Comparison of my photographs with one taken by Paul Strand

This is the original image taken by Paul Strand of wild irises. It is a strong image which despite being monochromatic has a wide range of tones, giving depth and texture to the image.


The images below are my own, which have been converted automatically to black and white within Photoshop. I chose this simple method so that I could evaluate my photos in comparison to the original by Paul Strand.

This first image is I believe quite strong with definitive lines. However it has a narrow range of tone and for this reason appears very flat and lacking in texture. With a more sympathetic conversion in Photoshop the tonal range could probably be improved.

This second image has an improved tonal range, but insufficient leaves are in focus with the result that the image is less powerful in black and white. This image is better in colour.

I intend to try to 'improve' the first of my 2 images within Photoshop and re-evaluate.

Reference Sources Used

Photographing Wildlife. Marianne Taylor and Steve Young. 2009. New Holland Publishers. ISBN 978-1-84773-486-0

Contemporary Photography and the Garden - Deceits and Fantasies. Thomas Padon with Robert Harrison, Ronald Jones, and Shirin Neshat. 2004. Harry N.Abrams Inc Publishers, in association with the Americal Federation of Arts. ISBN 0-8109-4955-5

Collins Complete Photography Course. John Garrett and Graeme Harrris. 2008. Harper Collins Publishers. ISBN 978-0-00-727992-0

Get the most from your digital SLR. The Digital SLR Guide. Chris Roberts. 2008. Downloaded from the Internet March 2009.

Ansel Adams. Trees. The Trustees of the Ansel Adams Publishing Rights Trust. 2004. Little Brown and Company, New York. ISBN 0-8212-7752-9

Landscape and Nature Photography. Richard Muir. 1986. George Philip, London.ISBN 0-540-01100-2

The Digital photographer's A-Z. Peter Cope. 2002.Thames and Hudson, London. ISBN 0-500-54247-3

Reflection on Catherine Opie: Four images of the Garden

The photographs below were all taken by Catherine Opie in 2000, and were specially commissioned for a travelling exhibition organised by the American Federation of Arts entitled 'Contemporary Photography and the Garden - Deceits and Fantasies'. Opie visited a wide variety of gardens across the United States varying from the formal, to the inner city to a men's prison. Her purpose was to investigate ' what commonalities would emerge in a construct as intellectually elevated as a garden' whilst capturing the 'ordinary moment'.

Catherin Opie (born 1961) is a contemporary American photographer who at the age of nine stated that she wished to be a 'social documentary photographer'. Her stated aim is "to capture America, in faces and on streets, from the centre to the fringe, in ways that are stylised, shocking and everyday". Many of her self-portrait images from the 1990s are indeed difficult and shocking. ( “Self-Portrait /Pervert” (1994);  "Self Portrait /Cutting" (1993))


Below are 4 images scanned from 'Contemporary Photography and the Garden - Deceits and Fantasies'.

The first three form a triptych and as such should be viewed together; all are sized 30 x 40 inches.

Untitled, 2000 (Triptych)
This image has the trunk dead centre, and this draws your eye to it. The branches pull you up and round, whilst the overexposed lawn at the back draws you back from where you can explore the mirror image of the shadows. I believe it is the shadows and their clarity that make this image so special. It has been taken in full sunlight, when conventional wisdom states you DO NOT take photographs; but the canopy of the tree softens the light which is so essential for the shadows. The adjective for the colours is 'natural', hence they complement each other perfectly with the light lifting all the dark colours out of the 'sombre' zone.

Untitled, 2000 (Triptych)
I find this a most clever image. The water tap lies centre front, dominating the image. The dullness of the green tap and hose are lifted by the yellow of the sprinkler. Immediately behind the rough path acts as a leading line to take you into the picture. You see the neat rows of vegetables - more shades of green, but so varied. From there the sheds - this is a man made image and the sheds reinforce this. Behind lie the more natural trees, the only area bathed in sunlight. I am sure there is allegory here. An image both exceedingly ordinary and thought provoking at the same time. Wonderful!

Untitled, 2000 (Triptych)
Yet another image where green ids the dominant colour - yet the use of light highlights all the varying shades possible within the nature of green. The central ivy appears unsupported and acts as the leading line into the photo. The light space to its left allows your eye to move down with the trees at the far left back acting as a frame. On the right is another tree in the mid-distance which is paler and separate, again allowing the eye to return, with the thin trunk and dark ivy pulling the eye back to the starting point, whilst passing just visible man's influence - the house! A restful image one familiar to so many of us where we can use our own memories to re-enter our mind.

