People Make Glasgow

"The marvels of daily life are exciting; no movie director can arrange the unexpected that you find in the street."   Robert Doisneau 

PEOPLE MAKE GLASGOW -  visual sociology

Arriving in Glasgow on a sunny afternoon in February, I felt I was truly in the role of a street photographer.  Unlike my previous photoshoot, this time I had researched and prepared for the outing.  Having read that when photographers take to the streets prime lenses are out in full force, I decided to trade in my DX lenses beforehand and invest in the second-hand purchase of both an 85mm and a 35mm lenses for my FX camera.  This meant that using a prime lens would encourage behaviour which in turn should lead to an improvement in photography skills, for example, your feet become the zooming action.  Thomas Leuthard, a contemporary international street photographer from Switzerland, travels all over the world and offers online courses as well as street photography e-books available on the internet has been an inspiration to many starting out taking photographs on the street.  
http://thomas.leuthard.photography/    

Leuthard  writes that "a prime lens is best because it is sharp, fast, small and affordable" and that it is also important to know the exact distance from where you should stand.  He advocated the 85mm for a full-frame camera so starting with the 85mm to allow me a longer focal length and therefore more reach, I had a wander round the city. Capturing candid shots was quite exhilarating and I felt very animated as I focused on studying human behaviour on the streets.

 Ladies waiting for the bus in West Nile Street 

Girl waiting to cross the road

Chatting in Buchanan Street

Taken through the glass canopy of Buchanan Street Underground

Couple absorbed with mobile phone 

This made me recognise the relationship between sociology and street photography and how they are inter-linked.  It was good not to have any preconceived ideas of what I would capture but to have an open mind and be prepared to adapt, rather than photograph evidence to support a pre-chosen theme.   All the above shots were candid and I especially liked capturing the girl waiting to cross the road, as I followed Leuthard's  e-book advice and stood across the road from her at the traffic lights on the other side of the street.

An original candid but after interaction I got in close and took some  portrait shots

While some street photographers believe purely in candid photographs, street photography can also happen when you engage with the person being photographed such as I did in the following images.  

Chips and Irn Bru

On duty at the Argyll Arcade in Buchanan Street

Eric Kim, a young South Korean street photographer, based in California, has had his work exhibited and published.  He has been interviewed many times for photographic articles, stating that he sincerely believes in the ethos of Open Source learning, as he shares videos, interviews and e-articles along with regular blog posts.   He has a huge following on the internet, especially his blog which is considered the defacto Street Photography blog:- http://erickimphotography.com/blog/start-here/

Busking in Argyle Street

Kim states that street photography does not necessarily have to be candid.  "To me plainly put, a "street portrait" is simply a photograph of a stranger in which you ask for permission".  He thinks there isn't really a difference between street portraits and street photography but considers street portraits a sub-genre of street photography.  He puts emphasis on the sociology of street photography and what we can learn from studying humanity and engaging with people from all walks of life whom we meet on the streets.  Certainly, I found that once you overcome your fear of approaching strangers, interacting with people on the streets of Glasgow was a very enriching experience.  

Indeed, People Make Glasgow!

"For me, a great street portrait is an image where I can look into the soul of the subject, and relate or empathise with them on a human level."  Eric Kim 

Let your light shine!

"In photography there are no shadows that cannot be illuminated"                                         August Sander.

A recent aspect of our course was a practical day workshop focusing on the use of studio lighting for both still life and portraiture.  Although the prospect seemed rather daunting to someone who had never used studios lights before, it was a great opportunity to try out the use of lighting in photography and being very ably supported by our tutor who had provided a plethora of resources, the class enjoyed a fun-filled practical learning day in the various studio workstations which he had set up for the class.



Resources included light stands which position the light sources away from the camera and support the flash heads.  It is usual to work with more than one flash head, with the modelling light connected to the camera by a cable from the hot-shoe which in turn triggers of the 'slave' light.  A brolly is used into which the light is directed from the flash and then reflected on to the subject, with a brolly having a white, gold or silver reflective surface.  A soft-box is a tent-like device and is more advanced than a brolly, giving better illumination and a softer light.


