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Where Do You Focus?

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Written by Peter Eastway   

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Dales Gorge, Karijini National Park, Western Australia

I'm just back from a very enjoyable workshop in Karijini National Park, Western Australia. Tony Hewitt, Christian Fletcher and I had a great group of participants who simply excelled with their own photography. On the last evening, we presented a slide show of their best images and it was of world-class standard! Every year I'm surprised at the different angles and amazing interpretations. I'm already looking forward to next year's workshop so I can steal some of their ideas!

The fallen tree above was taken in the middle of Dales Gorge in the late afternoon. The pool of light in the middle is reflecting the sky above, while a 10X neutral density filter has been used to give the shallow water a super smooth sheen.

The question with a subject like this is, where do you focus the lens? Do you focus on just one spot with a wide aperture and let the rest drift out of focus? Or do you focus in the middle of the scene with a small aperture and hope that depth-of-field will ensure the front and back are sufficiently sharp?

With the lastest DSLR and MF cameras sporting so many pixels, focus needs to be carefully considered and depth-of-field can't be relied upon to produce enough sharpness if you aim to make a large print. For small reproductions like this one, then depth-of-field will cover a multitude of sins.

I've chosen the tips of the trunk because they are nearest the camera and in a prominent part of the frame. When the image is viewed, I want this important area to be tack sharp so you can see the texture in the wood. In comparison, the roots at the other end of the trunk can fall out of focus and this doesn't worry me.

Of course, with my camera set up on the tripod, it was easy to take a series of images with different focusing positions, so I can also focus stack the image if required.

While many photographers already bracket their exposures, think about bracketing your focusing points as well. Sometimes letting the autofocus system do it for you isn't the best solution.

 
Whose Award Is It?

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Written by Peter Eastway   

When you enter a photography competition, should the photograph be yours?

The obvious answer is, yes, of course you should have taken the photograph. However, as we all know, capture is just the start of the process. What about the editing and post-production where a capture can be transformed into a piece of art? Should this be your work as well?

Again, most people’s immediate reaction seems to be yes, but perhaps we need a little more information.

In non-professional competitions, all the work in the photograph must be by the entrant. Of course, the rules allow you to send your photographs off to a lab or bureau to be printed, but in amateur awards, the photographer is expected to do all the creative input and craft.

Not so in professional competitions. For instance, in advertising categories, the images entered are often the work of a team of people. While the photographer might press the shutter release, what is being photographed could be the concept of an art director, manufactured by a model builder, dressed by a stylist and of course there is hair and makeup as well. And after capture, the image can be transformed by the art director and a digital re-toucher. The photographer is just part of the process and a number of advertising photographers I know say they feel a little uncomfortable receiving an award for something that wasn’t wholly their idea. And many advertising awards allow photographers to acknowledge the creative input of others on their team.

Other genres of professional photography can work in similar ways. Wedding and portrait photographers can have staff back at the studio who do their post-production, commercial photographers can send some jobs out to bureaus. Photography as a business is quite different to photography as a pastime or an art form, but the lines of demarcation are blurred.

So, if you have a professional photography competition, I think you have to accept that professional photographers work with other creative people to produce a result.

There are number of people around Australia (and I imagine around the world) who help photographers with their entries for professional awards.

There’s nothing wrong with asking other people for advice before you enter a competition, and then acting on that advice and improving your entry.

However, is it okay to ask someone to fix or improve your photograph for you, so that their creative input and craft produces a significantly better result?

Is this fair? And is this different to an advertising photographer entering an image produced by a team of creative people?

In the Canon AIPP Australian Professional Photography Awards, the rules say something like this:

“All elements in an image must be the work of the photographer. All aspects of the image must have been produced by the entrant or under the entrant’s direct instruction (including all post-production and printing work). It is acceptable for someone else to produce your prints for you. However, in the spirit of the Awards, this means you cannot give an image to a printer or re-toucher and ask them to produce a Silver or Gold Award! Where entrants work as part of a team (e.g. Commercial category), entrants are encouraged to acknowledge the printer, re-toucher and/or other creative contributors on the entry form if one is engaged.”

And for professional awards, this seems to be the key point: you can’t just hand over an image, ask someone to create a Silver award and walk away. 

On the other hand, there’s nothing wrong sitting down next to an expert Photoshop re-toucher and providing instructions for what you want done. This is how professional photography works, and since these are professional awards, the rules should reflect what happens in real life.

So, is this right? What do you think?
 

 
Reef Beach, By Land

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Written by Peter Eastway   

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Reef Beach, near Bremmer Bay

I first photographed Reef Beach from the air (you can read my blog post here) and noticed the way the wonderful dunes stretched all the way to the water. The reef a few hundred metres offshore must protect the sand from the huge swells that hit the West Australian coast periodically.

So while we 'discovered' this location from the air, it was Google Maps to the rescue to find a way in there. Tony Hewitt, Michael Fletcher and I decided to aim for the early morning sunrise and figured it would take around an hour to drive there. Most of the distance was on bitumen, but we had to find a small dirt track that ran around behind a farm and then into the scrub behind the dunes. The track looked okay.

