Exercise 10: Colour Cast and White Balance

One of my early memories from when I first became interested in photography and was experimenting with my first film SLR was being shocked by the extreme colour cast from a some pictures I took under tungsten lighting. The abiding thing this experience taught me was to be wary of how our eyes can compensate for different lighting situations and how the camera will not do this. Since the advent of digital photography however, white/colour balance has become less of an issue, especially if photographs are shot in RAW as the colour balance can be altered post capture. (I wonder however if this causes any problems - for example, is there a degradation in quality doing this versus setting white balance at the time of capture.)

As I always shoot in RAW mode I only ever have my camera set to automatic white balance. I find this gives a neutral result most of the time, however, I always experiment with white balance as this can significantly alter the mood of a photograph - higher colour temperatures giving a cooler/bluer result and lower settings giving a warmer/red/orange effect. White balance can also significantly effect colour saturation in an image and perception of exposure.

I skipped the first part of this exercise which called for photographs to be taken using different white balance settings in sunny, cloudy and shady situations as this is something I am familiar with already as described above. The second part of the project interested me however as this called for photographs to be taken in mixed lighting situations. The pictures I have chosen are taken outside my house at dusk with a streetlamp in shot. The different colour temperatures of the sky and the lamp give interesting results

All of these images were shot in RAW format and the Kelvin reading here is taken from Lightroom without any processing, interestingly the amount indicated was different to the one my camera manual gave.

Automatic White Balance:

7350 Kelvin (-23 tint)

Firstly I wanted to compare how my camera rendered the scene with the automatic white balance setting. This is pretty close to how I remember the scene looking with the sky being grey/blue and the orange of the streetlamp illuminating the scene. The streetlamp itself is rendered white.

Incandescent:

2950 Kelvin (-3 tint)

This setting has given the light source the appearance of white light, the orange cast from the street lamp is virtually eliminated and the sky is a dramatic, saturated blue. The centre of the light appears pure white as does the 'halo' around it. This also makes the light and the sky contrast more and the light appears to be brighter while the fence and grass appears much darker.

Fluorescent:

3950 Kelvin (+30 tint)

A much redder element is added here although the blue of the sky is maintained. The light has a more pink than orange tint.

Daylight:

5000K (-6 tint)

This image appears much brighter than the previous 2, the sky is much more muted and grey rather than blue. The cast from the lamp has a warm orange feel.

Cloudy:

5700K (-8 tint)

Very similar to the daylight setting, the main difference is an apparent increase in brightness.

Flash:

6100K (-6 tint)

There is a slight difference in the perceived brightness here in the sky and grass. The grass appears slightly less orange and more green.

Exercise 9: Scene Dynamic Range

Having not enjoyed the previous exercise I decided to give it another go to see whether I could get any better results - I achieved a 4 stop difference which was even worse than my previous result! With this in mind I decided not to complete this exercise. I did do some more reading about dynamic range however.

In his book 'Perfect Exposure', (Ilex 2009) Michael Freeman discusses dynamic range and how this relates to exposure extensively. He defines dynamic range as "the ratio between the maximum and minimum luminance values in a scene or in an image." He also concludes that "the highest image quality in digital photography comes from using the full dynamic range of the sensor to capture the full range of the scene." I am unsure about this statement. "highest image quality" seems a particularly loaded phrase and while I think I understand what Freeman is asserting I do not think I share his valuation of what makes an image of the highest quality. As I became more interested in photography I become less worried about making images that comply with an accepted notion of aesthetic beauty and more concerned about how a picture can be more interesting because it breaks convention. For example, previously I would always select the lowest ISO setting I could to achieve the smoothest tonal values in my pictures (and what I thought was the highest quality.) Now, I find myself often using high ISO settings and have come to appreciate the immediacy noise can add to a picture.

Freeman continues to describe (what he considers) to be the 12 types of exposure situation and how recognising these in combination with an understanding of the cameras dynamic range can enable the photographer to select the desired exposure settings. He says that he arrived at this analysis through experience:

"the way we assess types of scenes subconsciously has been built up over time and is embedded somewhere in our brains"

Analysing a scene relies on understanding key tones (one or more areas of a scene that have commanding importance) and average tone (most people expect most subjects to be average in tone.)

1st Group - The Range Fits:

1. Range Fits - Average

The dynamic range of the scene fits the range of the sensor - histogram within 5-10% of the limits.

Good practice - take a test shot (especially for action.)