Other tools available were a snoot which narrows the distribution of light and a honeycomb grid which spreads the distribution, both which help in focusing light and isolating part of an image being photographed.  I found it useful to learn the labels for the various studio lighting items by having hands-on experience in using them.

changing a background for a still life 

Backgrounds were also set up using stands and different backdrops provided in the form of specialist material as well as simple materials brought from home (e.g. table linen, shawls, sheets) in addition to card, white paper and perspex.

miniature china teaset on black shawl background

Students were asked to bring along appropriate items artefacts to photograph.

Corgi model truck photographed in light tent on table-top

A small light tent, which is translucent and sits on the table-top, which creates even light for small product photography was also provided.











When using studio flash your camera should be set to manual mode and the shutter speed set to the fastest flash sync speed available own your camera, which for most cameras is 1/200.  A low ISO such as 100 should be used and an aperture middle value such as f/8 chosen, though this is usually adjusted in accordance with the overall exposure.

Blue glass photographed on white background using side lighting from soft-box

Flowers in ice reflected on black perspex using snoot to focus light

Tutor posing for low-key portraiture

Crofting artefacts on black velvet background 

I found this workshop very valuable as it was a great introduction to the use of lighting equipment for studio photography with the interactive experience enhancing the learning process.  I now wish to add a light tent to my photography kit as an inexpensive way to harness even natural light but also to make me consider lighting more in the photographic process.

"Light makes photography.  Embrace light.  Admire it.  Love it.  But above all, know light.  Know it for all you are worth, and you will know the key to photography."   George Eastman

Evaluation - Ruraltopia (4)

"If your photographs aren't good enough, you're not close enough" ....    Robert Capa

EVALUATION 

My aim was to visually interpret 'Ruraltopia' through a range of photographs (see previous posts for Ruraltopia - (1), (2) and (3).  

My chosen subjects were:

• crofters working in their own crofting environment portrayed in the documentary genre
• indigenous people - crofters portrayed in the portraiture genre

The following are my six final selected images, with self-evaluations, including strengths and areas for improvement:-
(click on online images to view larger - hard copies of these images are available in assignment folder)

Documentary images are all in monochrome emulating the style of Gus Wylie (Ref. Ruraltopia 1)

1. Crofter in Kitchen 24 mm	1/3	f/18	ISO 100
Comments	Captured the moment in a natural setting as crofter was actively engaged in paperwork when I arrived while natural props were available on the kitchen table (cattle medication as well as lunch remnants). True Wylie style.  Cropped the image in PS Elements to remove bright light reflections on wall coming through kitchen window.
Strengths	Used wide end of 24-120 mm lens to capture sharp detail and get a large depth of field. Nice tones from light and shadows in the kitchen.
Area (s) for Improvement	Consider asking subject to move his position at the table (limited space for tripod in kitchen) in order to cope with challenge of bright light from window.  Faster shutter speed would have coped with dog movement (removed in close crop – see contact sheet)

2. Crofter at Sheep Fank 24 mm	1/80	f/13	ISO 6400
Comments	Good detail in shot, especially of the sheep’s eye and showing man interacting with animal  (as in Gus Wylie images)
Strengths	Successfully coped with very poor light conditions (late winter afternoon) and used high ISO on full frame camera as well as fill in flash to capture image.  Got in close with camera for detailed action capture.
Area (s) for Improvement	Consider relationship of flash and ISO to address poor lighting Explore use of faster shutter speeds in documentary photography

3. Crofter and Creel 24 mm	1/10	f/14	ISO 6400
Comments	Interior of croft house because of very inclement weather so man mending creel indoors; image editing done in PSE to sharpen image.
Strengths	Successfully used a high ISO to capture the shot as well as using the natural light available from the window.
Area (s) for Improvement	A faster shutter speed shutter would have again resulted in a sharper image especially to cope with the slight hand movement of the crofter when working on the mending his fishing creel.

