The Challenge
The lock-down seems to be fertile ground for photo projects and challenges, ranging from Joe Edelman’s much-publicised
Stuck at Home series to Oddbjørn Austevik’s
1000 Step Challenge with many prominent proponents in between. They’re a great creative use of time, motivating us to hone our existing skills and perhaps pick up some new ones. And getting to know your gear well is always a good investment. I've spent some time with focus stacking* photos of snakeshead fritillaries that are growing in the garden and learned a lot about both the camera and the editing process.
Back in March the kids gave me Hoddinott and Bauer’s
52 Assignments in Landscape Photography for my birthday and I'd been looking forward to working through the book over the year and seeing what tips and tricks I could add to my toolbox, but a lot of the assignments require being out in, well, the landscape and that’s not so easy right now. Sure, I could shoot a panorama of the back garden, but who wants to see that?
*Focus stacking is a method of extending the depth of field to get more of the subject in focus, most often used in close-up photography and wide-angle landscape photography with close foreground. It involves taking multiple photos with various focal points from close to far and then assembling them to one image using software (or in-camera).
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| Time for a Challenge || Olympus f7.1, 1/20 s, ISO 1600 |
I didn’t escape the challenge trend and was recently tagged on Facebook for a ‘Ten day 10-black and white photos describing daily life’ challenge, which I took up enthusiastically (thank you Silke). I’ve long felt that monochrome hasn’t really been my strong suit, but I recently watched a couple of videos on the matter online and wanted to try out some of the principles. Plus the photos had to be of everyday items, also something outside my normal photo-genre (gummybears notwithstanding - if you want to find out more check out #gummibeardiaries on Instagram - at the time of writing I was the only one using this hashtag, who knows, maybe it's taken off by the time you read this).
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| Daily Essentials || Olympus f8, 1/80 s, ISO 200 |
The trick with monochrome, so I’ve been told, is to almost fully edit your photo as normal, balancing the tones etc. and then do the monochrome conversion almost as the last step. For these still-lives (still-lifes?) I think this has worked pretty well. Depending on the subject matter I’ve tried to keep the depth of field quite low.
If you want the step-by-step on the ON1 edit, it was fairly simple. Here you go:
Develop:
- Apply camera and lens correction in develop
Filters:
- Big Softy Vignette at 50% opacity
- Tone Enhancer set on Auto, opacity 100% (normally I would do this by hand , but I tried the auto function and found it gave me the look I wanted)
- Border
- Black & White Chrome, neutral colo(u)r response
Further Options:
- Dynamic Contrast where appropriate to enhance detail
- Lens Blur to reduce depth of field
- Local edits as necessary
As you can see, I had a lot of fun with this project and I had eight of the images together within about two days without thinking about it too much. You can probably tell from the first two images that I'm a huge fan of wood grain and natural textures. I really liked the contrast here between the natural grain and the man-made objects. The last two photos took a bit longer and I had to wait for the muse to strike. I'd wanted to take a portrait of Chicco, the ginger tom that we acquired last year from a friend of a friend of a friend, but it turns out that he's camera shy, so I took this one of his sister Evi sitting in the cat tree, looking out the window. For all the complaints about noise in m4/3 sensors, these ISO 1600 shots are working out extremely well.
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| Evi watching the world go by || Olym-puss f8, 1/13, ISO 1600 |
Spontaneous or Planned?
Watching the modern photography gurus at the moment, a lot of them plan their photos down to the last detail; when the sun will hit a certain angle, precisely where to stand, checking the edges of your photo, etc. For a long time I’ve beaten myself up about this because this has not been my style; I’ve always been much more impulsive and spontaneous in my photography and studying the profis I felt that I was doing something wrong or that my photography was somehow second class.
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| Ascending || Olympus f13, 1/25 s, ISO 1600 |
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I took this next photo of my glasses on a tiled surface as part of the B&W challenge. Having slept on it, I felt that I had overshot the mark with the narrow depth of field, but I was otherwise quite happy with the shot, the composition and light really work for me. The original was one of a set of two or three hand-held shots where I played about with the focal point and height of the camera.
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| Reading Glasses Reflecting || Olympus f5.6, 1/50 s, ISO 1600 |
Having slept on the image, I thought there was something I could do to improve it. When processing I realised that I’d got a wedge of the white wall below the tiles and there were a couple of other ‘border’ issues. I also wanted to broaden the depth of field and try to catch an area of focus in the magnifying part of the lens of the glasses.
So I set up my tripod, aligned the camera carefully, cleared the clutter from the background, twisted the glasses to the optimal position, focused manually on the bridge of the glasses, performed an aperture run from f4 to f22, realised that I was on auto ISO and it was running at 1600, set the ISO to the native 200 of the camera, repeated the aperture run, opened the camera, realised that I was missing the main SD card from the camera and that I was shooting on secondary, searched the living room for the missing card, realised I’d left it in my T-shirt pocket that was in the washing basket, gone upstairs to check the washing basket to realise that my lovely wife had been ultra-efficient and that the washing was in the machine already, spotted the card in the front of the washing machine, put the secondary in the computer, checked the images...
...and was disappointed that none of the images had the same feeling of the original.
Aperture series with the Zuiko f4 12-100 at about 10 cm:
Lessons Learned
I think that some of this has to do with the emotion that I realise that I’ve been trying to convey with my photos - another lesson that I’ve been trying to build into my photography. That emotion is something spontaneous, revelling in the magic of the moment and not something that I can express when I plan a shot to death. So, two lessons for the price of one; I now know which aperture to use out of the starting block for close-ups and, perhaps even more valuable, I’ve learned that I don’t need to beat myself up about being a spontaneous photographer and not a planned photographer - that’s just my style.
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| Dandelion Closeup || Olympus f10, 1/2000 s, ISO 800 |
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So thanks for laying down the gauntlet Silke. What about the rest of you? What tricks have you picked up during the lock-down.
Oh, and by the way, the SD card survived. Washed in de-ionised water and then dried it for 3 h in rice.
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| Ende (see what I did there?) || Olympus f4, 1/50 s, ISO 1600 |
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