Technique - spot maximum highlight and minimum shadow in a scene and make a decision which to set exposure for.

2. Range Fits - Bright

Examples - snow, white walls, white clothing.

Average meter readings would not give the right result, use centre weighted on the key tone and positive exposure compensation.

3. Range Fits - Dark

Opposite approach to 2 to keep dark details black and not grey.

2nd Group - Low Range:

Atmospheric conditions diffuse light and act as a filter that even out tones in a scene e.g.. Haze, mist, fog, dust.

4. Low - Average

Histogram will be cantered with room either side, often 'bell' shaped.

Sometimes called flat lighting

5. Low - Bright

No important shadow areas.

Will often need positive exposure compensation to keep bright but danger of highlight clipping.

6. Low - Dark

Not common - mainly due to taste - people prefer light rather than dark images. Most low key images tend to have small bright tones which raise the dynamic range e.g.. Dusk, dawn, night, deep colours e.g.. Purple.

3rd Group - High Range:

Also referred to as over scaled or high contrast. Important to make decisions about clipping.

7. High Key - Average

Extreme mixture of tones, some clipping inevitable. Most common lighting situation when range is high.

8. High - Large Brighter

Subject matter brighter than average and the surroundings.

Technique - centre weighted and positive exposure compensation.

9. High - Small Brighter

Difficult to measure - spot metering best. Histogram of little use because small area of brightness displayed as relatively few pixels. When key tone small danger of over exposure - care needed to avoid clipping but high enough to show detail.

10. High - Edge Lit

Most specific, rarest and difficult lighting situation. Effect depends on situation e.g.. Thin edge may blow highlights, broader expose as light, not clipped.

Bright edge usually key tone meaning loss of shadow detail is often acceptable. (An example of a low key image)

11. High - Large Darker

Background will suffer from over exposure unless contrast dealt with by adding light or in software.

Very common e.g.. Outdoor scene with a band of sky.

Choices - expose for average tone or darker or silhouette.

12. High - Small Darker

Background always dominates here and is where exposure decisions should be taken.

Freeman brings his analysis of exposure situations with a description of Envision - being able to imagine how a scene will look if you give it a certain exposure:

1. Learn to discount your eyes efficiency at seeing detail in deep shadows and bright highlights as your camera cannot see both.
2. Be able to imagine how a scene will reproduce of given 'normal' or 'average' exposure.
3. Decide how you would like it to look.
4. Anticipate how it might look under different lighting conditions that are practically possible, such as change in the angle of sunlight or under controlled conditions by changing lighting.

While I find the information here interesting, even invaluable, it remains difficult to translate into practical application. The notes imply the ability to consider a scene carefully and make adjustments as necessary without time pressure. Unfortunately, in practice this is not often possible. I guess this is where experience comes to the fore and becomes key. I imagine accomplished photographers like Freeman are able to analyse a scene quickly and come make exposure decisions almost intuitively. I have a tendency not to think too much about the exposure settings I make, partly this is because experience means I have a clear idea of the result that will be achieved but also it I because I always shoot raw and know I have a certain latitude to be to alter exposure in processing. I have never worried about this but increasingly I am beginning to think this is laziness on my part - should I be striving to have a clearer understanding of what a photograph will look like when and attempting to get my camera settings as close as possible to this or is it okay to make these decisions at the computer screen? I do not think there is a right or wrong answer to this and experimentation is probably the best course of action. I will attempt to apply the knowledge gained here to my shooting however and see if the results are different.

Assignment 1 - Response to Tutor Comments

Generally pleased with the comments from my tutor. The main build for me is that I have concentrated too much on the editing aspect of workflow (probably because this is what interests me the most) but have left out key information about my process for preparing my equipment, shooting, backing up or even whether I shoot in RAW or not. I guess this is because these are now givens for me in my workflow and I did not consider them interesting enough to include in my write up. For my future work I need to ensure I am not taking things like this for granted and I explain myself better.

Here are a few responses to my tutors comments:

Planning:

My preparation for shooting is quite streamlined and organised and is as follows -

• Check battery charge (I always recharge my battery after use so it is ready for the next time I shoot.)

• Format memory card.

• Check camera settings - for example no unusual settings left from last shoot such as exposure compensation, white balance or timer. My standard settings are: Raw capture, automatic focus (usually single server but changed to continuous if faced with moving subject), automatic white balance (can be altered in RAW conversion if necessary), aperture priority mode, ISO chosen as low as possible to enable fast enough shutter speed to hand hold shots (if light is rapidly changing I choose automatic ISO capped at 3200), exposure metering by the cameras multi segment metering mode.