 Portraiture images have all been converted to monochrome in post production to reflect the style of Yousuf Karsh. (Ref. Ruraltopia 1)

1. Crofter with pipe 110 mm	1/80	f/4.5	ISO 6400
Comments	A very relaxed subject so photo shoot was an engaging experience.  Used PSE to clone some of background as subject’s chair was only partly covered by a jacket.  The resulting photograph has pleasing detail.
Strengths	Nice sharp detailed portrait which catches the essence of the character.  Used high ISO to complement natural light from window. Shallow DOF and subject stands out from background.
Area (s) for Improvement	Consider setting up the scene beforehand, eg perhaps have a completely dark background or use cover to give the desired effect. Consider use of lighting in portraiture (which we are about to study in class).

2. Crofter with cap at Knock Farm 112mm	1/1600	f/4.8	ISO 6400
Comments	Subject is a very shy individual so challenge in getting to focus on his eyes.  Used post processing in Photoshop Elements to try out a low key image and also added extra dof to image but discarded both manipulations as the original image is more effective. (see contact sheet).
Strengths	Working outdoors allows natural light to give a pleasing background and shallow dof.  Creative shot in that emotion is captured (his shy, slow smile) which defines his personality.
Area (s) for Improvement	Think about composition and framing - try to position subject's eyes using the rule of thirds to give a more balanced composition.

3. Crofter at Sheep Fank 102 mm	1/800	f/4.5	ISO 6400
Comments	This portrait shot was a quick opportunity at the Sheep Fank before the sheep dosing documentary shots were captured and the subject had just returned from gathering sheep on the moor.  The high ISO gives some grain to the portrait which is very effective.
Strengths	The telephoto lens is good for blurring background and drawing subject into focus.  Natural outdoor light and use of wide aperture make a good image.
Area (s) for Improvement	Consider if retaking the shot to include more of the hand resting on the sheep fank gate.  Learn how to use a reflector outdoors for portraiture. This would bounce the light back on to the subject's face.  I enjoyed the portraiture experience but I am very much an amateur so I still have a lot to learn about taking portraits.

SUMMARY

This assignment was very much a learning process, in that being self-critical makes me want to go and reshoot these images using the knowledge and understanding I have gained from my first experience, both with documentary photography and with formal portraiture.  My technical challenges encountered were generally problems with lighting - wet November weather in the Isle of Skye is not usually conducive to photography and exposure must be mastered to overcome the obstacles encountered.  I would now approach the technical decisions re shutter speed differently and would also be more mindful in considering the shot beforehand - in other words, I would not rush into taking the photograph and  maximise the allocated time slot by being more in control.  

In my personal development plan in my Photography Journal, I cite becoming familiar with the D600 FX camera settings as an objective - the practical work in this assignment has made me consider camera controls and exposure in greater depth.

Post production manipulation has meant that I have experimented with image editing and tried out some techniques in Photoshop Elements which has helped to progress my skills.

Did I meet my aims and reflect the theme of "Ruraltopia"?  I will say yes because my images, though not technically nor compositionally perfect, portray crofting and crofters in Skye - a true snapshot as it is now in 2015.  This is what both Gus Wylie on his Hebridean quest portrayed and of course Yousuf Karsh's portraiture is iconic.  It is rewarding to reflect and recognise that I was making the pictures, and not just taking them.

Mostly I discovered something about myself; while working completely out of my photographic comfort zone (my preference would be to photograph landscape which was not an option for this assignment)  I found that there is something extremely appealing about photographing people.  Perhaps it was the social interaction between the photographer and the subject, the capturing of the character; the capture of the emotion and of the personality, documenting that moment in time that made it very satisfying.    Indeed, I find the prospect of further exploring the genres of portraiture and documentary very appealing!

