This is a little bit of a random post, but it is not as random as you may think.
In the feedback from my tutor Matthew Winterlich in assignment 1, he noticed that I have mentioned that I have no interest in being a photographer, and in fact "You can have no education, no job, but you can still call yourself a photographer." The original post I believe is here:
http://art-of-photography-sip.blogspot.com/2011/11/three-months-after-enrolled-in-oca.html
He gave me links on the skill requirement of photographer as an career and suggested that I should start a discussion on the OCA forum. I yet have a chance to see how that post goes (or if anyone bother to comment). To be honest, I was not too into discussing why others want to become a photographer while I don't. It is a matter of personal choice that one has to learn to respect (in my opinion).
I have been reading some articles lately and this topic springs back to my mind. I can't quite elaborate how I feel at the moment, so I will post the link and quote directly. The person in the "interview" is Stephen Eastwood, a famous fashion photographer in United States.
Here is the part of the interview that I find interesting.
"As a career, never make it about you or your views of beauty. If you want to succeed, understand that the client and the market the client is aiming for decide what is beautiful. You simple have to be able to accept that and make it come to life in your image despite many things that will work against you, from the wrong model, to the wrong concept, to the wrong art director and set designers. At the end of the day it is all your responsibility to supply a great product, which in this case is an image that sells what the client wants to sell. Next never be afraid to use retouching to complete the job. It is what is expected in todays world, people are not use to seeing real, they see perfect people and perfect skin, that is not possible in a day to day job, so being able to create it is what it is, and it is what will make you successful. Clients do not want to hear excuses, no matter how true, or whose fault it is, they don't care, realize that going in and make sure you can respond to everything and supply what they need and or want. "
Here is the rest of the interview.
http://www.stepheneastwood.com/bio/
Friday 30 December 2011
Tuesday 6 December 2011
Review: Bearing Witnesses: Five Years of the Iraq War -- Image from Reuters
One of the comment I have received from Assignment is that the tutor would like to see some reference to the work of other practitioners and any influence that might have upon my work.
And I am supposed to blog it on the learning log.
Oh well.
So let's start with my favourite photograph of all time. I do not know the name of the photographer who took this, but he belongs to Reuters News Agency. This photograph first showed up in an exhibition in Shoreditch, London, under the title "Bearing Witnesses: Five Years of the Iraq War" back in 2008. Due to copyright, I am not supposed to just post the image here, but you can see it in the flash video in this link.
http://iraq.reuters.com/
If you hit "click to start", the photograph I am looking at is the very last one in the flash video before the credit roll. It is roughly at around 4 minites 11 sec. The shot features a man who is blind-folded walking out a vehicle, while the reflection on the back windows show the reflection of a soldier look at the blue sky. The facial expressions of the two men are complete contrary: the soldier looks happy, while the blind-fold man looks uncertain.
Technically there is a lot to say about the photograph. For example the balance of the image between two men almost equally devide the frame, the eye-catching red (car frame) vs blue (sky) combination that meet at a third of the colour wheel, or the detail of the soldier eventhough he is just a reflection of the window.
However, sometime photography technique doesn't mean much. Personally I have seen shots are are technically perfect but they are just boring. The image carries a message, story. Usually it is very difficult to construct or encounter such screen. I think it is the shape contrast between the two men's facial expressions that lead me to the question "so, what happpened?". Of course, exhibited under the title "Five Years of the Iraq War" gives some direction for imagination. So I guess this makes sense to put title on you images, because it gives view additional information to guide their minds. It should not be surprised that the US soldier comes out victorious. In fact, shortly one month after the war was started, US had declared the "war effectively over". The irony is, as of 2011, with the amount of civil unrest, it is not clear if anybody has won at all. For the local Iraqis, regardless which sides they take, their future is totally uncertain.
We don't know what the actual event between two men, but the image is so iconic of the Iraq war. Basically one image highlighted the irony of this war.
It worth noting the the colour of reflection is very clear. I wonder if it is possible to get such strong colour naturally (ie without editing it in post process).
And I am supposed to blog it on the learning log.
Oh well.
So let's start with my favourite photograph of all time. I do not know the name of the photographer who took this, but he belongs to Reuters News Agency. This photograph first showed up in an exhibition in Shoreditch, London, under the title "Bearing Witnesses: Five Years of the Iraq War" back in 2008. Due to copyright, I am not supposed to just post the image here, but you can see it in the flash video in this link.
http://iraq.reuters.com/
If you hit "click to start", the photograph I am looking at is the very last one in the flash video before the credit roll. It is roughly at around 4 minites 11 sec. The shot features a man who is blind-folded walking out a vehicle, while the reflection on the back windows show the reflection of a soldier look at the blue sky. The facial expressions of the two men are complete contrary: the soldier looks happy, while the blind-fold man looks uncertain.
