Shades of Grey: Part Three

While the term "the other day" can be used in reference to anywhere within the last 18 months, in this instance I do actually mean in the last two or three days. I had been wondering where I could go on my day off (precious and few that they are) and was suggested to try a place called Dodman's Point south of St Austell, Cornwall.

So I did. I drove there, without my Sat Nav on this occasion as I'd lent it to a work colleague, parked and went wandering.

Gorran haven is a quaint, little fishing village with a private, working harbour. When I arrived the tide was out and families were out on the harbours' sandy beach and harbour wall. A collie dog was chasing a toy across the sand and returning it up the harbour wall steps to where an elderly woman and a young girl sat. Elsewhere on the wall an old couple walked towards me.

Nikon D7000, Tamron 70-300 @ 210mm, 1/50s @ f10, ISO 100

Nikon D7000, Tamron 70 - 300 @ 70mm, 1/40s @ f10, ISO 100

Walking towards the wall I spotted a couple of fishing boats sitting at the bottom of the stone steps. There were a couple of guys working on them, but this was the best image and sadly does not include them. You can see the collie racing from the lower stone step though. 

Nikon D7000, Tamron 70 - 300 @ 125mm, 1/15s @ f10, ISO 100

Standing atop the harbour's stone wall, I looked around and found a family down on the beach, one of the children playing in the surf.

Nikon D7000, Tamron 70 - 300 @ 70 mm, 1/400s @ f5.6, ISO 125

Leaving the harbour for the Coastal Path, the sun was slowly on its way down but I still had time. There was little of interest for a good part of the way until I came upon a large white mushroom. Continuing on towards the next beach there was a pole fisherman standing out on the rocks. At the end of the path before the next beach I saw the headland opposite with a bank of fog shrouding the top. The low sun was partially hidden by cloud cover and it looked spectacular. 

Nikon D7000, Nikkor 16 -85 @ 85mm, 1/80s @ f8, ISO 125

Nikon D7000, Tamron 70 - 300 @ 220mm, f16, ISO 125

Nikon D7000, Nikkor 16 - 85 @ 16mm, 1/40s @ f10 ISO 125

After a while I'd returned to Gorran Haven through the harbour and found the tide had come in. The same two fisher boats, moored to the wall now floated (obviously) over where they previously sat in the sand. Every one seemed to have gone in with the cold weather and so I headed back to the car and drove home. 

Nikon D7000, Nikkor 16 - 85 @ 35mm, 1/8s @ f8, ISO 125

However on my way back the setting sun offered some attractive opportunities, so pulling up in a lay by I strolled over towards some small farm buildings. On the way I stumbled and nearly crashed into a spider's web. In the end, I switched my settings back to colour for the warmth of the setting sun. 

Nikon D7000, Nikkor 16 - 85 @ 85mm, 1/13s @ f11, ISO 125

Nikon D7000, Nikkor 16 - 85 @ 85mm, 1/80s @ f16, ISO 125

Nikon D7000, Nikkor 16 - 85 @ 16mm, 1/40s @ f7.1, ISO 125

Shades of Grey: Part Two

Since capturing the violinist in the subway I progressed through the year utilising monochrome as and when I felt it was appropriate. Usually this was when there was a higher level of contrast in the scene and no real colour to speak of. Or if I was out doing some sort of street photography; my general preference for shooting people being in monochrome.

There have been occasions where I’ve walked into my workplace (out of hours of course) to see what images I could capture in their. On one particular day I’d gone in and found there wasn’t a great deal happening which was unusual for this kitchen. It was more or less quiet, people weren’t in a mad haste to get ready for that evening’s service, all in all it was rather calm.

I’d entered through the side entrance, to my left was the kitchen porters area where all the pots plates and dishes were washed. Nothing was happening there, certainly nothing visually interesting. However after a moment of attuning to the new environment, I saw movement through the hole in the wall directly in front of me. Looking past the metal shelving that stood on the other side of the wall I saw saucepans stacked up stock pans boiling away with the kitchen’s sous chef in the distance busying himself with something on the far table. 

I'd already increased my ISO after testing the light levels once I'd come inside. Wanting to take the shot quickly I stepped towards the hole in the wall and drew the viewfinder to my eye. Making a quick composure, I thumbed the dial to adjust for exposure. Using the nearby pans as my focal point I fired the shutter, once, twice. 

A visually interesting image (for me) which continues to intrigue me. 

Nikon D3100, Nikkor 18-55mm @ 32mm, 1/200s @ f4.8, ISO 1600

********

Walking the southern Cornish Coastal Path past Nare Head, I happened upon a small sheltered cove known as Kiberick Cove. I deviated from the path and ambled down the relatively steep grassy slope, hesitating in parts as I negotiated mud and gravel slides. 

The tide was out and I saw that Kiberick Cove doesn't have a beach (not even a pebble beach) but rather a ton of large rocks and boulders, most of which are covered in slimy seaweed (making it treacherous under foot). I scrambled across a few rocks to see what was around. I'd guessed most (if not all by the looks of things) of the marine life had been washed out with the tide. As per usual the sun had barely shown it's face and the day was instead marred with the drama of a coming storm (at least there was definition in the sky). 