Shooting:

How much I prepare for a shoot entirely depends on how I intend the final image to be used. I have a tendency to over think and have too clear an idea of how I want an image to look. This regimented approach has led to disappointment on many occasions when the shot I have taken does not work in the way I have envisioned. Often I can see how a change of viewpoint or different technical considerations could have improved the image - sometimes I am able to reshoot but often the moment is lost. I am also inclined to search for an unusual angle or viewpoint and discount anything that seems typical - on my last course 'The Art of Photography', my tutor spoke about not discounting what she termed the 'tourist viewpoint' but using this as a basis for exploration. This provided a light bulb moment for me and I now always endeavour to do this - that is not to say I take a machine gun approach and shoot a great deal without consideration, instead I attempt to explore a subject or location fully and experiment more.

As I explained in my write up, I began my planning by brainstorming different approaches I might take to Penshaw monument. What I did not explain however was my approach once I arrived on site. For the reasons mentioned above I tried to keep preconceptions to a minimum and explore the subject as fully as I could. Mainly I took the same route around the monument but each shoot was different because of the lighting conditions and time of day and how they affected how the structure looked which prompted me on the approach to take.

For getting the right exposure I checked the histogram and bracketed shots if necessary. Because I was shooting in RAW format I did not worry too much about this as I knew I could make adjustments in post processing. This is the general approach I usually take, I am looking forward to exploring later parts of the course that focus on getting the image right in camera.

Backing up:

Mention is also made of good practice for backing up images - I store my images on two external hard drives - initially I import onto my computers hard drive and then transfer the files onto my external drive which I keep connected at all times. I also copy the images to my backup drive which I only switch on for this purpose. This is not a very streamlined process and RAID drives are something I have thought about in the past and will research further in the future.

One of my aims for this assignment was to create a coherent body of work and it is reassuring to know that I have succeeded in this. The encouragement has set me thinking of ways I can push this further and be more adventurous with future assignments.

Assignment 1: Tutor's comments

Overall Comments

Thank you for your assignment.

You have submitted 12 colour images of Penshaw monument. The images themselves are generally well constructed and have a strong theme running through them. You have also submitted a comprehensive blog and description of your ideas and images.

Your images and blog indicate that you have a good grasp of the basic ideas behind workflow.

Assessment potential

You may want to get credit for your hard work and achievements with the OCA by formally submitting your work for assessment at the end of the module. More and more people are taking the idea of lifelong learning seriously by submitting their work for assessment but it is entirely up to you. We are just as keen to support you whether you study for pleasure or to gain qualifications. Please consider whether you want to put your work forward for assessment and let me know your decision when you submit Assignment 2. I can then give you feedback on how well your work meets the assessment requirements."

Feedback on assignment Demonstration of technical and Visual Skills, Quality of Outcome, Demonstration of Creativity

Having a good and efficient workflow pattern is an important aspect of digital photography, enabling you to achieve your creative potential.

Once you have established an efficient way of working then it gives you the chance to concentrate more on your concepts and techniques.

Good to see the research you have done on Gary Winogrand. He was a highly influential photographer who has influenced generations of other practitioners and his way of working is well worth consideration. One of the strengths of your submission has been your attention to editing. However there are a few other points worth mentioning.

Planning

It would also be worth mentioning at this stage how you are pre-visualising your images. You have obviously considered what your subject is going to be and at this stage it can help to do a rough sketch of your ideas (this is often more applicable in situations such as some commercial assignments where you are working with an art director).

Other preparation could include cleaning your sensor and lenses, making sure that all batteries are fully charged and making a tick list so that you know that you have all the necessary equipment. It is also at this stage that you might consider trying to pre-empt any problems that might occur.

In addition you should use a card that has been formatted. This erases all previous images on the card (make sure you do back-ups), recreates the file system including new directories and improves the overall performance of the card). Try to avoid deleting single images from your card.

Image capture

Your exposures generally look fine but you do not mention your methods for getting correct exposure readings. I am presuming that you are reading the histogram data on the camera. This is important as it allows you to catch the full range of tones available with no visible edge clipping.

I can see that you are enjoying using Lightroom to edit and work on your images, which is great. Lightroom is used extensively in professional practice along with Capture One Pro and sometimes Adobe Bridge.

