Low ISO speed

I've just arrived back in my home port of Kirkcudbright aboard my boat Moonshadow. Almost the first thing I did was reach for my little Canon G9 and take a picture. It was late afternoon and the light had that special brilliance. It was shining full belt onto the scallop fishing boats standing high and dry in the mud alongside the harbour wall at low water. The resulting picture would have been better if the water had been totally smooth in order to give perfect reflections. Unfortunately there was just a hint of a breeze and this has ruffled the surface of the water a little, breaking the reflections.

But never mind, I like the deep colours that have been accentuated by the front light and the contrast of the greens, blue and rusty reds.

Like I've said before - boating and photography are the perfect combination.

I set the G9 on aperture priority at f7.1. This gave me a shutter speed of 1/200sec at ISO 80 - remember, it's always best to use the slowest ISO possible for best quality. There was plenty of light, so ISO 80 was ideal. I used centre-weighted metering mode. The exposure compensation was set to minus 1/3 and the white balance on AWB. I was zoomed in to give me an equivalent focal length of around 85mm.

Photographing outdoor events

It's the time of year for open-air events like local carnivals, gymkhanas and town festivals. You really should try to get along to these weekend events. For one thing, they can be a great day out, but most of all, they offer tremendous photo opportunities if you keep your eyes open and your camera at the ready.

If you are at all nervous about photographing people, then these local events can be great places to get started. The folks who go along to them, both participants and spectators are usually there to enjoy themselves. Certainly the participants expect to be photographed, so you will have no trouble from that direction. The atmosphere will be relaxed and that always helps.

I photographed these two chaps taking part in a mediaeval battle re-enactment in my home town of Kirkcudbright in SW Scotland. The armies went at it hammer and tongue, knocking seven bells out of each other with swords and maces. All this made wonderful action photographs of course, but the shot I liked most was of these two 'dead' lying on the battlefield. I like the way the man nearest the camera is holding his chest as if he's having palpitations, while the other chap has two mighty swords stuck in his chest.

Of course this sort of event can lend itself readily to the photo-essay treatment, with pictures of the soldiers putting on their armour, sharpening swords, fighting, and maybe even in the bar having a pint between bouts. You should always be on the lookout for the unusual, out-of-context shot. Perhaps an armoured soldier eating an ice cream, sitting in his car, or checking his watch.

Just a couple of tips...

Try to use a reasonably fast shutter speed to freeze the action - no less than 1/250sec if possible.

A small telephoto lens is often ideal for this sort of assignment - something equivalent to around 125mm

Whatever you do go and have a great day out and take lots of photographs.

photographing Scotland to Australia

Here in Kirkcudbright early this year one of the students who joined us for a photography weekend was Tee Smith. Tee, who was then based in London, was keen to learn more about travel photography because he was about to set off on an epic trip to Australia via the trans-Siberian Express and Vietnam.

Tee was born in Thailand and educated in New Zealand, so his first trip to Scotland was quite an experience for him. Especially as his weekend here coincided with Burns Night. Now, I'm not a Scot, but there were plenty of Scottish photographers on the weekend who explained the mysteries of 'addressing the haggis' and the wonders of clewty dumplings. To his eternal credit, Tee tried and enjoyed all this wholesome Scottish food - as we all did. Well, you simply have to on Burns Night. I think Tee even tried a 'wee dram'.

All was quiet from Tee until yesterday when I got an email from him to say he had finally arrived in Australia after a wonderful trip and after taking hundreds of photographs.

He sent me a link to some of them and it's well worth taking a look. There are some beautiful evocative photographs among the usual - and very important - fun travel pictures that can mean so much.

I have posted a couple of them here for you to enjoy, but do take a look at the others.

The top photograph shows just how important it is to keep that camera handy at all times - here Tee has been snapping away even while riding through Hanoi on a cyclo.

The middle picture is a poingnant shot of a woman placing a lighted candle on the memorial of the Jewish Ghetto in Warsaw - the scene of some of the worst German atrocities in WW2.