Technically there is a lot to say about the photograph. For example the balance of the image between two men almost equally devide the frame, the eye-catching red (car frame) vs blue (sky) combination that meet at a third of the colour wheel, or the detail of the soldier eventhough he is just a reflection of the window.
However, sometime photography technique doesn't mean much. Personally I have seen shots are are technically perfect but they are just boring. The image carries a message, story. Usually it is very difficult to construct or encounter such screen. I think it is the shape contrast between the two men's facial expressions that lead me to the question "so, what happpened?". Of course, exhibited under the title "Five Years of the Iraq War" gives some direction for imagination. So I guess this makes sense to put title on you images, because it gives view additional information to guide their minds. It should not be surprised that the US soldier comes out victorious. In fact, shortly one month after the war was started, US had declared the "war effectively over". The irony is, as of 2011, with the amount of civil unrest, it is not clear if anybody has won at all. For the local Iraqis, regardless which sides they take, their future is totally uncertain.
We don't know what the actual event between two men, but the image is so iconic of the Iraq war. Basically one image highlighted the irony of this war.
It worth noting the the colour of reflection is very clear. I wonder if it is possible to get such strong colour naturally (ie without editing it in post process).
Monday 5 December 2011
Assignment 1: Feedback and re-shoot, Part 2
So back to the re-shoot #2 for assignment 1. This is for the image transparent. The tutor mentioned that the original shot has too many distracting shadows and reflections. It was my least favourite shot anyway, so let's redo it.
The only flash I have is a Nikon flashgun. Here is the rest of the poor man set up: There are two backdrops. One is the lining paper for wallpaper, which cost only a pound at the pound stop. The other one is the mail wrapping paper, which cost only a pound fifty at Reyman. There are clamps to hold the reflector and backdrop which cost 2.50 and the softbox is just a piece of A4 paper stick to the flashgun. LOL.
First of all, let's try this set up, which is typical for portrait.
I am not sure if this is better or not. The light spot on the left is gone, but the dot on the lower right hand corner is still around. There are varies reflection on the glass, if you zoom in close, it is reflecting the surrounding (ie my camera, curtains, etc).
It doesn't seem to work, so let's try another set up. The first issue is my A4 softbox is not big enough, so let's get a bigger one, say the wall. There is no flat wall at my place so I want to try bouncing the flash off one backdrop, while the other backdrop sitting over the OCA course material box.
I think they look ok, but here is a catch. If I want to be a pixel-peeper and zoom in at 100% crop, the reflection at the lower right hand side of the glass is not that clean. I can actually see the end of the backdrop there. I really can't tell at the stage, what constitute a good catalogue type product photography?
The only flash I have is a Nikon flashgun. Here is the rest of the poor man set up: There are two backdrops. One is the lining paper for wallpaper, which cost only a pound at the pound stop. The other one is the mail wrapping paper, which cost only a pound fifty at Reyman. There are clamps to hold the reflector and backdrop which cost 2.50 and the softbox is just a piece of A4 paper stick to the flashgun. LOL.
First of all, let's try this set up, which is typical for portrait.
Ok, I get something.
I think the softbox is not big enough, so the big-ish spot on the left is the softbox. The spot on the lower right is not clear to me what it is. Fine, let's bounce the flash off from the ceiling instead of blasting it straight at the glass.
I am not sure if this is better or not. The light spot on the left is gone, but the dot on the lower right hand corner is still around. There are varies reflection on the glass, if you zoom in close, it is reflecting the surrounding (ie my camera, curtains, etc).
It doesn't seem to work, so let's try another set up. The first issue is my A4 softbox is not big enough, so let's get a bigger one, say the wall. There is no flat wall at my place so I want to try bouncing the flash off one backdrop, while the other backdrop sitting over the OCA course material box.
Ok, I get something.
The background colour looks weird, but it is not the end of the world. The light spot on the left look smaller than the right, so maybe I should push the reflector in a little bit. At the round part of the glass, the left side is brighter than the right, so maybe I should have the glass closer to the wall? Something like this:
I think they look ok, but here is a catch. If I want to be a pixel-peeper and zoom in at 100% crop, the reflection at the lower right hand side of the glass is not that clean. I can actually see the end of the backdrop there. I really can't tell at the stage, what constitute a good catalogue type product photography?
