This image was shot in 2010 for The Co-operative Funeralcare who sponsor the World Bowls Tour. It was taken a few nights before the Final during a Pro-Am bowls night. I was rather pleased with the image because using only available light, so as not to distract the players, I have incorporated a good example of my clients branding and the actual world Bowls Tour Trophy on the back wall yet maintained a balanced composition.
Good knowledge and use of photography techniques allowed me to select a shutter speed that lets the players hand and Bowl to blur helping to convey movement yet maintain sharp focus on his face. I have used an aperture that gives enough Depth of Field that the clients branding is still clearly visible.
While many of today’s modern cameras can produce an equally well exposed images shot under a wide variety of lighting conditions I believe you still need someone behind the camera who knows what the manual settings do, and can override the cameras automation to deliver the best result for my clients needs.
Brian Deane went down in footballing history 25 years ago. On August 15, 1992 he scored the first goal in the FA Premier League. A header for Sheffield United against Manchester United guaranteed his place in history, it was the New FA Premier League’s first goal. Twenty five years on Brian returns to the exact spot where he made footballing history for Sheffield United and the blades home ground of Bramall Lane talks to the worlds media.
A Grade II listed building dominating the the town’s South Bay. When completed in 1867 Scarborough Grand Hotel was one of the largest hotels in the world, as well as one of the first giant purpose-built hotels in Europe. The hotel is in the shape of a ‘V’ in honour of Queen Victoria and was designed around the theme of time:
4 towers for the seasons,
12 floors for the months of the year,
52 chimneys to symbolise the weeks,
Originally there were 365 bedrooms – one for each day of the year.
As Scarborough was a famous ‘Spa Town’ in its heyday the Grand hotels baths included an extra pair of taps so guests could wash in seawater as well as fresh water. During the first world war the hotel was badly damaged by the German Navy when they bombarded the town in 1914.
Three blue plaques outside mark where the novelist Anne Brontë died in 1849, the contribution of the RAF trainees stationed at the hotel during the Second World War, and the original opening of the building.
11 July 2016
The people of Barnsley were out in force again this year along side Veterans organisations, cadets, military units and families take part in the Remembrance Sunday service in Barnsley South Yorkshire.
I used the Fuji X-Pro1 60mm f2.4 at couple of 1940’s events over the last couple of weekends, Kelham Island Sheffield and East Park Hull. Probably the most challenging of things to shoot were the Spitfire/Hurricane Flypast at the Hull Veterans weekend. I intended to use my Nikon D700 with 80-200mm but was caught out after being told the flypast would be Sunday. It actually happened very late on Saturday. I only had time to flick to AFC and shoot fortunately the camera was set as described in my last post resulting in the aircraft images included below. The exposures were f11 1/350 or better all at ISO 400.
Today I added the Fuji XF 60mm f2.4 macro lens to the Fuji X-Pro1 XF 18mm f2 & XF 27mm f2.8 in my kit bag. My understanding is the XF 60mm f2.4 is a tad on the slow side when it comes to focusing, especially if compared to the rather more expensive XF 56mm f1.2 but is there away to gain an edge if using the XF 60mm for anything other than Macro work?
I would say yes and the trick is understand the problem and plan ahead. Think what you want to achieve with the camera lens combination. One thing I want to try with the lens is some candid portraits and grab shots without getting too close to a subject. The problem that needs to be overcome with the Fuji is a combination of slow focusing lens and the fact the the Contrast Detection AF (CDAF) employed by the X-Pro1 cant predict where the subject is going to be. I should probably also point out that unlike a DSLRs which use Phase Detection AF (PDAF) you don’t press the shutter halfway down to start the continuous AF. The correct way to use AFC on the X-Pro1 is to aim the camera at the subject with the cross hairs on the bit you want sharp and squeeze the shutter release in a single movement until the camera fires. I figured a small enough aperture with a reasonable DOF would help the focusing but as with all cameras that results in a drop in shutter speed and the possibility of losing the sharpness to camera shake or subject movement. My first instinct was to wind the ISO up but that has two drawbacks first is a drop in image quality second is a danger of over exposure in bright light. Fortunately the X-Pro1 has the option to program an Auto ISO. You get to tell the camera the minimum & maximum ISO you want to use and the minimum shutter speed it should be trying to achieve. What it doesn’t do is stop the camera working if the shutter speed drops too low it just tries to get up there if it can.
After a little fiddling about I settled on a minimum ISO of 800 a maximum of 6400 and a minimum shutter speed of 1/250. With the aperture set to f5.6 and AF set to continuous I roped in some help from my partner and our dog. As you can see from the images I had her throw a dog toy towards me so he would run towards camera chasing it. Each of the four images below is from a different throw of the toy. There were five throws in all and the results are pretty consistent for a slow focusing macro lens. The first throw I failed miserably and got only grass throws 2, 3, 4, 5 resulted in the images below. They have been cropped but still I think they are pretty impressive. You can find the camera settings for each shot in the captions. I have included the Thistle, shot in Macro, and the dog portrait to give a feel for what can expected if you forget to change the setting back to your ‘usual’ ones for situations that are more sedate.