As I looked out to sea I saw Gull Rock nestled on the horizon and I knew I wanted that as the background to a shot. I made my way towards the waterfront, struggling as I went against the seaweed and sometimes precariously balanced rocks that seemed so stable before putting my weight on them. Movement caught my eye in the last moments of my foot descending for a purchase and I halted suddenly. A small crab, half the size of my palm, had darted out from under a rock and had stopped just where I was about to land. It was all I could do to not crush the little blighter under my weight. 

As I regained my balance and footing, I wanted to capture (digitally) my new companion but before I could even turn my camera on he'd scarpered back under a rock. 

I continued on, a little more cautious with my footfalls now, and finally came to a sandy area on the waterfront. Ahead of me sat a trio of lichen covered rocks. The sky was sullen as I composed my shot and it was the influencing factor in changing from colour to monochrome. 

Click,

Nikon D3100, Nikkor 18-55mm @ 18mm, 1/60s @ f16, ISO 100

For me this image became a turning point in my photography. I had raised my own bar and I was no longer content to take mediocre shots. I became more selective in editing through my images (never before had my delete button seen so much use).

********

Shades of Grey: Part One

Most of the time I shoot in colour, typically as landscape photography lends itself to showing the natural world in vivid Technicolour (wait, we've progressed past Technicolour... right?), however sometimes circumstances lend themselves better to monochrome.

We all complain about the weather, whether it be too hot or too cold, too dry or too wet. Usually if it's not ideal outside we'd all stay indoors. Certainly in terms of photography, grey overcast skies are arguably the worst (for me) as they offer poor light, little contrast, nothing of interest and will dull the colours of everything around you.

But this should not keep you (as a photographer) indoors. The weather is constantly changing, potentially offering new opportunities of light and scenery. Besides which, if the landscape is persistently uninspiring there are always other options. As a basic you could always look at improving whatever images you have captured in a post-production suite like 'Lightroom 4'. Personally I prefer to capture an image as close to perfect (bearing in mind there's always room for improvement) in-camera and so will minimise the editing of my images.

Alternatively you could either focus on macro photography and delve into another (smaller) world altogether. Or you can switch your camera settings to monochrome. Doing the latter will neutralise all colour (obviously) but will also stretch your creativity by limiting the palette you're working with.

Of course there are far more occasions to use monochrome than just bad weather. I will always switch to monochrome, for example, when I'm shooting street. My intention being to use texture, shape and pattern as the focus of those images rather than hoping a bright and vivid colour doesn't misdirect the attention of any viewers.

********

In September last year, I was walking through the City of Truro; a lovely City which to me feels more spacious and calming than most other cities I've spent time in. On my way back to the car park via the Lemon Quay subway I found a busker playing in the shelter of the subway. Unusually though, while most buskers play the guitar this one was playing the violin (and well too to my ear, I even left a tip).

I had my camera with me, my D3100 with the standard 18-55mm kit lens, and I decided to perch myself at the opening to the subway, on the opposite side to the violinist. It was a bright day and the sun was blaring at the subway's opposite opening creating quite a bit of contrast, but more importantly (for me at the time) the busker was being back-lit by the natural light.

I was aiming for a silhouette shot with the busker as the main focus (although back then I couldn't have described my intention so succinctly as just). Being a busker I figured he wasn't going to move anywhere in a hurry and so I had time to stop and experiment. I began shooting, gradually extending my focal length. I found the 55mm focal length was perfect. Well maybe not perfect, as I did have to crop out some undesirables that were within my frame (like an abandoned shopping trolley). 

I didn't move position to circumvent such problems. I doubt I subconsciously wanted to avoid spooking the violinist by getting to close with a camera. More likely I was happy with my perch, bearing in mind foot traffic passing frequently by, and I knew I had a crop tool on my laptop.

Nikon D3100, Nikkor 18-55mm @ 55mm, 1/50s @ f5.6, ISO 200

I had taken multiple shots, each as a single shot rather than continuously firing, with different levels of exposure. I knew from the in-camera reviews it was the lesser exposed images that were more what I was after. Showing more of a contrast between the subway shadows and the brightness beyond. I even liked the reflected light from the puddled water down the one side. It added a texture to the image (I felt). After a while I figured I'd captured enough shots and moved on.

Once uploaded, I cropped the most favoured image, (removing the offending shopping trolley) slightly increased the contrast level to properly make it a silhouette, and then I was happy.

********

The Passage of Time

I've not been making photographs for all that long, April 2011 in fact. Though since that time my awareness of my own environment has (I think) improved. Of course yes, I'd noticed that a sky looked nice or that a section of coastline looked picturesque, but I hadn't before thought of them in the sense of composition and visual interest. More often on my walks I looked for features of interest and beauty. An early example for this were the Mayflowers, so named as that's when they're about.

Walking west along the Cornish Southern Coastal Path, I saw clusters of small, white petaled flowers set within an almost bare hedgerow and I stopped to capture them.

I'd had my then standard 18-55mm kit lens attached but for close work such as this I wanted a macro lens and the only lens I had (have) was (is) my Tamron 70-300 which had a macro feature built in. I stooped to changed lens.

