making a print template to include graphics such as logos, signatures and captions.
I'd only walked a short distance from the car park before I entered a grassy region alive with activity. The surrounding dunes were creating shelter from the wind and the spot was clearly a suntrap - hardly surprising then that this area was proving so popular with little flying critters. Fluttering about lazily were a good number of marbled whites. Bingo! No need to venture any further.
Does the camera you use matter? It's a complicated issue, and after much cogitation I think the short answer is 'no'. However, a slightly more nuanced and longer answer is 'yes'. If that seems slightly contradictory, that's because it is.
While I was on an assignment, about a year after I turned professional, I had a 'light bulb' moment. I was in Tanzania photographing the annual wildebeest migration as it passed across the Grumeti River. It was a slow day and photographic opportunities were few and far between.
Please take a look around our f-11 members gallery. Share your photographs with other members and receive David's feedback on your work.