Comments on the Triptych
Three most 'ordinary' subjects, each amazingly different. Were they from the same garden? No clues there. For me the first image shows the majesty of nature itself with the dominant tree trunk; the second the effect of man in the vegetable garden; the third the peace and tranquillity of mind to be found within the garden.

Untitled, 2000 ; 30 x 40 inches
This fourth image is obviously taken in an urban setting - a park or garden. The contrasts between the buds in the foreground, and the flowers of the shrub behind (slightly out of focus) are quite exciting - Spring in all her glory is shown here. Behind we have the urban dwellings - not intrusive but an essential contrast. The beauty of nature is highlighted by the buildings. There is even the beginning or end of a spider's web - what a tale to be told there.
The colours complement well, with the red flowers being an essential feature. The sapling in the foreground provides the highlight and the leading line, with the pole behind it emphasising this and drawing the eye to the buildings. The spider's web draws the eye back; the darkness of the building on the right and the shrub to the left acting as frameworks to once more draw your eye away from the dull sky and back to the beautifully focused sapling.


In conclusion:
These images epitomise to me what I would like to achieve. They are honest with a love and respect for the subject, conveying the perceived 'place' of the subject within the garden spac - indeed the 'ordinary moments'. I hope to be able to emulate these effects within my own images - time and weather permitting!

Reflection on Paul Strand, and Four Garden Images.

Recently Steve lent me a beautiful book of photography:

Contemporary Photography and the Garden  - Deceits and Fantasies.

Within this book was a single image by Paul Strand (Photo 4 below) - a deceptively simple black and white photo of columbine. Having seen this I decided to investigate the work of Paul Strand.

Paul Strand lived from 1890 to 1976, being introduced to photography in 1907 and working as a commercial photographer. In the 1930s and 1940s his main interest was socialist documentary, both with still film and the cinema. From 1945 to his death was his most productive period. He settled in France and travelled extensively taking photos of working people. It is during this period that most of his works of nature were produced, many being taken in his garden in France.

In 1917 Paul Strand said that if one were to use photography honestly he must have "a real respect for the thing in front of him".

This to me seems so self evident that I was amazed to read the statement, and partially explains the reason for my choice of themes. My own sense of this is that for my photography to have meaning I must have not only an interest but also an emotional bond with the subject. Thus although I loath wasps with a passion, I can photograph them as they both fascinate and repel me.


The four images below are all in black and white:

Wild iris, Maine.

I do not know the date for this photograph, but possibly since it was taken in America it may be from the 1920s.

The leaves of the iris dominate most of the picture, with the ferns weaving in at the top. The image is unusual as it is lit from the bottom centre, and it is to this point that your eye is initially drawn and then upwards and outwards with the leaves; the ferns at the top then pull your eyes to the right and down, from where you re-enter the image once more. The depth of field is very large, so that the edges of the iris leaves have complete clarity; the darkness immediately behind them gives an impression of depth and solidity to the leaves. The ferns in contrast have less clear edges and appear more frail - which in truth they are of course. This creates a great feeling of texture and contrasting tones, enhanced by the starkness of black and white. The only leaf that is out of focus is the bent central leaf where the image begins - perhaps to pass you beyond that point and upwards into the main photo. Why can this image work in black and white? It's simplicity and lack of clutter, and the immensely powerful lines of the iris leaves.
I have several images of similar leaves in my own garden where I have focused on the colour of the seeds. In a future blog I hope to compare them with this image.

Journeys in land of the morning calm.
Again I do not know when this image was taken, nor where. In this image your eye is drawn to the upper side of the mushroom since it is so light and dominant in the image. From there you go back into the image by following the ivy leaves into the darkness, and then following the darkness to the stalk of the mushroom. At this point your eyes meet the pale stalks of the grass and you are drawn upwards and round again - but these same grass stalks also help you to move from one dark spot (above and behind the mushroom) to beneath the mushroom. Hence the grass which might initially appear to be a distraction is a vital component of the photo. Again there is a variety of textures - the soft mushroom, the fragile leaves and the sharp grass stalks. The closeness and perspective of the image are also unusual. Very few of us get so close and low down to mushrooms  to do so shows a true respect for the object.
At present there are several mushrooms in my garden so I hope to emulate this image - weather permitting.

