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

Photography on the beach - part 1

Do you find sunbathing a bore? Well, why not use your time on the beach to gather lots of pictures during your summer holidays this year?

People on the beach are usually there to enjoy themselves – and it’s always easier, and more fun, to photograph people when they are relaxed. But it’s not just people that should be catching your eye – what about all that wonderfully tacky stuff outside the gift shops. Kitsch is everywhere in these seaside shops and everything is deliberately colourful: naughty postcards, silly hats and sun specs; its all there for close-up pictures. Sea walls, beach huts – and the people who use them - promenades and piers have lots of visual possibilities to offer.

No matter if the beach is crowded or nearly deserted, often the best way to start is with a general picture showing the whole beach. If the beach is packed with sunbathers, try using a long telephoto lens to foreshorten and squash up the perspective. This will make the beach appear even more crowded by giving the illusion that the distance between each sunbather is much less than it really is.

Try to find one particular person who will make a good focal point and ensure that he or she is nicely in focus. Then wait for them to do something interesting – throwing a ball for their dog, or setting up their deckchair, for instance. This will help bring vitality to your composition. If you are photographing on a sunny day there will be plenty of light and you will be able to use a fast shutter speed; so freezing the action and avoiding shake with that long lens should not be a problem.


Top photograph
This picture, taken in Bermuda, was very easy to capture, it was just a matter of anticipation. There was no need to disturb the man; he could not see me behind him. Neither could he see the little bird running across the sand. I simply pre-focused on the man and waited for the bird to dart across behind his chair

Middle photograph
Don’t be nervous about moving in close to photograph people. If these two sunbathers had opened their eyes and spotted me taking their picture I would first have pressed the button again to capture their expressions then given them a great big smile and told them what a wonderful photograph they had helped to make

Bottom photograph
There’s no reason why a photograph of the general scene should be just a straight, boring view. Pick out a particular subject, focus on them and wait until they do something interesting before pressing the button. In this case, it was very easy because the lady was throwing sticks into the surf for her dogs

More about beach photograph next…

Travel photography rating method

I have been extremely fortunate to have spent a great deal of my working life gathering photographs in some of the most interesting places on earth. Not always beautiful, but nearly always interesting.

You will notice that I use the word ‘gathering’. That seems the most appropriate way to explain the way I work. I really do go out there to gather pictures that capture something of the essence of a place. When I leave my hotel room and walk into the street I am in ‘gathering’ mode.

Quite apart from the fact that I have only ever been able to throw 100% effort into the things I undertake, there is another very good reason for this approach to photography. Getting to, and staying in, a place (travelling) is almost always the most expensive aspect of any photographic assignment. So my attitude is very simple: once I am on location, I work flat out to gather as many sellable pictures as possible. That doesn’t mean that I don’t thoroughly enjoy what I do, but the job has to pay and I have a job to do.

I rarely, if ever, worked ‘on spec’. I was always commissioned by a newspaper of magazine to photograph a particular country or assignment. When I was working for The Sunday Times, for instance, this meant they paid all the travelling expenses. Great, but that put the responsibility squarely on my shoulders to provide them with what they were paying for; to give them what they wanted – and more.

Over the years I adopted a very simple ‘rating’ system in order to cut down time wasted on trying to capture pictures that were never going to ‘happen’.

When I see a subject that I think has good visual possibilities, I will, in the back of my mind, give it an instant time rating. I might, for instance rate a subject as just ‘two-minutes’ and will expend just two minutes exploring it and trying to realise its potential. If it fails to produce a worthwhile photograph that pleases me in that time, I simple drop it down a hole and move on. I’m afraid I apply the same rating system to some people too while I am working – time is just too valuable to waste. This may appear calculating and cold-blooded to photographers who take pictures purely for pleasure.

If I believe a subject has tremendous picture potential it will, of course, get a far higher time rating, and I will be prepared to wait many hours for that special shot. The picture of the gondolier above was a ‘three day’ rating. I saw the potential of the shot as soon as I saw this particular canal corner and the way the sidelight was striking the buildings facing me. But think of all the ingredients that were vital for the success of a picture:

I needed a gondola in the right place.
The gondolier had to be positioned precisely between those two window.
He had to be wearing the proper straw hat.
He had to be pushing the gondola along
There had to be the hint of a passenger in the boat
The lighting had to be coming down the alley from the left.