I have to admit It was a glorious sunny day and the results may not be so good in poor lighting conditions but I feel I may just have an edge that maximises my chance of the subject being in focus while minimising the chance of camera shake with a set of camera settings that alow the X-Pro1 and Fuji XF 60mm f2.4 Macro lens to be used quickly and without too much though of anything other than composition.
Make Modern Photographs Vintage- With the increase in popularity of vintage events, 1940’s weekends and re-enacting seems to have led to a trend for ageing digital photographs and trying to make them look like period images. To help photographers who want their photographs to look like film from the 40’s here are a few tips to make modern photographs vintage
The first problem is image quality. Most modern digital cameras handled correctly produce images of significantly higher quality than than their equivalent from the 1940’s. My method of knocking down the image quality is to take my original image, size it down by 50% or more then interpolate it back up to its original size. This can still leave the image too sharp if it is I use a blur filter to soften the image further.
Next desaturate the image but desaturation alone tends to give a harsh and crisp black and white, which leans towards having a blueish tinge. Using colour balance tools to add yellow (or remove blue depending upon how you look at it) and add red will allow you to get a warmer tone that you can make look anywhere from a natural looking black and white through to a sepia tone.
Now add the film grain effect. Create a new layer which will need to be in overlay mode or similar with 100% opacity of middle or 50% grey. On this new layer you carry out two steps.
First add noise, how much will depend up how grainy you want your final image to look, again I start around 50% however make sure the noise is monochrome, there would be no colour noise in a 1940’s B&W photograph.
Second step is to blur the noise so it looks less like sharp dots and more resembles real film grain Gaussian blur is my preferred choice usually around 2 or three pixels.
At this point it’s worth comparing your manipulated image with genuine pictures from the period to make sure you have a reasonable match for colour tone and softness before merging the layers and moving onto cropping.
I prefer to crop either the 3:2 proportion of 35mm format or the square format of 6×6 you could also use 10×8 but a give away that your image may not be “period” would be to crop it at A4 as this probably would not have been a popular shape of the time unless you are going on to mock-up a period magazine cover. Once cropped its time to add a white border I add a 10% border relative to the cropped photograph This can be done by using something like the “Canvas Size” tool in Photoshop or you could just create a new plain white image document in your editor then drag your manipulated photograph into the middle. Once the border is sorted for that final touch of authenticity you can use a softening tool like adobes blur tool to soften the really hard edge between the beginning of the image and the white border and really make modern Photographs Vintage.
November kicked off as a bit of a celebrity Meadowhall month. Starting, appropriately, on the first of the month with a WH Smith book signing by Leigh Francis. In character as TV JUICE host Keith Lemon he was on a promotional book tour for ‘Keith Lemon: The Rules”. A popular read looking at the queues. So popular in fact the signing started early and finished an hour and half later than scheduled, despite Smiths taking the book off sale to avoid fans being disappointed by not getting their copy signed. Leigh Francis is also known for his character Barry Gibson the music paparazzi and his portrayal of celebrities in Bo’ Selecta!
Two Days later, 3rd of November, that’s right not even bonfire night and the behemoth that is the UK retail sales industry is getting into Christmas mode. The Meadowhall Christmas Lights Switch on Concert, an event that strangely had no switch in sight, or Christmas lights either. The fans didn’t care they were there for the acts, besides the event was raising money for Cash for Kids and Meadowhall’s Charity of the Year, Helen’s Trust and with a 15,000 capacity and entry fee of £2.50 that was going to be a success.
Opening act was Tinchy Strider which seemed surprising for artist with 3 top ten chart places, 2 of which reached the number 1 spot. As he left the audience were informed Tinchy was hopping on a helicopter which would fly him down to London where he had a second gig later that night.
Next up Dance group Rational followed by Bee, Holly, Lizzy and Rianna, the Girl group Vanquish then a quick chat and song from Sam Clark, Australian singer/song-writer/actor from Adelade, probably best known as Ringo Brown in Neighbours. The second Girl group of the night was Girl Next Door.
Listed as one to watch Encore recently supported N Dubz and Jessie J. Encore are Mark Asari, Cairo Benn and Pierre Jermaine. If your looking for more info on them its worth noting their web presence seems to be Want more Encore not just Encore.
Six D had some chart success back in the summer when their début single “Best Damn Night” entered the UK top 10. If you think you have seen them somewhere before check the X-Factor talk talk Ads where they appear as dancers.
Cover Drive all the way from Barbados felt the cold. ” We’re not used to this weather” singer Amanda told the audience, backed by T-Ray, Bar-Man and Jamar. They released their first single “Lick Ya Down” in August, it entered the charts at #9 and the début album is due for release soon.
Next very talented Ronan Parke the 13 year old Britain’s Got Talent runner up. Ronan made the headlines after Simon Cowell went to the police over allegations that his company SyCo had fixed the show so Ronan would win.