Big leaves, The Garden, Orgeval, 1965

This is an image from Paul's own garden. Again it is a very close up work - closer than we normally examine climbing ivy. The eye is first drawn to the second leaf down on the right, from where it can travel up or down with the other large leaves; from either route there is a vertical creeper branch which draws the eye down to the centre to a larger horizontal branch which completes the circle. On the right is vertical frame of darkness, whereas central left is also darkness with the horizontal branch being a leading line to direct the eye. Again the image is simple and uncluttered of only ivy leaves, but contrasting the dominant large to the smaller leaves - not only is the size difference immense, but also the colours of large and small leaves are practically reversed. It is this difference in tone and colour that provides the fascination.

Once more I have taken photographs of similar leaves and it will be interesting to compare mine with Paul's.

Columbine,Orgeval,1974

Photograph taken in his own garden in France. This photograph has been scanned from the book referred to earlier - hence the poor quality. The image is far from classical, with the lower horizontal leaf cutting across some flowers. However Paul does not amend the image but remains true to his premise to photography honestly. The leaf does act as a leading line to control the movement of the eye within the image, yet I suspect many of us would have moved that leaf down by an inch. I love the contrast of light and dark, and the unknown factor of what is behind the columbine. The paleness of the flowers means that monochrome is most effective, but it would be interesting to have compared with a colour version.In this instance I suspect that colour might have enhanced the overall image - but possibly detracted form the overall simplicity of the image. 

Again I can compare this with my own images.

In conclusion I love the simplicity of these images and their concentration on the subject rather than their context within the wider garden. They are accurate and yet respectful and almost loving of the objects - photographs taken with integrity and honesty. For me they say: "Look at me! I am small and humble, yet beautiful and deserving of respect as God intended".

How much can cropping help?

The image below was taken of a tree stump in September:

I cropped it within Photoshop as shown below:

However even with cropping of the image the texture which is the main interest of the tree stump does not dominate.


I think I shall not persevere further with this image. However the tree stump is still in my garden, so I shall try to compose a more interesting image. Perhaps some research into still life is required.

Photos taken on 4th December using wireless remote cable system.

This photo session was on December 4th. The wind had dropped, but it was not sunny - quite the opposite - low dark cloud , very dull.

For that reason my camera settings were quite different to yesterday. ISO 200 gave shutter speeds of 1/30 or 1/20 second - far too slow for photos of birds even with the aperture wide open. I didn't want to use ISO 800 or 1600. Possibly these photos will need cropping which will exacerbate the graininess of images taken at high ISO numbers (see blogs of 13th October - image of wasp in pond). So I decided  to use ISO 400 which gave me a shutter speed of 1/80 second - probably the slowest that is possible for birds.

As yesterday I used the tripod to mount the camera and hold it steady and in position about 5 feet from the feeder, live view to facilitate focusing and composition, manual focus to keep the focus sharp and constant, and the wireless remote cable to fire the shutter whilst I am out of sight indoors.

I became very animated when for the first time this autumn a nuthatch appeared, and managed to take 2 reasonable photos . In total I took 25 photos in a short period of which 5 are shown below. Unfortunately the rain that threatened appeared shortly afterwards. Since my camera is not waterproof I stopped the session at that point.

All the photos below were taken at the following settings:

f/5.5; ISO 400; 1/80 sec; focal length 142 mm

These 5 photos exceeded my expectations. Hopefully with a brighter day I can use a faster shutter speed. I need to focus closer to make the bird a larger image still.

In addition I can focus on branches upon which the birds sit waiting for the feeders to become free.

I also intend to use this system to obtain images of the squirrels, pheasants, partridges that visit the compost - I can tempt them with feed on the ground. In addition magpies, pigeons and blackbirds can be seen.

Photos taken on 3rd December using wireless remote cable system.

The morning of Saturday 3rd December proved to be bright and sunny, but very cold and windy. I hoped to take photos of birds at one or more of the feeding stations in my garden. Since the light was bright I could use a low ISO number - choosing ISO 200. I also chose a wide aperture, which meant that I could use a fast shutter speed. I felt this was necessary since

• the feeders themselves were constantly swinging in the strong wind
• by this means I would maximise my chances of catching the movement of the birds still in focus.

I fixed the camera on my tripod about 5 feet from the feeder:

• to give the camera stability in the wind
• to enable all the settings - manual focus, aperture, shutter speed and focal length to be fixed

Initially I used the view finder to compose the picture, but as explained in my previous blog this proved to be very unwieldy and ineffective. Hence I used live view on the camera:

• to enable me to compose the picture
• to enable me to accurately use manual focus on the specific area I hoped to photograph

I used manual focus rather than auto focus:

• so that the photo would be taken instantly (rather than recalibrate with auto focus) - or the birds would literally have flown!
• because the high winds made the feeders swing considerably - making auto focus impossible to use

I used the wireless remote control to fire the shutter:

• so that I remained out of the sight of the birds and they could behave naturally
• and I remained warm - an important factor as it was very cold.