I went back each afternoon when the light was perfect and waited for about one hour. I photographed many gondolas passing down that canal, but only on the third day did a get exactly what I wanted and what I had envisaged on that first day.

Photography in bars and cafes

Not counting India, which is in a league of its own, there are three places in the world that really press my button - places where you can almost feel the buzz and vitality coming up through the pavements beneath your feet. The first is New York, then Hong Kong. The third, and possibly my favourite, is Istanbul.

How could any photographer go to Istanbul and not find visual stimulation? The buildings,the skyline, the boats on the Bosphorus, the markets. But, for me, best of all the people. I have always found the people of Turkey to be kind and helpful.

The picture above shows a man smoking his hookah, better known in the West as a hubble-bubble - in a cafe on the old Galatta Bridge. It was taken before this fascinating bridge with its double-deck of shops and cafes was burned down. Probably by someone sat in a cafe smoking a hookah.

I just walked into this cafe because it looked interesting, and ordered a glass of that wonderful Turkish coffee that is so strong and thick you can stand a spoon up in it. Within a short time, people were asking where I was from, introducing themselves and trying to speak English.

Now you must judge these situations very carefully when you are in a strange new place, but all my senses told me there was nothing to fear in this cafe. I started to take photographs and some of the customers insisted that I took pictures of them. One man borrowed my camera to photograph me with the owners of the cafe. I was even prevailed upon to take a pull on a hookah which damned near killed me. I still have that out-of-focus shot as a happy memento.

The photograph from the cafe that pleased me most was of the man sat quiety puffing away on his hookah beneath the faded pictures on the wall.

The picture was taken with a Nikon F3 with a 24mm Nikkor lens. It was hand held ISO 400 Neopan film at 1/20sec at f3.5

Photographing white on white

White walls, white steps, white roofs, white guttering – and even the white pot from which all that white paint comes – so where’s the photographic interest in that lot? Just all white isn’t it? Well, there’s a lot more to a white surface than you might think at first glance.

I’ve long been fascinated by the extraordinary array of textures, tones and hues to be found in plain old white. Photographing white surfaces and objects presents lots of difficulties, but all can be easily overcome with a little attention to basic technique.

The pictures here are the result of a one hour stroll though the narrow alleys of one small village in Menorca. Almost everything there is painted white.

To keep things simple, I set the White Balance (WB) to Auto White Balance (AWB), and this coped extremely well bearing in mind the tremendous range of colour temperatures between deep shade and bright sun..

The most difficult problem, when photographing white objects is exposure – but it is really a lot easier to solve than you might think. If you point your camera, with its built-in light metering system, at a white object it will register an awful lot of reflected light. In effect, your metering system is looking at all that white, saying ‘Gosh, there’s loads of light here, let’s cut down’. It is being fooled into cutting the exposure down. Unless you are aware of this – and do something about it – your picture will be under-exposed. All you have to do is set your Exposure Compensation function to around +1 – that’s plus one value, or one full ‘f’ stop. Then your camera will ‘over-expose’ by plus one ‘f’ stop to compensate for all that reflected light, and your image will be correctly exposed. Experiment until you get the exposure you want.

Setting the Exposure Compensation value to over-expose by about one full ‘f’ stop is one of the simplest ways of getting the right exposure when photographing white. Don’t be afraid to experiment, you might sometimes need to compensate even more if the white is particularly bright

If you are using the Manual ‘M’ settings as I do all the time, there are another way of getting around this under-exposure difficulty when photographing white areas. I might frame my picture approximately and look at the exposure scale in the viewfinder. I then just set my exposure to over-expose by the appropriate amount – in other words, leave the pointer on the ‘plus’ side of centre. I do this either by setting one full ‘f’ stop over, or doubling the exposure time; for example, I’ll use 125sec instead of 250sec.

Top photograph

Looking out from a shaded alleyway at the brightly lit church tower caused fewer exposure problems than you might think. I just framed the picture and set the exposure using the centre-weighted mode. This has taken the reading from the very bright white tower, but also taken into consideration the large areas of shaded white. Notice how the light is slanting across the right hand surface of the church tower has created texture, while the light hitting the left side is straight on, and this has shown a flat, pure white surface

Bottom photograph

All the time I am looking for patterns and shapes created by shadows. These can be used as compositional devices in the same way that any other subject can. So place these shadows carefully and move around to adjust the composition. Shadows can create really interesting designs on white

Next, in part 2 – more exposure options

Photographing people - TEN TIPS

Questions, questions
My students ask all these questions when I suggest we go out and take pictures of people in the street. Some have to make a great effort to pluck up enough courage just to take the camera of the bag. Usually it does not take them long to see how much fun it is and how good the rapport can be with total strangers.