It’s good to see that you take time away from your pictures before a final edit, as it can give you the space to see your images again in a fresh light. This is not always possible when working professionally when speed is sometimes more important when turning a job around, but when possible is always worth it. Although you may not have found it useful in this instance, it is worth doing and you will find with time that it can make a difference.

You do not state whether you are shooting in a RAW format (I am presuming that you are). This is important to obtain the maximum amount of information and to increase your post production possibilities in Photoshop and Lightroom.

In your blog you do not mention how you are backing up your images.

This is another important aspect of workflow.

Several professionals that I know back up their images on 3 separate hard drives, one of which is kept at a different location (I have had many students who have lost work after not backing up information).

For further image security it may be worth looking at RAID drives where the information is stored over several drives. These are often used by professionals as it is offers further security.

Your images are well composed with an attention to detail and a keen sense of composition and framing.

The strength of the project is enhanced by the clarity with which you have tackled your subject. The constant presence of the monument within the frame give the work continuity and a conceptual strength which I would encourage you to build on in your subsequent assignments.

 

Learning Logs or Blogs/Critical essays Context

Your blog is detailed, comprehensive and easy to navigate.

Suggested reading/viewing Context

I have attached a sheet detailing professional workflow practice.

You may find the following of some use:

Langford, M ‘Basic Photography’ p. Focal Press 2007

Assignment 1: Workflow

Brief:

The purpose of this assignment is to explore the subject of workflow through a shooting assignment of my own choosing. Before completing the first two exercises for the course I felt I  had an established workflow which worked well for me, completing the exercises made me question this however - was my workflow too rigid? Was it preventing me from exploring alternative methods of processing? If my workflow was so good why did I have so many unprocessed images on my hard drive? With these points in mind I wanted to explore the subject of my workflow in an analytical way, carefully considering each aspect and spending time thinking about my choices and ways of working. I tried to put aside all of my preconceptions and at the end of the assignment I hoped to be able to use what I had learned to make practical adjustments to my ways of working that would be of benefit in the future.

Choosing a Subject:

I wanted to choose a subject that would provide many different types of image, would be of interest and would be accessible. I arrived at my choice of Penshaw Monument near Sunderland by chance - I took a number of photographs from the top of the monument on a family day out and felt this could be a subject worth exploring further.

Penshaw Monument is a symbol to the people of wearside (as important as say the Tyne Bridge or Angel of the North would be to the people of Tyneside) it dominates the local landscape and can be seen for miles around and is featured on Sunderland football clubs badge. It is a Doric style structure based on the Temple of Hephaestus in Athens built in memoriam of John George Lambton, the Earl of Durham, in 1844. The monument was given to the National Trust by the 5th Earl of Durham in 1939.

One of my areas of interest in photography is how the familiar can be transformed for example through viewpoint. Recognisable monuments are mainly represented through a 'chocolate box' aesthetic which is not a style I am attracted to - by choosing Penshaw Monument as my subject I wanted to explore this kind of 'tourist' view while also making pictures that are less typical of the kind regularly seen.

Preparation:

I began by brainstorming a number of possible approaches so when I arrived at the monument I would have some ideas of what kind of shots to take. I also began thinking of different times I would want to take the photographs:

• The 'tourist' view
• People included

• Abstract/details

• Night time

• Sunrise/sunset
• Context e.g. Local houses
• 'Chocolate box' view

• Light and shadow

Plan for shooting the images:

One of the factors that led me to choose Penshaw monument as a subject was that I pass it every day on the way to and from work. Not only that but the structure is so prominent that I can see it in the distance for most of my journey. I wanted my chosen subject to be reasonably accessible and felt that I could stop off at the monument often to and from work and would be able to take pictures in a variety of different times of day and weather conditions.

Usually if I am pursuing a long term project I review and edit my images after each shoot. I find that this can influence me in subsequent shoots - for example I might not take a particular image because I feel I have already taken something similar. As part of my research I was inspired by an article about Garry Winogrand which detailed his ways of working.

Winogrand was a prolific photographer, when he died he left around 2500 rolls of undeveloped film and is estimated to have shot around 5 million images in his lifetime. Winogrand believed that emotional attachment to an image led to poor editing choices and would take the extreme solution of waiting up to 2 years before even processing a roll of film. By doing this he believed he separated the act of taking the image from his selection process; by having virtually no memory of taking the picture he was able to make decisions based purely on the content of the frame and not influenced by emotion.

When I shoot I always download my images regularly and review them straight away - as mentioned this can influence what I shoot after this, I may choose not to take a certain image because I think I have already captured it. For this assignment I took the decision to shoot over a number of weeks (months as it turned out) and to only view the images and begin making my selections when I had taken them all.

Taking the pictures:

One of the main reasons I chose Penshaw Monument as my subject is that I thought I would be able to stop off regularly to and from work and take pictures in a variety of conditions. In reality things turned out very different: stopping off going to work never happened because the weather conditions often meant I would be a mess before I got to work or because I was worried I would end up spending to much time taking pictures and be late. It was also difficult to stop off on the way home, I work quite long hours and was often not in the mood to stop off or needed to get home for family reasons so it was not practical. In my head I thought I would be able to stop for 10 minutes or so and take some pictures, in reality I spent 1-2 hours each time I stopped.

A benefit of choosing Penshaw however was that I spent a great deal of time looking at the structure on my journeys and would think a lot about different images I might take. A downside however was looking at the structure when conditions were interesting and knowing that I either didn't have time to stop off or have my camera with me.

When to stop became an issue as well - I initially intended to spend around 2 months on this assignment but it has actually taken me around a year! Even at this point I had to force myself to start bringing the assignment to a conclusion - my main reason for this was fearing I had not taken enough pictures and had not explored all of the possibilities I had thought of. With hindsight I should have set myself a strict deadline, something I will try to do for future assignments.

Selecting the images:

I used Lightroom 4 to catalogue and process all of my images: I had taken 832 images over 8 shoots. Firstly I applied the keyword 'Penshaw Monument' to each of the images and created a collection (Penshaw DPP Ass 1) for the images so they were easily accessible from the rest of my image library.

Next I viewed each image in turn and flagged any I wanted to consider further while rejecting any with obvious technical problems. For this initial select I ended up with 284 flagged images and 3 deselects. I then processed each image in turn which gave me the opportunity to view each picture in more detail. If I found I no longer wanted to consider the image for selection I removed the flag, at the end of this process I had a rough edit of 214 pictures including two I had processed alternatively.

I am conflicted about whether this part of my workflow is the right way for me to select images - on one hand this was a very time consuming process which has not resulted in me removing many sections, I felt an element of frustration that I could not be more decisive. On the other hand I think this part of the process could be the most important part of my workflow as it gives me the chance to spend an extended amount of time getting to know the images and aids my decision making process going forward. The unfortunate reality however is that the process takes time and that is something that is a luxury for me. On first indication taking Garry Winogrand's advice and leaving some time before reviewing my images has made little difference - I imagine that I would have made similar if not identical selections if I had edited the pictures straight after shooting

In the past I have always found having pictures to look at greatly aids my decision making process so decided to have 6x4 prints made of my selects. One of the principles of this project is that I wanted to present a group of different images of Penshaw. With this in mind my first action when I received the prints was to sort them into separate categories - I ended up with 18. Next I reviewed the pictures in their category selections by placing them onto a large table top and looking at them side by side. I then sorted them into three selection criteria - pick, maybe and reject. At the end of this process I had 120 selects, 24 maybe and 70 rejects. I was now feeling quite restless with the selection process and was coming to realise that I was been much too protracted in my approach. I viewed the pictures again with a more critical eye - if there was anything in the image that led me to think 'maybe' I discarded it as I now realised this meant the picture would not make the cut. Despite this I still ended up with a selection of 54 prints!

Final selection:

At this point I was keen to try an approach that I have read many photographers find useful - I decided to display the prints on my wall and leave them for a couple of weeks before making my final selection. I was still faced with something of an impasse however as to which of the pictures to choose. In the end I forced myself into being decisive and began deselecting images by taking them down from the wall - often my selection process was governed by a gut instinct rather than by analysis, in fact I made a conscious effort not to overthink at this point as I was beginning to recognise this was the main driver of my procrastination.

I was surprised at how quickly I managed to pair down the selection to 12 images (although I did have 10 pictures that nearly made it and which can be found here) was this because of the time I had spent 'living' with the pictures - had this aided my decision making? Perhaps I knew from the beginning which images were my favourites and I had been putting off the inevitable?