The results are shown below:

f/4.5; ISO 200; 1/200 sec; focal length 50 mm

f/4.5; ISO 200; 1/200 sec; focal length 50 mm

f/4.5; ISO 200; 1/200 sec; focal length 50 mm

These 3 photos showed that using a remote wireless cable release was an effective means of taking action photographs of the birds. By having a fast shutter speed I captured the wing movement and was pleased with the effect. I did feel that I could get a closer image by increasing the magnification of the lens. To position the tripod closer was not easy.

f/5.0; ISO 200; 1/800 sec; focal length 98 mm

With this image I wanted to see if I could capture the birds waiting on nearby branches. Indeed I could and the composition of the photo was potentially interesting. Unfortunately, the focus was not as accurate as required and also the bird sat behind a small twig (how could it?!)

Lessons:

• More care with manual focus
• Check the composition more carefully to ensure stray twigs are cut away!

f/4.5; ISO 200; 1/200 sec; focal length 40 mm

f/4.5; ISO 200; 1/200 sec; focal length 40 mm

f/4.5; ISO 200; 1/200 sec; focal length 40 mm

f/4.5; ISO 200; 1/200 sec; focal length 40 mm

f/4.5; ISO 200; 1/200 sec; focal length 40 mm

These final images are further away, but show that this technique can work to capture the birds in action.

More on Wireless Cable Release.

I have been experimenting with the HAMA Wireless remote control Digital Camera Connecting System Base (Universal) 00005202 this weekend. Details of the system are given below:

The camera is connected to the receiver by a cable. This receiver is attached to the camera by attachment to the flash shoe, and can itself be operated manually. However the wireless remote shutter release will also operate the receiver  at a distance of up to 150metres, and through glass, doors and walls.

This makes it ideal for use in photographing shy birds and animals. The camera can be set up on a tripod with attachments as detailed above, set on manual focus on a feeder for example; the shy bird uses the feeder; I remain out of site (and warm) indoors, press the wireless release and - the camera shutter is released on camera and a photo is taken.

The images below show the set up I have used in more detail:

This shows the set up of the camera which is focused on the peanut feeder.

This is a closer image. The item circled in red is the receiver, that in yellow shows where the cable links via a USB port to the camera.

Again a closer image of the camera and receiver.


(The 3 photos above were taken using Olympus C-765 Ultra Zoom Digital Camera.)

Use of Live View

This weekend I have been playing with the remote control of the camera using a wireless cable release. The first problem was getting the tripod to be stable - but with patience that was sorted. However to get the image I wanted of a feeder the camera had to be a) portrait ; b) very high up and difficult for me to use ; c) I wanted to use manual focus so that the photo was taken quickly and focused on the correct spot.

My basic problem was that I normally use the view finder to compose shots and I could not physically get my eye in place!! Whenever I have previously tried to use Live View I have struggled with either reflection on the LCD screen or seeing the image at all. However I tried this setting and because the camera was on a tripod the image was stable. In addition there was no reflection!

Now I needed to manual focus - and this was going to be vital as my depth of field was very small. I then discovered I could a) move the manual focus spot easily and b) magnify this spot by pressing 'OK' and hence focus perfectly.

What a find!! This weekend seems to be one long learning curve!

Below is information from the Olympus website and Olympus E520 manual to explain this process:

"Live View is made possible by moving the mirror upwards and displaying the image on the LCD at the back of the camera as the image sensor “sees” it. Both automatic and manual focusing modes are supported."

The image below shows the LCD screen on my camera (circled in silver) and the set up of the wireless remote ( see next blog for more details).

Rejection of an image

Below is an image which when I first saw it I thought was delightful.

I love the colours, but with a clearer image the lack of focus at both the front and back of the image become apparent.


For this reason I tried to crop the image - again to 10 by 8 inches.

Unfortunately the lack of focus is still a distraction. I like the colours and overall composition, but feel it needed a greater depth of field to give a sharpness throughout.


Unfortunately - a reject!


Addendum:
If you check in my choice of final images you will see that upon further reflection, and hearing the views of colleagues, I have reconsidered and included this image in my final selection!! Details of reasons are given in that blog.