Sunday 4 December 2011
Assignment 1: Feedback and re-shoot, Part 1
I got the feedback from my tutor a week ago. There are several recommendation he pointed and I am (slowly) digesting through and re-shooting the images. So the feedback section will be in several post.
The first image I am looking at is the "board" image, taken in the ground floor of British museum. Here is the shoot that I submitted.
This is something that I never noticed. The tutor told me that there are deep shadow in the foreground and the background is well-lighted by windows on both side. Therefore there is a problem with colour inconsistency. I asked about how to do this shot properly. He mentioned about using flash lighting the foreground, or move the tonal curve in post production. Latter should be quite easy to do, so I open the image and change the tonal curve.
As it happens, if you make the shadow area brighter, it is not so easy to totally isolate the brighter area. So I ended up in putting a mask on the background to dim it down. Also, colour wise the background look white while the ceiling at the foreground look yellow-ish. I find out the best way to fix it is to change to colour temperature. It is not perfect, but it ends up to be something like this.
What an irony. Without knowing it, I am heading the path of a photoshopper.
The first image I am looking at is the "board" image, taken in the ground floor of British museum. Here is the shoot that I submitted.
This is something that I never noticed. The tutor told me that there are deep shadow in the foreground and the background is well-lighted by windows on both side. Therefore there is a problem with colour inconsistency. I asked about how to do this shot properly. He mentioned about using flash lighting the foreground, or move the tonal curve in post production. Latter should be quite easy to do, so I open the image and change the tonal curve.
As it happens, if you make the shadow area brighter, it is not so easy to totally isolate the brighter area. So I ended up in putting a mask on the background to dim it down. Also, colour wise the background look white while the ceiling at the foreground look yellow-ish. I find out the best way to fix it is to change to colour temperature. It is not perfect, but it ends up to be something like this.
What an irony. Without knowing it, I am heading the path of a photoshopper.
Saturday 3 December 2011
Exercise 20: Curves
This exercise asks for 4 image that contains elements of curves.
Road is the natural indication of a curve.
Road is the natural indication of a curve.
Image 1: 50mm f/8 ISO 640 at 1/200s
Or from architectural element. Although there is horizontal line in image 2, but the central focus is around the brightest element, which is a semi-circle.
Image 2: 50mm f/4 ISO 1600 at 1/50s
Spiral staircase is a typical example.
Image 3: 28mm f/4 ISO 400 at 1/160s
Repeated pattern to reinforce the curves.
Image 4: 50mm f/5 ISO 1600 at 1/125s
Exercise 18: Horizontal and Vertical Lines
This exercise requires me to take four images showing horizontal lines and four images showing vertical lines, with no overlapping subject within each group.
This is probably one of the most difficult exercise. It is not difficult to find lines, but usually there are too many things on the background so that it doesn't stand out. It applies especially to horizontal lines.
Image 1-4 have some repeatable pattern to emphasize the vertical-ness.
This is probably one of the most difficult exercise. It is not difficult to find lines, but usually there are too many things on the background so that it doesn't stand out. It applies especially to horizontal lines.
Image 1-4 have some repeatable pattern to emphasize the vertical-ness.
Image 1: 50mm f/6.3 ISO 1600 at 1/25s
Image 2: 52mm f/5 ISO 400 at 1/40s
Image 3: 50mm f/4.5 ISO 800 at 1/50s
Image 4: 70mm f/5 ISO 1600 at 1/160s
Horizontal lines are so much harder. Sometime the image is really not as clean and it mixed with some elements of verticals and diagonals. For example, the emphasis in image 5 is the contrast of the light against the dark building, but there are also some vertical element going on. The tree lines are very noisy in image 6, so the wall and the sun does not stand out as strong as it should be ideally. Image 7 has multiple horizontal line in the front and in the background. However, the line implied by the stair case is stronger so that I would think the image is more "up" then horizontal. At this point I really can't see a single situation where the horizontal element is dominating the image. I would like to see one if there is an example.
Image 5: 50mm f/3.5 ISO 1600 at 1/60s
Image 6: 50mm f/8 ISO 640 at 1/160s
Image 7: 50mm f/9 ISO 640 at 1/125s
Image 8: 50mm f/7.1 ISO 100 at 1/160s
Subscribe to:
Posts (Atom)