The lower picture shows the man himself - Tee tucking into a meal in Vietnam.

The links to Tee's Facebook pages are:

Part 1:
http://www.facebook.com/album.php?aid=37752&l=09634&id=705001595

Part 2:http://www.facebook.com/album.php?aid=37775&l=e034b&id=705001595

Part 3:http://www.facebook.com/album.php?aid=37780&l=dafc5&id=705001595

Part 4.
http://www.facebook.com/album.php?aid=37781&l=3cfe4&id=705001595

How to see more photographs - video

Here is a very short video which I have produced as a bit of an experiment. If there is a positive response to this lively way of getting across information, I will maybe do some more. But we'll see how things go for now.

The idea is to show you what and how I am seeing things from behind the camera and how I think pictures through from the time I spot their potential to the time I press the button. So bear in mind that to do this, the movie camera is on the move and not stationery on a tripod - you are seeing what I am seeing. The aim is to help you see more photographs everywhere.

Of course this could have great potential for the way I post on the blog. Let's see.

Just click the arrow in the middle of the frame below to see this 3 minute clip.

Photography student's success

Photograph by Margaret Laurie

It’s always a huge pleasure for me when I hear that I have been able to inspire someone and set them on the right track.

Margaret came to one of my weekend workshops here in Kirkcudbright in SW Scotland earlier this year. The other day she emailed me hardly able to contain here excitement because one of her photographs had been accepted for publication in the Scotland on Sunday newspaper. This is what Margaret said:

“You helped a lot to inspire me to take more photos, and give me some confidence to send my photos into the paper.

“This photo was taken a couple of Fridays ago at the beginning of May. We live in Ferryhill, Aberdeen and I'd woken early with the sun streaming in through the window, and out of the window saw this fantastic sunrise. I went across the road and that was the view from our street at 5.30am! I took loads of photos while my husband, and daughters were tucked up snugly in bed. The view looks over the rooftops towards the River Dee as it flows under Victoria Road bridge to the harbour then out to sea. The smoke on the right is from an offshore supply vessel. The cranes are all at the docks and the tiny dots are notorious Aberdeen seagulls! I loved the way the cranes and the aerials were leaning towards each other.

“My camera is a Nikon D80, exposure set on manual at 1/1600sec, f7.1, ISO 200, WB set on ‘Cloudy’. The focal length was 112mm.

“The weekend workshop in Kirkcudbright with yourself gave me the oomph to do something with my photos. As you can see I now use my camera in manual, and that's pretty much 99% of the time, and experiment with the white balance, and still take B & W.”

Very well done, Margaret. You have every right to be very proud of yourself. I can still remember the buzz I got from my first publication – and that’s a very long time ago.

Might I have done things differently? Well, perhaps I might have used a slightly different exposure setting, but Margaret has achieved such a beautiful result that any alterations would only amount to fine tweaking.

By using the ‘Cloudy’ White Balance (WB) setting, Margaret has added to the yellow/orange glow from the early morning sun. Great idea. With so much light available, I might have used a ISO 100 for maximum image quality, stopped the aperture down for extra depth of field (this part depends on what Margaret was wanting to capture; maybe she wanted limited depth of field), and used a slower shutter speed. This would have given an exposure of roughly 1/500sec at f11. 1/500sec should be quite fast enough to eliminate camera shake when using a lens with a focal length of 112mm – which on the Nikon D80 is equivalent to about 180mm.

Keep ‘em coming, Margaret. Very well done!

Photography tuition by the sea

My students Tony and Dave with RNLI Lifeboat man 'Tattie'

It’s been a busy week here in Bonnie Galloway. Quite apart from having several hundred photographs to sort and catalogue, I have had students with me for the last two days as well.

On Thursday pals Dave and Tony came for a shared day’s tuition. Dave has been to me before on one of my weekend workshops. This time he and Tony wanted to take things several steps further by doing a mini ‘assignment’ that would present a challenge. They felt they wanted to be ‘pushed’ a little, and could I arrange something.