Headlining and officially switching on the Meadowhall Christmas lights, Matt Cardle. Winner of X-Factor 2010 he held the Christmas number 1 spot with “When Worlds Collide” and his new album “Letters” has just been released in time Christmas.
Want see more from Meadowhalls Christmas Lights Switch on Concert? Check out my Facebook Fan Page the link is on the left.
Ever wondered what you can photograph with a Digital SLR and 50mm standard lens in the Dark?
Ever wondered how much use the built in flash is on a Digital SLR?
Yes?
Take a look at this little fellow. We found him in the middle of the patio at 21:40 on summer night in South Yorkshire. Now he isn’t the type of creature you meet around here on a regular basis so I thought he was worth a photograph if only to document what he is. Caught on a wide open patio suddenly lit by a bright outside light with our dog and my partner staring at him from on high had me worried that the the little blighter would have legged it by the time I got back. No time for messing with flash guns and lens swaps I grabbed my digital SLR camera with 50mm f1.8 Nikon lens already fitted and got back outside at the double. He was still there so I grabbed a quick record shot from above looking directly down then decided to use the “get on the subjects level approach.
Laying down I used Autofocus to focus on the head and edged forward until the lens reached the closest point of focus. The D700 was already set to 640 ISO and Aperture Priority so I popped up the built in flash checked the viewfinder info,1/60 at F4, and fired off a single frame. I expected the little guy scarper but he didn’t. Now worried the the flash and/or stress of the situation may cause him some permanent damage I decided two frames were enough and we left we left him alone in the dark to go about his business.
Camera Nikon D700 with 12.1 mega-pixel full frame CMOS Sensor
Lens Nikon F1.8 “Standard” Lens
Built in Flash
File Format NEF
ISO 640
Shutter 1/60th of a Second
Apperture F4.0
Aperture Priority
Single Autofocus
The resulting image was still a very small reptile in the centre of a rather large frame so I decided a little cropping and post production interpolation was need. The NEF file was opened on the PC and at this stage I made adjustments to highlights/shadows added a little sharpening and interpolated the image from The D700 best quality of 12.1 Mega-Pixel (4256 X 2832 pixels) to a 25.1 Mega-pixel ( 6144 X 4088 pixels).
Once open the image was cropped, without constrained proportions, resulting in an photograph of approximately 3 X 2 inches at 300 ppi. Wanting a larger end result I interpolated that up in size again. Using Bicubic Smoother setting I made the longest edge 10 inches. That left the final tightly cropped image as a 10 x 6.5 inches 300ppi photograph or 3000 X 1959 pixels.
I may have just over done the size increase but the image was never going to be a “National Geographic” pin sharp, full page, quality picture anyway. Considering the situation and equipment, a 50mm standard lens lit by the pop up camera flash in the dark I don t think is too bad.
If anyone can Identify just what this little guy is I would love to know.
They say Britain is a nation of dog lovers, they also say never work with children or animals. Have you ever tried photographing your pet pooch only to be disappointed by the results. Here (in no particular order) are a handful of photography tips to help you achieve better results when you’re photographing mans best friend.
First rule of all portrait photography is focus on the eyes. Most dogs have long snouts, so if you focus on the nose the eyes can be out of focus.
Most humans are tall compared to a dog, so get down and shoot from their eye level see the world as they do.
Have a hyperactive dog who just cant stay still? Use a fast shutter speed to freeze the movement when they are running and jumping.
For the older or more sedate natured dog, try a wider aperture setting. This will help reduce distractions by throwing the background out of focus. Don’t forget “most dogs have long snouts” if the aperture setting is too wide your best friend could end up with a burred nose.
Some dogs are natural posers, you can get good shots just by getting them to sit while holding their attention with a treat or toy. For most distraction is the key give them something to do or play with that you know they love then you work around them.
Don’t always work alone and do a little planning. Get another member of the family to hold your hound while you move some distance away. On a preprepared signal get your helper to let your pet pooch go and you grab some great action shots as the dog comes charging towards you. If your auto focus is slow or you dont have follow focus try pre focusing the camera on a fixed spot you the dog will run through and fire the shutter as they cross the focus point.
Sticking with the theme of helpers why photograph your dog in isolation? Get someone you love and who the dog is relaxed with to interact and capture that on camera.
Make it fun! Photography may be fun for you but most dogs are not the type who will happily perform on command for the camera. Make things fun for your pet and it will show up in your photographs through the dogs body language.
Watch, not the one on your wrist! Watch with your eyes. Your dog is genetically 80% wolf, so while walking with your dog and camera take time to watch and learn its instinctive behaviour and try to capture a more subtle side of your pets character in your photography.
Know your dog. Good photography can often come from to knowing your subject and being able to predict what’s going to happen.
Sometimes all you need to make a photograph really work for you is a caption!
Right at the start I mentioned they say “never work with children or animals” well here is another tip – many of those tips work with kids too.