Another photoshop image

This image is of the willow tree taken in September.

I like this image as it conveys to me the beauty and majesty of this magnificent tree which has played a central role within my memories of my garden (children climbing trees and falling out of them!, growing and ageing during our time there, birds and animals sheltering there) so it will be a memento to me.


I like the rectangle made by the trunk and the branches, the colours of the leaves,bark and sky together.It feels totally as one with nature - peaceful yet majestic.




Initially I cropped the image to 10 by 8 inches:

I then tried a conversion to black and white. Although this shows the strong lines of the image, the monochrome makes the image appear 'smaller' and less delineated.  Visually it has less impact so I have rejected this adjustment.

I also rejected changes to:
      hue and saturation
      exposure
      


I then tried photo filter, wondering if a warming filter would enhance the gold of the autumnal leaves and the bark of the tree.

I believe it succeeded so intend to use this adjustment.

I then wondered if increasing the vibrancy would improve the image.

Again I believe this was so.

Above is the final image, and below the original image.

The changes applied have been subtle, but the image is now warmer and appears less exposed.



Further Action:
Research the terms
     hue
     saturation
     vibrance
     filters

Cable Release

Having spoken with Steve about the problems in 'hiding' myself to take photos of the birds in my garden I have this morning purchased:

HAMA Digital Camera Connecting System Connecting Cable OLY-1 (for Olympus Cameras) 00005210

HAMA Wireless remote control Digital Camera Connecting System  Base (Universal) 00005202

I visited my local camera shop so that I could be given expert advice in an area where my knowledge is limited. This proved to be the case.

The remote control base was chosen since possible sites for the camera are 30 feet or more away. I would need several linking cables for this.

Plan:
Hopefully on Sunday I can play with this & see if I can achieve good images of birds at or near the feeding stations.

Introduction to Photoshop: Cropping; Layers; Retouching

This was a basic session on Photoshop using version CS5 at Burton College.

Prior to this I have used Photoshop Elements at home - for cropping and very simple retouching. I have NEVER understood the  concept of 'layers' within Photoshop.

This is the base image I have chosen - a sunrise at home in late September (Indian Summer). When looked at closely there is a large blemish in the sky (possibly a dirty camera sensor), and also telephone cables running from left to right. Otherwise this is an image with which I am reasonably happy.


Initially the image was imported into Photoshop and sized to fit the screen:
       View --> Fit On Screen (Command O)

1. Cropping;

Initially I decided the necessary size of the photo - in this case 10" by 8", with a resolution of 300 dpi. I amended the opacity to 100% - background 'black', and clicked on the 'Cropping Tool', also choosing the 'Rule of Thirds' as an aid to composition. I decided to lose the central flowers which are at the bottom of the photo, and to have the sun at a Rule of Thirds intersection, keeping the clear sky quite central. By having a black background the image is easier to evaluate. Once happy with the image I clicked the tick to accept, and then resized to fit the screen. This gave me my background layer, which will remain untouched from herein.

2. Layers:

To facilitate adjustment layers are now added on top of the background layer. The advantage of using layers is that since the background layer remains untouched any changes can be deleted without having to start the whole process from the beginning.

The method used is to click:
     Layer --> New Adjustment Layer --->
The choices then can be seen on the image below.

Brightness / Contrast:
     Initially the settings for both were 0; I reduced the brightness to -10, leaving the contrast at 0.

Hue / Saturation:
     Initially Hue, Saturation and Lightness were set as 0. I amended the hue to +30 (green image below) and then -23 ( red image below), before returning all settings to zero.

Color Balance:
     See below. These were kept at zero.

In this image the build up of the layers can be seen.

Vibrance:
     Again kept to zero.

Exposure:
     See below - again unchanged.

Black and White:
     The image below shows the settings chosen, whilst the image produced appears next. The monochrome image is not an improvement in this instance, since the attraction of the original image is its light and colours.

This image shows more clearly the visual blemishes which can be improved by:

3. Retouching:

For this we must click on the background layer and duplicate it. The original must remain untouched.

     Layer --> Duplicate Layer ( see above)

Ideally the area to be 'fixed' should be at 100% magnification. For this the 'Magnification Tool' is used.

Once at 100% magnification the 'Clone Tool' must be selected - in this instance a soft edge is required. By clicking on the target area together with the 'ALT' key the copy can be made and then released onto the blemish to obscure it.

In this way the large blemish was removed. However the cables require more precise work for their removal.

Finally the image can be saved: