Assignment 2: Seeing like your camera

This assignment has caused me a great deal of trouble and angst. In fact, it has proved such a sticking point that I feared for a time it would prevent my progress with the course. The brief requires 12 photographs to be taken under very specific lighting conditions - 8 from which 4 must be chosen, 3 images from each. The pictures should all be taken in JPEG format and no post processing is allowed - the challenge is to pre-visualise how the camera will represent the scene and choose settings accordingly.

The first thing that terrified me about the brief is the thought of not being able to use software to alter the image. I have shot all of my photographs in RAW format for years and see the captured image as only a starting point. I have no problems or hesitations in using software to alter an image and see this as nothing new, just a transformation of the way a traditional wet darkroom would be used to achieve a desired result. Rationally however, I could quickly see how stopping myself from doing this could be an interesting exercise and push me out of my comfort zone.

My main stumbling block came with the very specific set of shooting requirements for the image. I am always keen for my assignments to be linked in some way through either subject matter or concept. I really struggled with finding a way I could do this without simply ticking the boxes, usually I find some way into a project and through experimentation find my direction - on this occasion I was stumped.

To complicate matters, a fellow student (Stéphanie d'Hubert)  posted a brilliant and original interpretation of the brief. 

I love the energy and playfulness of the way Stéphanie has interpreted the brief. To top it all, the assignment is also presented in an original way as a slideshow to music. Instead of feeling invigorated however, I felt completely void of inspiration and ended up putting not only this assignment but the entire course and even photography in general to the back of my mind - I felt blocked and other aspects of life took precedence. Rightly or wrongly when I am not in the right frame of mind I find it extremely difficult to take photographs - it is an issue I have known about for some time and yet do not seem to be able to conquer. In the past a strategy has been to simply force myself to take photographs - of everything and anything. Eventually the simple act of pressing the shutter, usually without any preconceived notion of what I am doing, succeeds in bringing me out of the other side. On this occasion however, the assignment brief weighed heavily on me and I continued to struggle to find my direction.

A turning point came when I had a moment of clarity and realised I was simply overthinking the project. I realised the barrier to me completing the assignment was not the brief but was me myself - it was easier to say it was too constrictive than to try and come up with a creative solution like Stéphanie had. At this point I made the conscious decision to progress no matter what, not to worry about the quality of the outcome but to use the exercise as the learning tool it is designed to be. For a subject I decided to choose something that would be readily accessible to me to make things as easy as possible. With this in mind I came up with the idea of photographing different areas of my house - I am fascinated by the different lighting conditions can transform the everyday and mundane and how the framing of a photograph can change the way items are represented, sometimes becoming abstract and beautiful.

Approach:

As I mentioned earlier, I always shoot in RAW mode. I rarely worry about exposure as I know my camera does a pretty good job of this. Through experience I understand which lighting conditions can cause problems and read the histogram to make adjustments if necessary. This method is more intuitive and natural rather than being conscious. I always tweak exposure and white balance in Lightroom or photoshop, my choice of settings is often governed by pragmatism - I select the ISO setting and aperture that enable me to handhold the camera and achieve the shot. Thinking about the way I usually shoot in an analytical way shocked me a little - I realised how little I thought about anything other than composition when I take photographs and how much I rely in software to get the images I want. It was not always this way, I used to agonise quite a bit about which settings to choose - maybe my experience means I now make choices without realising it? Maybe this is true, but even if it is not I certainly do not consider things like white balance at the moment I press the shutter. After the event I will decide if I want the neutral, 'correct' colour balance my camera normally delivers or if I want to change this for creative reasons.

Another of the considerations and barriers I had to this assignment was the notion of how much to alter the settings at the time of capture. The possible variables I could make were quite daunting so I decided to limit myself - I would shoot mainly as I do normally as I have described above with the main variable being exposure compensation settings. I also wanted to use the assignment as an opportunity to experiment with a new camera (a Fuji X-E1) which I was less familiar with than my normal camera (a Nikon D700.) It was only as I approached the end of the shooting part of the assignment that I switched to my familiar Nikon D700, the main reason for this was to see how the images from each camera differed.

Shooting the images:

I shot the images I have selected here over  4 days during the same week in November 2013, all on my Fuji X-E1. I shot on days where I knew I would be able to pick up the camera as the light changed. I initially intended to only use these images for the assignment, however, as I began to examine the images in January 2014 it struck me that it would be interesting to apply the same approach to shooting but using my more familiar Nikon D700, these were shot over two days in January 2014. It was not until I had completed these shoots that I allowed myself to view all of the images - I did not want the pictures I took to be influenced by the selection process. This was a risk however as I did not know whether any of the images I had taken would be of any use for the assignment.

The notion of 'the decisive moment' is one I interested in, there has long been an idea that the thing that the differentiates the 'master' photographer from the rest of us is their ability to press the shutter at the exact moment all the elements of a photograph come into alignment. At the same time they can see how the image will be rendered and are able to select their settings accordingly. They do not need to bracket or take more than one image of a subject. Broadly I think most people know this idea is a fiction, indeed I learned in assignment 1 about workflow that the ability to edit image selection is a skill in itself, possibly even more important than pressing the shutter. My initial thoughts for this assignment was to allow myself only one shot of each subject, in practice I was not confident enough to achieve this however and I bracketed my shots extensively.

I gave little thought to the conditions set out by the assignment brief - I hoped that by simply focusing on situations that featured extreme contrast I would take enough images to fit the different criteria. I found that my confidence shooting increased as the assignment progressed: when I began I took an exposure the camera suggested and then bracketed around this. The more images I took I began to think more about how I wanted the image to look and begin with the setting I felt would most closely get the desired result.

Indoor space in which the only available light is strong natural window light

Fuji X-E1, ISO 400, 1/1600 sec @ f9, 18-55mm @ 24mm, - 1EV

For this image I wanted the shadow to be exposed as close to black as possible which also had the effect of defining the edges. I found -1 EV of exposure compensation was enough to achieve this, any more and the highlight area became too dark and lacked sufficient contrast, I also like the way the colour from the wall shows through the shadow. Increased exposure meant too little contrast. A further effect of lowered exposure was increased colour saturation.

Fuji X-E1, ISO 800, 1/3000 sec @ f5.6, 18-55mm @ 48mm, -2 EV

For this image I was attracted to the shape of the window light falling onto the wall and the way the physical straight edge of the door frame is echoed by the shadow and the interest created by the triangular shape of the shadow. -2 stops of exposure compensation have made the shadows extremely dark, almost black. The wood of the door frame is deeply saturated partly due to the exposure setting and provides a focal point as well as a point of contrast in an otherwise mainly monochrome image. The contrast also brings out the texture of the paint and grain of the wood.

Nikon D700, ISO 3200, 1/125 sec @ f6.7, 24-70mm @ 70mm, -3 EV

For this image I wanted to concentrate attention on the subtle tones created by the window light. The exposure compensation of -3 stops means the window area is exposed well while leaving just enough detail in the wall area for the viewer to be able to make out subtle detail, a high ISO setting of 3200 was necessary to handhold the camera for this image. Usually I am adverse to noise in an image, however, on this occasion the noise adds a slight amount of texture to the scene that I like.

Any backlit scene whether in direct or indirect light

Fuji X-E1, ISO 400, 1/60 sec @ f5.6, 18-55mm @ 55mm, +2 EV

This picture demonstrates how light can transform what we see, the strong sunlight and angle of view highlight the fingerprints on the window here. I chose two stops of increased exposure to emphasise the strength of the sunlight and also cause a desaturating effect.

Fuji X-E1, ISO 400, 1/1700 sec, 18-55mm @ 29mm, -2 EV

The pattern of the condensation on the window attracted me to this scene, I like the way the reduced exposure puts the window frame into darkness  and makes the colour saturation rich.

Nikon D700, ISO 3200, 1/180 sec @ f3.3, -2 EV

This is one of the few images that I took that I had a strong idea of how I wanted it to look. Without exposure compensation the camera would expose the majority of this scene too brightly. I wanted to achieve the feeling you have lying in bed before opening the blinds on a bright day and get a sense of the power of the daylight versus the darkness of the room.

Scenes which include objects of a very different reflectivity, even in flat light such as an overcast day

Fuji X-E1, ISO 800, 1/3500 sec @ f9, 18-55mm @ 61mm, -2 EV

I like the way the highlights created by the reflections off the mirror ball become the subject of this photograph, any less than the -2 stops of exposure compensation here meant the contrast of the little spots of light were lost in the image.

Fuji X-E1, ISO 800, 1/2000 sec @ f7.1, 18-55mm @ 49mm, -1 EV

Like the fingerprints on the window, the scratches of the kitchen work surface are emphasised by the strong window light and the cameras point of view. Again this shows a familiar surface from a different perspective as under normal viewing conditions this would appear smooth, without the contrast between light and shadow the texture would be lost in the image.

Fuji X-E1, ISO 400, 1/160 sec @ f4, 18-55mm @ 20mm, +1 EV

The remnants of breakfast cereal in the sink made an interesting pattern to my eye. I wanted to emphasise the bright reflectivity of the metal sink so increased exposure by one stop which also reduced contrast. I found the alternatives I shot with reduced exposure were had too much contrast.

Indoor scenes illuminated by a single source of artificial light of high luminance e.g. a desk lamp

Nikon D700, ISO 1600, 1/1000 sec @ f5.6, 24-70mm @ 66mm, -1.5 EV

I wanted to emphasise the shape of the light fitting in this image, the -1.5 stops of exposure compensation allow enough of the highlight tones to be exposed well while leaving a subtle amount of exposure in the background.

Nikon D700, ISO 6400, 1/15sec @ f2.8, 24-70mm @ 48mm, -2.5 EV

The pattern of the shadows from a tree with the only light source being a sodium street light. This exposure setting meant the window frame was in silhouette while there was enough brightness to show the pattern of the leaves and texture of the blinds.

Nikon D700, ISO 1600, 1.5 sec @ f4.8, 24-70mm @ 66mm, -1 EV

For this picture I wanted to emphasise the orange of the light source so chose the shade white balance setting. I placed the camera on the floor for this unusual viewpoint which is evocative of the stillness you can experience in a house at night time.

Conclusion

Despite all of the misgivings about this assignment I do feel I have learned a great deal from it, if nothing else I enjoyed taking photographs within the set of conditions I imposed upon myself and will continue to pursue this project in the future. The exercise has forced me to reflect a great deal on how I shoot photographs and to realise that I rely heavily on software in my workflow and that I do not give enough consideration to my exposure settings as I press the shutter. What I thought of as being confident in my technique is more like being too comfortable - it is interesting to reflect back and realise how much more consideration I was giving to my camera settings as the project progressed. Something I have not mentioned until now is cropping, which is something I use a great deal. I now realise I need to be much more careful with my composition and not rely too heavily on this - as I review the images here I am desperate to crop some of them to tidy up the composition. In the end it is safe to say I have not enjoyed this assignment, however, with hindsight I can see how completing it will inform my photography going forward. I wish I had been able to put the obstacles that prevented me from completing this project to one side and progress quicker, hopefully the fact that I eventually managed to produce something will help me going forward.

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.