Here are five questions I am asked most often...

Q
Will people object to being photographed?
A
Well, I suppose you can make a friend or a foe in 1/500sec, but mostly people will either ignore you altogether, or ask why you are taking their picture. A perfectly reasonable question that deserves an answer. The amateur photographer has got the ideal reply – “I’m just a keen photographer who enjoys photographing people, I hope you don’t mind.”

Q
Will they become aggressive?
A
Very, very rarely. Common sense and basic street craft comes into play here and you will soon learn when to leave the camera in the bag. If someone tells you to ‘go away’, just smile and go, don’t argue, there are plenty of other subjects to choose from.

Q
Should you ask permission first?
A
I nearly always prefer to get something in the can and ask permission afterwards. Again, much depends on the circumstances, but remember, when someone says they don’t mind being photographed, you might have a ‘tame’ subject and you should ask to take more pictures.

Q
What should you do if they spot you taking their picture?
A
Take another picture – often the reaction to being photographed can create a very special photograph. Then smile broadly, hold both hands up and tell them what you are doing and why.

Q

May I publish a photograph I've taken of someone in the street?

A

Yes. Provided the photograph is not detrimental in any way to the person's character of good name. If you use the photograph for advertising purposes, that person may have a legitimate complaint.

TEN TIPS
Use fast shutter speeds to freeze people’s movements. 1/250sec minimum if possible. This may require a faster ISO such as 400 or 800 in poor light conditions.

Keep your camera set for instant use either with the correct exposure on Manual mode, or use TV (shutter priority mode). And keep your camera accessible – preferably around your neck and perhaps tucked into your jacket.

Be patient. Be observant and watch people closely.

Be aware of everything going on around you.

Anticipate where people are likely to go – you will learn to predict their movements quite well with practise.

Find good viewpoints and wait for people to move into them.

Start with ‘back view’ shots of people.

Take lots of pictures. That ‘decisive moment’ can be elusive.

Travel light – big, heavy camera bags are a nuisance and will attract attention.

Keep your camera bag zipped up when working in a crowded street. It would be a shame to lose equipment to light fingers while you are concentrating on taking pictures.

Top photograph
Once you have got more used to being seen about in the street with your cameras you can really start to enjoy yourself. You will find subjects everywhere. You must always be aware of what is going on around you all the time. Keep your eyes open and be prepared to move quickly into the best position when you see an interesting situation developing. Sometimes the subjects come right up to you. In this case, the two butchers were carrying their wares down a Dublin street. With the exposure already set and using a wide angle lens, all I had to do was wait until they filled the frame and press the button

Middle photograph
Towns like Cambridge are well used to people taking pictures, and chances are that you will be totally ignored when you raise the camera to your eye in a town like this. Don’t be in too much of a rush to take dramatic ‘candid’ shots of people straight away. Take it easy and slowly and concentrate on taking pictures of people who are absorbed in something else

Bottom photograph
No photographer worth his salt is going to walk away from an opportunity like this. Just keep pressing the button. With lively subjects it is always best to take lots of pictures. There is no need to interfere with what is going on – the kids are having a ball. The most important thing was to avoid a soaking from the little beggars

Travel photography

It is part and parcel of the travel photographer’s job to come up with different pictures of well known places. Of course he, or she, must photograph the obvious – it is a foolish photographer who is sent at considerable expense to the other side of the world to photograph the Taj Mahal and who comes back without the standard shot of the Taj looking along the row of fountains. It is very likely that you will be asked for these standard shots at some stage. But then you simply MUST look beyond the obvious. When I stood on the walls of the Taj I realised that just across the river was timeless India – people were still ploughing the fields using oxen – that’s where I wanted to be, over there looking back at the Taj.

The result of my trip across the river was a set of photographs that still sell many years later and the joy of meeting people who rarely came in contact with tourists – despite the fact they were just a few hundred yards away across the River Jumna. The picture was taken for The Sunday Times