I spoke to the local RNLI lifeboat secretary and got permission to take Dave and Tony along to the lifeboat station down the river here in Kirkcudbright Bay. One of the lifeboat crew members was able to join us for the morning and he proved to be not only great fun, but a willing and interesting photography subject.

The plan was to treat the morning as an assignment for an imaginary magazine editor who wanted a photo essay on the station and the lifeboat man. After they had got over their initial nervousness, both Dave and Tony did a fantastic job. They managed to find a couple of really good ‘key’ pictures and then set about gathering a whole range of really worthwhile peripheral, or detail, pictures. These included everything from the crews’ lifejackets hung in a row on the wall, to the winch that pulled the boat from the water into the boat shed, the inscribed plaques listing the number of rescues and rescued people, and shots of the boat’s powerful engines. By the end of the morning, they both managed to put together a really comprehensive photo essay, and everyone had a great time doing it. We went through the pictures together and did critique comments and advice during the afternoon

Today I have had Phil with me. He came up from Yorkshire for the day. Although he had taken up photography only 10 months ago, the moment I saw some of his work, it was obvious that he has a really good eye for a picture. He was less confident about composition and the workings of his camera, though. But we could soon help with that.

We spent the morning indoors as the rain lashed the windows and I went through each aspect of the camera controls with Phil. After lunch the sun broke through and we set off to my favourite little beach and cove. The light was truly spectacular, and the place presented a perfect situation to work on composition.

Phil was in seventh heaven shooting away happily. Whenever he had a query I would explain a few shortcuts and tricks. By the end of the afternoon, he was fully converted to the idea of the Manual ‘M’ settings on his little Canon 400D and wondering why he every bothered with the auto settings. I think we might be seeing more of Phil in the future

So another busy week comes to an end – have fun with your camera over the weekend.

Above: My student for today - Phil, at work on the coast near my home here in Galloway.

Below: One of the photographs I took during the afternoon - the light has been spectacular.

Photographing shadows and highlights

Photograph by Peter Frisby

I've had a great couple of days here in SW Scotland with Peter Frisby from Staffordshire. Peter came to me for some one-to-one tuition. The weather was beautiful and I took him to my favourite hidden cove down on the sea shore on the first day. The light was really spectacular with a pastel blue sky and lots of dramatic clouds. Absolutely ideal for landscape and seascape photography.

Despite the fact that Peter has been taking photographs for only a very short time, he has done a great deal of reading on the subject, so he had a reasonable grasp of the fundaments of exposure.

One of the things that was confusing him was the situation in which a landscape might have a foreground in shadow and a background brightly lit. I explained that there were several methods of dealing with this very common and quite difficult situation. The photographer is faced with a choice of (A) exposing for the shaded area - so allowing the bright background to become over-exposed and 'burnt-out'. This always looks dreadful. (B) Exposing for the brighter area of the picture and allowing the shaded area to go dark. (C) Compromise and interpolate the exposure between the two extremes - rarely very successful. Most frequently (B) is the best.

In the real world, you have several options open to you to combat the problem.

1 - Use a gradual grey filter to darken the bright background in the upper section of the picture.

2 - Put the camera on a tripod and take two shots from precisely the same angle. One exposing for the shadows and one exposing for the highlights. These can then easily be put together in Photoshop using the Layers Mask. This is a highly effective and probably the best way of doing the job.

3 - Expose for the highlights and - if the foreground is not totally black - subtley lift some detail back into this area using Photoshop's Dodge Tool facility. I work on the principle that an under-exposed area of an image can be lightened to reveal detail, while an overexposed, burnt-out, area is just about hopeless.

