Chasing the Light Magazine, Issue 44
Photography spanning the globe to inspire and inform
Welcome to September 2015’s edition of Chasing the Light Online Magazine for our f11 Members.
For Part 10 of our Low Down series on Exposure, David Noton explores the relationship between lens aperture, focal length, subject distance and required depth of field. Then, in the first of a special The Bizz series, David explains the history of stock photography and his personal experiences in it. And in Stepping Back, he tells us a few things we need to know about rainforests, as he revisits his trip to Daintree, Australia 15 years ago. He also presents two of his popular Fundamentals of Post-Production Videos.
Elsewhere, Bas Meelker kick-starts his new column entitled Art of Landscapes with a look at how he approaches cityscapes – working in the blue hour to capture that golden moment. In Hoddinott’s Hangout, Ross Hoddinott gets to grips with macro lenses, explaining the choices and techniques that can help us all use them to maximum effect. Meanwhile in The Storyteller, Chris Weston explores his recent experiences with mirror-less cameras.
In Sense of Space, Jeremy Horner travels to Japan to reminisce on the magical and often ‘grabbed’ moments that made this one-time visit worthwhile. And for this edition’s Guest Feature, we welcome on board master of black and white photography Paul Gallagher, as he describes the elements that have formed the bedrock of his considered technique over the years – an inspiring read.
To all our f11 Members, we hope you’re continuing to enjoy our magazine. Over the next month or so we’d like to initiate a new column titled ‘Ask David’ – as the name suggests, this will feature a selection of questions on photo technique to complement the magazine sent in by our readers, with answers provided by David. So if you’re an f11 Member and have a burning question you think would be suitable for inclusion, please send it to firstname.lastname@example.org.
At the same time, if you’d like any images to be featured in the Member’s Galleryand entered into our next annual photo competition, please send an email to email@example.com with three low-res jpegs and the story from behind the lens.
Chasing the Light Magazine Editor
The picture above was shot at 1/6 sec at f22. I know that from the metadata embedded in all digital images, but by just looking at the image I would have been able to make an educated guess somewhere around those exposure values if pushed. It's obvious from the blur of the Mistral-blown lavender and the depth of field, isn't it?
It was a Friday evening in the autumn of 1984 and I was on a National Express coach, heading back to Bristol for the weekend, and catching up on the latest issue of the British Journal of Photography whilst trundling down the M5. The final year of my Photography course at Gloucestershire College of Arts and Technology had just started but already thoughts of what I was going to do next summer when we would all be cast out into the Wide World of Employment were becoming increasingly pertinent.
A few things you should know about rainforests: they're wet, green, muddy, and dark. They are also devilishly difficult to photograph. In fact, I can categorically state that rainforests are the most difficult environment I have ever photographed in. I've worked in a few of them, from Costa Rica to Malaysia and Queensland, but if the truth were known, I'm not really happy with many of the results.
This month I take an image of Longleat and apply a raft of adjustments in Lightroom including cropping, clipping, and dehaze whilst tweaking tone curves and grad tools to transform the picture.
Removing unsightly power cables in a Somerset landscape with the combined use of Photoshop?s content aware healing brush and the cloning tool is the task for Part 2, paying particular attention to how both tools replace detail to ensure no tell-tale repetition is apparent.
Unless you are a complete newcomer to photography, you will probably already know what a macro lens is. Put simply, it is a lens that is optimized for close focus and capable of 1x or 1:1 life-size magnification without requiring any other supplementary attachments. Some tele-zooms claim to be macros and may even use the word in their titles.
Rotterdam: one of the most modern and metropolitan cities in the Netherlands. We are halfway through the evening and the sun is slowly starting to set - I'm in no hurry. Janneke and I have just finished our dinner at a nice restaurant on the docks; now we're enjoying a cup of coffee. I'm here for the skyline of Rotterdam and the famous Erasmus Bridge, one of our national landmarks. As the blue hour begins, the lights of the city are turned on - so I set to work.
Having lived for more than a decade in Asia, and having never set foot in Japan, in 2011 I decided it was high time I sampled some of its idiosyncratic culture. A couple of assignments had fallen through over the years, so I was determined to bite the bullet on my own steam, buy my plane and rail tickets, and go and see how many of my preconceptions about this country were true.
With the iPhone putting paid to the compact camera market and the low-cost digital SLR being the death knell of rangefinders, the question arises, 'Is there space in the fast-moving, cut-throat camera market for mirror-less systems'?
From my very early introductions to photography as a graphic design student, I was always attracted to black and white photographs. In the early 1980s colour photography was very popular, while black and white was regarded by many of my peers as somewhat 'old hat'.
Please take a look around our f-11 members gallery. Share your photographs with other members and receive David's feedback on your work.