However, Google Maps isn't updated that regularly, or we didn't look at the map carefully enough! What appeared to be a good track turned out to be a not-so-good track for the vehicle. There were some fun hills and dales to get through, so while we made steady progress, sunrise came and went while we were several kilometres away from our destination.

However, it wouldn't have been much of a sunrise as low cloud cloaked the horizon. In fact, the quality of light didn't change too much for the first couple of hours until the sun finally lifted above the cloud. This worked to our advantage as the light was still 'pleasant' by the time we parked the car and wandered across to the dunes.

We were careful not to trash the location with our footprints until after we had taken our photographs.

This image is a combination of two exposures, a long exposure which blurs the water and the clouds, and a second exposure focused more closely on the foreground. And, because the sun was behind the clouds, I have added in a little contrast to bring out the texture in the sand dune. Personally I love how one side is rippled, the other side silky smooth.

The moral of the story: use Google Maps with more care, especially when it comes to dirt tracks!.

 
Adventures In Oz - 2012

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Written by Peter Eastway   

15 to 20 August 2012 – Six days/Five nights – $4995

Join AIPP Grand Masters of Photography Tony Hewitt and Peter Eastway
on a private photographic adventure in Central Australia.

Numbers are strictly limited – four guests to one instructor.

The adventure begins in Alice Springs and ends in Uluru where we will photograph Australia’s
most famous icon at dusk. The weather should be perfect for our August sojourn.

Photograph amazing landscapes and nature from the Western Macdonnells to Uluru.

Work alongside the Grand Masters of Photography while you capture your own masterpieces.

And by the time we finish up in Yulara, you’ll have a portfolio of amazing images
and the photographic experience of a lifetime.

Interested?

Click here to read all the details in this downloadable Acrobat (pdf) file.

 

 
Roman Baths, Kars

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Roman Baths, Kars, Eastern Europe

Kars is in Eastern Turkey, away from the main tourist circuit, but near Ani which is certainly popular once you're out this way. Down the end of town is the original castle, situated on a bend in the river and perched up on a hill - a perfect defensive position before the days of aeroplanes!

Around the river are some small farms and a few ruins, including an old Roman Baths. I'm assuming the baths are around 2000 years old, but rather than being a treasured monument, they are simply in a state of decay. Inside are half a dozen rooms and you can see the heating system and how the waters were warmed for the chosen few.

When we walked through, we found a couple of middle-aged men outside on the river bank. They looked up, embarrassed at being caught having a quiet drink, no doubt while their wives worked hard at home! However, that could just have been my take on the situation - and I never let the truth get in the way of a good story!

This room has a wonderful dome above and what looks like an altar in the middle. I'm sure it's not an altar. Another story perhaps? The room is a little smaller than it looks, so I had to take a series of ten or twelve images and stitch them together - digital makes this so easy.

I then grabbed a photograph of a ballet dancer and dropped her into position. No, this isn't my usual type of photography, but I was preparing an article for Better Photoshop Techniques magazine and how to use the Colour Range tool to make a mask. (The magazine won't be on sale for a few months yet.)

With the subject dropped in, I then use a 50% grey layer set to soft light blend mode underneath the layer with the girl, and using a 10% black brush, darkened the area underneath the girl's legs to create shadows. This helps ground the subject a little better.

But there's something else that's not quite right in this version. Can you see what it is?

 

Background image taken with Alpa TC with a Phase One P65+ back, 23mm Rodenstock lens, stitched.

 
Photo Critique - Steven Hu's Winning Image

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Written by Peter Eastway   

2011 Emotive Portraiture Winner: Steven Hu, Australia. Score: 87

Steven Hu won our 2011 Emotive Portrait category prize in the Better Photography Magazine Photograph of the Year Award with what is certainly a very emotive portrait. Why? Let's take a look at what may have impressed the judges.

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Reef Beach

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Reef Beach, near Bremmer Bay, South West Australia

Light is everything. Especially with landscape photography. This image is essentially a design of shapes, but they are brought to life with some wonderful light.
 
Of course, I have played around with the image, adjusting colour, contrast and exposure to end up with what my eyes saw from the plane window. And while the processed raw file (click Read More to see it) is not as startling, that's because it was processed carefully to retain all the detail in the capture.
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Desert Queen Baths - Which One?

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Desert Queen Baths, Ruddell River National Park, Western Australia

One of the great things about photography is that you are never wrong, but someone else might be less wrong than you are! The photo above is my version of a lone gum tree in the rocky ground surrounding Desert Queen Baths. I was there with our Ninety Degrees Five team the year before last and we're currently working on images for another exhibition to be held in conjunction with the FotoFreo photography month in Freemantle. Our exhibition will be at Midlands with FORM.
 
Tony Hewitt and I were working around each other as the light faded. I remember having difficulties getting the tree, the moon and the little hill in the background into a good relationship. I have around 20 different versions of this tree from slightly different angles, with the moon, without the moon, with the hill, without the hill. I knew there was something there, but I was struggling.
 
My most recent edit is above and I was discussing it with Tony Hewitt as a potential candidate for the exhibition. He made some observations about how the three elements didn't sit properly and that either the moon should go or the hill.
 
Click through to the article to see the different versions and perhaps you can give me your thoughts.
Read more...
 
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