Peter has not yet got to grips with Photoshop, so when he spotted the photographed the scene above, we had an ideal oportunity to demonstrate option 3. He exposed for the brightly lit far distance, and allowed the foreground to go dark. Once opened in Photoshop when we got back to base, we simply selected the 'Dodge' tool with a large brush at about 8% transparency to lighten the highlights. Several passes were made over the foreground to achieve the results shown. I don't have Peter's original to show you, but I can assue you that foreground really was very dark indeed.

Now just in case you are tempted to get all 'precious' and sniffy about 'manipulating' an image in this way, just remember that those icons for the 'Burn' and the 'Dodge' tool come straight from the darkroom. The 'Dodge' icon represents the bit of round card we used to cut out and stick to a short length of stiff wire. Photographic printers would jiggle this 'dodger' about over over a dark area of the print during exposure in the enlarger. The effect was to lighten that area. The 'Burn' icon is a representation of the printer's hand making a hole through which he would direct extra light to a particlular portion of the print in order to darken it. So, you see - there's nothing new about Photoshop - the Victorians were using the same ideas over 100 years ago.



Peter (that's him above at work in Kirkcudbright Harbour) was using an Olympus E-510 and I have to say I was very taken by it. It handles very well indeed and I was impressed by the results. Peter's shot of the shells (below) is needle sharp.

How to photograph night events. Part 3

This final shot was taken well after dark - when all the light had gone from the sky. Of course that needed a very slow shutter speed - 1/2sec. This meant I had to wait for a moment when the marching bands were actually standing still before pressing the shutter button.

The event ended with a fireworks display, and, of course I photographed that. The problem was that this display happened way over to my right - in another part of the sky. As my client wanted photographs that would promote the town in brochures and posters, this called for a little artistic license. I simply put the images together on the computer by using the layers and mask layer facility. In fact there are three pictures layered together here. One for each firework, and one for the street scene. I very carefully used the polygon lasso tool to select an area around the castle so that the images of the fireworks would appear to be in the sky some distance behind.

If you do this sort of composite picture of a public event, I feel it is important that you tell that client exactly what you have done.

The original shot of the street - without fireworks - is shown here on the right.

How to photograph night events. Part 1

Outdoor events after dark, present one of the most challenging of assignments; and coping with the light – or lack of it – is at the top of the list of problems you'll face.

The photograph here is of the Kirkudbright Tattoo. A wonderful event of Scottish pipers, marching and music. The shot was planned some days before the event. I secured the use of an upstairs window overlooking the street where the action would take place. From this vantage point I could see everything that happened below and had the backdrop of the castle. The camera was mounted on a heavy tripod which extended out of the window. The ISO was pushed up to 800 and an exposure of 1/8sec at f4 was used. With such a slow shutter speed it was inevitable that there would be some movement in the marching pipers, but as they are marching almost directly towards the camera, this is hardly noticeable. The important aim was to capture the atmosphere and splendour of an outdoor night event in the street.

There are broadly three methods of dealing with the difficulties that low light levels present.

1
Put your camera on a tripod and use a slow shutter speed. You will not need to bother about using a fast ISO, and you will be free to use a smaller aperture with its greater depth of field to get more of the scene in focus. Good, you should have a sharp picture of the overall scene - the buildings and surroundings, and that slow ISO will give you fine quality. But hang on, that’s okay if nothing within the scene moves. If it does, your long exposure may render it as a blur.
2
Whack up the ISO as high as possible, maybe ISO 1600, and use the fastest possible shutter speed to freeze the action. Bearing in mind the low light conditions, you may also have to use a wide aperture to achieve this fast shutter speed, this means you will have less depth of field, and the image will be of poorer quality due to the faster ISO. It’s all a compromise, really. However, this method can achieve some wonderfully atmospheric pictures using what little natural light is available. It's a useful technique.

3
Use eletronic flash. This can freeze any action, but the downside is that it is likely to eradicate any atmosphere with its harsh, ‘press photo’ results… and remember - when shooting with flash outside at night any distant background may become totally black because the light of the flash will not carry that far.

In part 2… I'll show you how to combine some of these methods