Changing my focal length to fit one of the small clusters within my frame I pressed the shutter release button and listened while the auto-focus whirred to infinity and back as it searched for something to focus on. It eventually settled on the cluster I was aiming at, at which point I switched the focus to manual rather than have my lens search again.

With the aperture set mid-range (F11) and the speed 125th of a second I took aim again, resuming the composition I'd determined previously. I didn't consciously check my ISO, I was aware of it, but at this stage my familiarity with it was limited and I wasn't all too keen on the digital noise that comes with higher end ISO levels. So I left it at 100 (base level for the D3100).

Click...

As ever I reviewed my attempt on the camera's LCD screen. I was happy with the image I'd made. With the clean white flowers, the detail, the parallel lines in the blurred background. It struck a chord somewhere within me. In retrospect it could be a damn sight sharper and the exposure's arguably a touch bright.

For a long time this photo stood out in my ever growing collection as one of my favourites. And honestly it still does.  

I continued that day along the coastal path snapping away with the minimal understanding of photographic theory. Mostly I experimented and many of the photos I took were perfect for my learning curve but didn't warrant public exhibition. 

********

A year or so later I had gained some knowledge about photographic theory (I read a book) and I went out to practice as often as I could. I was developing an affinity with landscape photography but enjoyed shooting other subjects, including macro. By May the flowers had blossomed again. Unlike a year before where I'd simply stumbled upon the hedgerow blossoms, on this occasion I went out looking for them. And I didn't have to travel far, not far all. 

I set up my tripod (a then new one as my previous had given up the ghost) for the stepped slope I was on, attached my camera and setup a composition for the new blossoms. I had my long lens on for the macro feature and I was checking my aperture and my shutter speed so they were suitable for proper exposure.

Click...

I didn't like it. The colour was fine, the detail was good. The exposure was balanced. The back ground was blurred but something wasn't right. The was too little subject matter compared to the background. It was the wrong sort of dead space. It just didn't hold my interest. So I tried again. I pushed the focal length up to try and fill the frame...

Click...

Again I wasn't impressed. The cluster of flowers I was aiming at seemed to be the wrong shape. So I dismissed that particular cluster and took aim at another bunch of Mayflowers off to the left. Yet the tripod didn't seem to allow me to gain the composition I searched for. I unclipped the quick-release plate and aimed the camera freehand. Stepping closer into the hedgerow, where the tripod simply wouldn't take me. I found the setup I wanted. I stepped back to adjust the shutter speed for something more enabling for handheld and stepped back in to check the exposure level and adjusted my aperture to compensate.  

Click...

The image popped up as an instant review on my LCD screen and I liked it. It held my interest such that when the image faded out from the instant review I pressed the playback to view it again. The detail of the fore frame was complimented well by the bokeh of the more distant flowers. Exposure and white balance were good. And more importantly I felt it to be an improvement on the previous years attempt. 

********

Six months or so later my plans to go out for a photography day were postponed due to bad weather. Doubly frustrating as I'd recently upgraded and purchased the Nikon D7000 and I wanted to go out and practice (play) with it. Instead I made an impromptu decision to substitute my original plans and visit the Eden Project (primarily as it has a roof). And a nice place it is too, with a great many different species of plant-life to admire and learn about. 

By no means am I adverse to shooting in poor weather conditions, but my intention was for a floral shoot and flowers tend to go droopy and miserable in the rain. 

Walking around the 'biome' housing the rainforest varieties, I searched not only for a flower of visual interest, one that had good colour and shape, but also for one which had a level of interest in the background. It was frustrating (though I shouldn't have been surprised, it was a replicated rainforest after all) that my lens and viewfinder continually fogged up. with all the work my chamois leather was doing de-fogging my lens, I'm surprised it didn't break a sweat. 

One of the first things I did was increase my ISO. The light levels inside the biome were low. Too low for base level ISO and to still keep my settings fast enough for handheld shots. One of the benefits of the D7000 over the D3100 are the refined ISO increments. Even so 6400 was still pretty high. 

Walking around the biome, I eventually came across a large (ish) flower with red (almost pink) petals and a red stigma. An interesting specie certainly, though I've no idea what it was (apparently a Hibiscus). With a high ISO setting (6400) I was able to set a fast shutter speed. I focused on the centre of the flower with a middling F-stop (F9) as I wanted the background to have definition despite being out of focus. 

Click...

I liked the image. I really liked it. Good detail, colour and exposure. The bokeh wasn't too much for the background and the different leaves there were interesting and exotic. 

Once I'd put the image into post-processing, I saw (as I expected to) digital noise from the high ISO. Though in contrast to high ISO images I'd taken with the D3100, this I actually liked this image despite the noise. 

Developing this image in Lightroom 4, (I always try to minimise post-process editing, preferring to aspire to perfection in camera) I looked at removing the noise with the luminance tool, but the image looked too much like CGI; there were no wrinkles on the petals, the leaves were too smooth. In the end my only alteration was to remove a fifth of the noise, preferring the natural look. 

Going through each of the images I'd captured I was pleased with this one. It was what I had been looking for.