The final 12:

ISO 1250, 24-70mm f2.8 lens @ 56mm, 1/125 sec @ f5.6

The fields around Penshaw are used for grazing cattle (although the cattle are not always present.) On this particular occasion I took the opportunity to feature this cow as foreground interest. I have chosen to open the set of images with this because I can imagine something similar being used by the National Trust to advertise Penshaw - to me it offers a 'tourists view.' People are excluded and there is a sense of wildness about the monuments setting, the cow and monument have a sense of balance because of their relative size and positioning in the frame and the orange/ginger cow contrasts with the surrounding grass.

ISO 200, 24-70mm f2.8 lens @ 70mm, 1/90 sec @ f11

As I have mentioned, Penshaw monument dominates the local landscape so I was keen to show this in a number of images. Although the monument is quite small in the frame it is clearly the point of interest, the pattern of the corn and its positioning draw the eye. Some of the shots I discarded that were similar to this had tractor tracks in the corn as leading lines but I prefer the low viewpoint here that does not include them. The inclusion of the electricity pylon also acts as a reminder that of how modern technology transforms the landscape and seems to anchor the monument in the distance.

ISO 250, 24-70mm f2.8 lens @ 70mm, 1/350 sec @ f11

This was from the first shoot I did at the monument which gave me the inspiration to pursue it as a subject. I like the disorder in this image which contrasts with the horizontal and vertical alignment of the pillars and shadows. The high contrast tones add a graphic dimension, also, images of people taking photographs is a subject I am interested in pursuing as a long term project. The way the adults in the group are trying to create pictures while the children play has an interesting narrative quality about family days out.

ISO 400, 24-70mm f2.8 lens @ 48mm, 1/250 sec @ f9.5

This picture is all about the atmosphere created by the fog, I like the way the monument is just visible and the muted tones.

ISO 400, 24-70mm f2.8 lens @ 24mm, 1/2000 sec @ f9.5

I took many images of the monument in silhouette but kept coming back to this one. I think the tones work well here the sun just visible behind a pillar gives a strong sense of mood. I am not sure this would be placed as being north east England without prior knowledge of what it is.

ISO 1000, 24-70mm f2.8 lens @ 70mm, 1/350 sec @ f11

The composition attracted me to this image, through my research I cannot recall seeing a picture of Penshaw from this angle. The height of the structure is emphasised by shooting from the side and the tones pick out the brickwork which gives an indication of the monuments age.

ISO 1000, 70-300mm f4.5-5.6 lens @ 122mm, 1/1000 sec @ f6.7

This image was shot from about 10 miles from the monument. Unlike the corn image Penshaw is not the obvious subject here, the picture is about the way the layers of mist add depth and is evocative of early morning. This is also emphasised by the 'letter box' crop.

ISO 200, 24-70mm f2.8 lens @ 24mm, 1/125 sec @ f8

I imagine this image being featured in promotional advertising, the jaunty angle gives a modern feel. Although the composition is unconventional I think it is easy to read what the picture is of and the angle of view adds interest as the eye moves around different aspects of the monument. The early morning warm sunlight hitting the stonework complements the blue sky.

ISO 400, 24-70mm f2.8 lens @ 60mm, 1/180 sec @ f11

I chose this image because of the sense of wilderness in the scene. I also like the way the sunlight hits the top of the grass where the monument meets the horizon. The viewpoint isolates Penshaw from any sign of the modern world and the floodlights that surround it are also excluded.

ISO 400, 70-300mm f4.5-5.6 lens @ 125mm, 1/750 sec @ f5.6

This image is opposite to the previous one because it gives an indication about the environment around the monument. I have an interest in allotments and am attracted to the way their owners often build interesting structures. A lot of the other allotments I photographed in the foreground were more ordered than this but I chose this image because I like the way the slightly ramshackle shed contrasts with the order of the monument in the background.

ISO 2000, 24-70mm f2.8 lens @ 31mm, 1/250 sec @ f5.6

This abstract image of the monument has many similarities to the one chosen earlier but in the end is quite different. The orientation is portrait rather than landscape which emphasises height and the almost monochrome palate gives a cold and foreboding feel unlike the warmth from the early morning sun provided in the initial image.

ISO 800, 24-70mm f2.8 lens @ 24mm, 1/60 sec @ f9.5

I took many pictures using the steps to the monument as leading lines but chose this because of the strong way they lead the eye to the structure. This was taken at dusk and the floodlights have just come on, the darkness of the tones however give a sense of creepiness rather than warmth and the picture contrasts with the reassuring view that opens the set.