"It is more important to click with people than to click the shutter" ....    Alfred Eisenstaedt

Photography Planning - Ruraltopia (3)

"You don't take a photograph, you make it."  Ansel Adams

I have learned that indeed there is a difference between taking and making a photograph, mainly to do with photography practices and having a plan for and structure to the creative process.  As an educationalist, I groan internally and think of forward planning, which the majority of teachers dislike because teachers wish to teach and therefore photographers like to take pictures.  But just as planning class lessons has clearly a positive point, so does planning for photography. 

From my research on Yousuf Karsh, the world's greatest ever portraiture photographer, I find that he clearly highlights his meticulous preparation and research before his photography shooting.

 "It was in London, I started the practice of doing my homework ......."  Yousuf Karsh
(Ref.    http://www.karsh.org/#/the_man/biography)

So in order to make photographs for 'Ruraltopia'  I need to have a plan. I hope to utilise some of  of the techniques used by my chosen photographers - Gus Wylie (documentary genre) and Yousuf Karsh (portraiture genre) -  following my research on their photography.

AIM:  

• To visually interpret Ruraltopia through a range of photographs which demonstrate careful planning, creative composition and technical competence;
• To use the subject matter of crofters working in their local crofting environment and portray them in the documentary genre;
• To use the subject matter of indigenous people and portray individual crofters in the portraiture genre;
• To use the model of planning, shooting, evaluating for photographs in order to select final images for assignment.

TECHNIQUES

• Make contact with individuals beforehand to fix ideal location of shoot, eg their working environment;
• Tell the story in documentary by shooting what happens naturally, remembering to capture the details - set the scene;
• Capture the true essence of the person in portraiture, focus on the eyes/hands;
• Use an effective focal range, wide end of 24mm - 120 mm Nikkor lens (shooting with Nikon D600)  for documentary - smaller aperture to give larger depth of field to include detail;
• Use 70-300 telephoto lens with Nikon D600 for portraiture to create blurred background and give a comfortable working distance -  wide aperture/small DOF to give shallow focus;
• Establish social interaction with subject to put them at ease;
• Use tripod for better quality and to get more creative and sharp images;
• Use natural light (outdoor environment if possible) - consider the available light and use fill flash and ISO adjustments as required;
• Prepare to wait and see what happens naturally for a good documentary capture;
• Produce monochrome images in the style of both Gus Wylie (documentary) and Yousuf Karsh (portraiture); shoot in colour and use processing for monochrome conversion;
• Use post-production techniques for image files using iPhoto and Photoshop Elements 13 for completion of the task;
• Produce contact sheets for test images - to be presented in folder along with final six images.

EQUIPMENT

Nikon D600 camera body 

24-120mm kit lens (Nikkor)

70-300mm telephoto lens (Nikkor)

MeFoto Travel Tripod Kit

Props were not pre-planned but subjects were photographed using recognisable props as they were used in the natural working environment

SUBJECTS/LOCATIONS

• Arrange photo shoots with four different crofters, to allow choice in final selection
• Location 1 - Crofter A -  new farm steadings - Knock Farm, Sleat
• Location 2 - Crofter B - Crofthouse kitchen and croft land - Tarskavaig, Sleat
• Location 3 - Crofter C - Ord moorland and Sheep Fank, Sleat
• Location 4 - Crofter D - Crofthouse interior, Ardvasar, Sleat

Mt next blog post will feature how I achieved the aims of the plan, the techniques used and the challenges encountered along with my evaluation of the selected photographs.  My assignment submission will include test prints and contact sheets as well as hard copies of final six images.

The images below are from each of the locations from where the photo shoots took place.  (Click on each image to view large).

"You don't make a photograph just with a camera.  You bring to the act of photography all the pictures you have seen, the books you have read, the music you have heard, the people you have loved."   Ansel Adams

Knock Farm Steadings

Tarskavaig Croft

Ord Moorland

Ardvasar crofter at Crofthouse