Chasing the Light Magazine, Issue 45
Photography spanning the globe to inspire and inform
Welcome to Octobers 2015’s edition of Chasing the Light Online Magazine for our f11 Members.
In this month’s Behind the Lens, David Noton fills us in on his exciting experiences shooting the Royal Scotsman in the Scottish Highlands last August. In the final instalment of our Low Down series on Exposure, David looks at the creative possibilities of using fast glass wide open for minimal depth of field and dreamy bokeh backgrounds. And in the second instalment of his The Bizz series, David explores at the transformation that has taken place in the stock photography market over the last 20 years. He also presents two of his popular Fundamentals of Post-Production Videos.
Then in Bas Meelker’s second article for his Art of Landscapes column, he follows last month’s piece on cityscapes with a fascinating insight into his experiences of working in Saint Petersburg. In Hoddinott’s Hangout, Ross Hoddinott looks at lighting for close-ups, revealing the natural and artificial options available to us to achieve the very best results in this field. Meanwhile, this month in Sense of Space Jeremy Horner travels to Morocco, reminiscing on the many times he has visited this magical country, and his favourite photo locations there.
And for this edition’s Guest Feature, we’re delighted to welcome on board Alessandra Meniconzi, renowned photographer of indigenous peoples to the world’s wildernesses, as she explains her love of capturing their ancient heritage and daily life – with stunning images from Ethiopia and Tibet to Greenland and Siberia.
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 email@example.com.
At the same time, if you’d like any images to be featured in the Member’s Gallery please send an email to firstname.lastname@example.org with your low-res jpegs and the story from behind the lens for each.
Chasing the Light Magazine Editor
This job would be all about preparation, I knew that. They all are, but this one especially, and that preparation starts now, with these schedules. Where to be and when is the question, hardly an unfamiliar one, yet faced with the infrequency and brevity of the Passing of the Train, it is one that is particularly pertinent. In fact, decisions made now, sitting at my desk in Milborne Port, will probably determine how successful I'll be.
At the time, it cost the best part of 2,000 quid. Now, eight years later, it's still near enough the same price. I already had 24-70mm and 70-200mm f2.8 lenses; it was hardly as if I wasn't covered at that unremarkable focal length, so why spend so much for a humble 85mm lens?
This month I take an image of Durdle Door and convert it to Black and White using a combination of a Lightroom preset with channel mixing and tone curve, clarity and grad tool adjustments.
I then move on to addressing questions sent in by f11 members, namely how to deal with the increased memory and storage demands of high resolution cameras such as the Canon 5Ds and Nikon D810, start points for highlight & shadow adjustments and camera calibration settings.
Upstairs in a storage room above our office is a bank of filing cabinets, arranged four high and three across. Each drawer corresponds to about four or five countries, arranged alphabetically. Pull one out, and there hang rows and rows of carefully captioned and indexed original transparencies, tens of thousands of them, mostly mounted 35mm or 6x17cm in sleeves.
Light is the photographer's language. It is the key ingredient that brings our images to life - giving them sparkle, drama or mood. The effect of the light's quality, colour and direction is hugely influential, so it is important to understand and appreciate light if you wish to capture truly captivating results.
It's dark outside as I walk over one of the bridges that cross the Neva River. With a temperature of -4ºC, it's relatively warm for February standards in the city of Saint Petersburg. It's my first evening here and I?ve planned a shoot at the Palace Square, overlooking the Hermitage Museum and the arch of the General Staff Building. Everything is big and impressive here.
Morocco is one of those countries whose very name - perhaps as much as any land - conjures up images of the romance, adventure and exoticism of travel. With its geometric motifs, clear light and vibrant colours, the effortless style with which it achieves this is what makes it such a dreamlike location for photographers and filmmakers alike. The toughest choice the photographer may face is whether to work in colour or in black and white.
I was born in the south of Switzerland and graduated from the art college (CSIA) as a graphic designer. After for working several years in different companies, I took a four-month trip to the Indian Himalayas. For the first time on this trip I used a camera to document my trip around Asia, so I could show the images to my family and close friends. At that time it had never crossed my mind to become a photographer; this just happened some years later.
Please take a look around our f-11 members gallery. Share your photographs with other members and receive David's feedback on your work.