Conclusion:

I have found this assignment invaluable in understanding my own personal workflow. Before beginning I was quite dismissive about the learning's I would take from the exercise, however, it has highlighted both weaknesses in my approach that I was probably not confronting while making me realise that I very far from having an established workflow of my own. Firstly, I understand now better than ever before that I need to shoot more, however, I need to come up with a strategy to aid this as self doubt seems to be my main issue. I have plans for a number of long term projects and this is what I plan to concentrate on to drive me forward as well as forcing myself to pick up my camera more often - whether I feel in the mood or not.

For the purposes of this assignment I have taken a protracted approach to selecting my images. At the time I thought this was for the better good of the assignment and my development but really I was just putting off progressing. I have understood for a while that procrastination is a major issue for me and have thought I had this under control, clearly however it is not. If I am truthful I could have predicted most of the images I have chosen for my final selection at the initial stages. Again self doubt is the enemy here and I believe that the more I 'practice' the more my confidence will grow and the more willing I will be to trust my instincts.

In the end my understanding of workflow has gone full circle. Initially I thought this was one of my strengths, now however I understand that although I am confident in using the software I have a long way to go in being confident in my own selection and decision making. Everything I now read that comments on workflow now takes on a new resonance and meaning and informs my ways of working. Yes this assignment has been much more difficult to complete than I foresaw anticipated and yes I have spent much longer on it than I first wanted to. However, that could all be for the long term good as long as I put the lessons learned here into practice.

Exercise 8: Your Camera's Dynamic Range

This exercise is one that I put off attempting for quite a while because of how complex it is and due to the fact that I saw little benefit in completing it. I produced a set up similar to the one described in the text, set the exposure compensation to +0.5, the point at which the camera's highlight warning began to show. I then took spot meter readings from the highlight area (represented by the white A3 drawing pad in the centre of the frame) and shadow area (the area inside the house.) The readings I got were 1/1000 @ f16 for the highlight area and 1/125@f5.6 for the shadows. Using a dynamic range calculator I found through an internet search.

I arrived at a difference of 6 stops between the shadow and highlight area - about half the dynamic range I had been led to believe my camera was capable of through various tests I had read! A quick examination of the image in Lightroom however showed that I should have taken a meter reading for the shadows from the area underneath the children's sand table at the front left of the image. This shows the inherent flaw in this exercise - it is an attempt to be quite scientific in analysing dynamic range and yet provides too many variables to give accurate data. My understanding of dynamic range comes purely from using my camera in different situations and gaining an idea of how it will behave. At the same time I need to decide which elements are most important in the frame and whether my cameras metering will be fooled into under or over exposing - I have learned that the eyes can often fool you into how light or dark a scene is and to use the histogram to judge whether a full range of tones will be recorded. Completing this exercise has done nothing to further my knowledge in this area, maybe this is because I am already familiar with the way my camera operates. I doubt whether I would attempt a repeat of this exercise with a new camera - I would probably experiment with how the it behaves in real situations to understand its strengths and limitations.

Exercise 7: Your Tolerance For Noise

For this exercise I fixed my camera on a tripod in front of my bookcase and took a series of photographs increasing the ISO setting with each shot. The subject I chose featured both light, dark, detailed and plain areas. I then examined each image at 100% to note the difference that the increased ISO setting had on each image.

ISO 200 - no noticeable noise

ISO 400 - no noticeable noise

ISO 800 - small amount of noise in shadow and coloured areas, particularly purple of Parr book and black areas.

ISO 1600 - noise starting to take on an artificial look, definition of writing on the books seems less sharp.

ISO 3200 - noise now obvious across whole of the image and now noticeable in lighter areas.

ISO 6400 - noise has a more speckled appearance and looks less natural.

ISO 12800 - noise very prominent and visible evident without viewing at closer magnification.

ISO 25600 - image appears very degraded throughout and decrease in saturation is evident.

Generally I would say my camera handles increased ISO well - I would have no issues using settings up to 1600 and 3200 does not represent significant degradation of image quality either. Often the ISO speed chosen is entirely dependent on circumstances when an image is taken - given bright enough conditions I would always choose the lowest setting possible as this gives the best quality and most versatile output for the final image. Recently I have began to shoot in automatic ISO mode in situations where the light is changing rapidly and a fast shutter speed is required - experience has taught me that increased noise in an image is a necessary compromise to achieving image sharpness.