2degreesofseparation's Blog

Tag: photography

My first and the Cobblers last
One of the sad realities of getting involved in photography is that you start to see everything as a potential photo. That old guy at the train station is now someone who would make a great ‘street photography’ shot, that derelict old building is now a great potential location for a shot, and that camping trip with the family is now a great opportunity to take some long exposure night photography shots. So when a new shop that fixes shoes opened next door to work, and had guys who work there in clothes that look a tad Dickensian and had two amazing old school shoe shine seats…my first thought was ‘That would make a great photo’.
Now that is normally where the idea stops. After all, the unbridled success of my idea could only be sullied by the reality of me attempting to actually take the photo. But in keeping with my new motto of pushing myself out of my comfort zone, I decided to bite the bullet and ask if the guy who was working in the shop would be interested in posing for a portrait.

Hello complete stranger…can I take your photo?

I have no doubt that once you have an impressive portfolio and you genuinely know what you’re doing, then asking a complete stranger to give up an hour of their time so that you can take a photo of them becomes relatively straight forward, as you know that in return for the hour of their time, you are going to give them a photo that they will like. But when you’re still learning your craft, there is always the fear in the back of your mind that you may be asking someone to give up their time for a substandard reflection of themselves. Fortunately I had an ace up my sleeve, I had some shoes that needed to be fixed, so I could use that as a justification for striking up a conversation…and then smoothly ask ‘Would you mind if I portrait a photograph of you?…I mean take a photo of you?…I mean not now, that would be creepy, ha ha ha…maybe when there’s no-one else in the shop…no wait…I mean…that would be worse…what I meant was, can I take a portrait of you?’
As I said…smooth.
Fortunately the man behind the counter (Luke) said he was more than happy to do it (but I suspect he was mainly saying that to get me out of his shop so that he could press the ‘panic alarm’ button). So we locked in a time a date.

The idea

As I mentioned earlier, Luke had two shoe-shine chairs in the shop, and so as Buck 65’s track Craftsmanship looped in my head I had a vision of getting a shot of Luke on the shoe shine seat- the artisan and his tools. Similar to the shot of took of my father-in-law, I would use an off camera flash on an umbrella.

Sir James,

The execution

We had arranged to do the shoot on a weekday after work. So in the morning I trundled off to work with my camera bag (550D, 50mm, 17-55mm, flash, remotes, battery charger & grid), my work bag with my lunch and drink bottle, my lightstand, my bag with my ironed shirts for the week, my tripod and an umbrella (it was raining).
It was at about Northcote that I realised that the pivotal piece of equipment, the reflective umbrella was still at home under my bed. Perfect. I eventually tracked down a shoot-through umbrella and figured that may suffice.
Then when I got to the shop I realised that the shoe-shine seats were actually a lot higher than I had realised, which meant that it was nigh on impossible to get the flash up high enough to create the light that I wanted. But that was fine….because the shoot-through umbrella wasn’t capable of getting the light that I wanted anyway (in short the spread of the light was a lot broader than what I wanted). So I set about getting a few shots of Luke in action, in the hope that I might have a moment of inspiration in the meantime.

Luke at work buffing a shoe…my shoe incidentally.

The hands of someone who does actual work.

Eventually I took the plunge and took a couple of shots of Luke up on the seat

Up on the seat

but it wasn’t until Luke suggested sitting down at ground level as if he was going to be doing a shoe shine that it all started to work. In hindsight, it was never going to look natural with him up on the seat…as that just doesn’t make sense. It’s almost as if the guy who has been doing this for years knows more about it than the photographer who has just swanned in to take a photo…weird.

Suddenly it started to work. It was nothing like the photo I had in my mind at the start of the shoot…but it was starting to feel like it made sense.

The peaked hat was giving me a few problems…but looking to the light always helps.

Yep I’ve seen one of these before…it’s a shoe.

In the midst of a few shots, I got this one…and it’s my favourite.

Of all the photos, I think this one carries the most weight.

So what did I learn?
- Well first and foremost, pushing yourself out of your comfort zone is definitely the best way to learn…but this is a hell of a lot easier when you’ve got someone who’s patient and understanding to work with. Luke was happy to wait while I faffed around with the camera and flash, provided suggestions, and not once did he say ‘You know, I really do have better things to do with my time!’ (so if you’re in the city you really should get all your repairs done at his shop he’s a pretty awesome dude!)
- Also, if your shot is reliant on a piece of equipment…then actually bringing that piece of equipment is a really super idea. If you fail to heed this piece of advice, then you need to be able to adapt pretty quickly to whatever you have at your disposal.
- From a technical perspective, I really have to let go of this idea of shooting everything at ISO 100. The 550D doesn’t do high ISO all that well, but shooting at 200 or 400 isn’t going to be a big problem, and does give me a much faster shutter speed.
- I’m slowly growing out of the ‘shoot everything at the lowest f-stop because that always looks so cool’ phase. But I’m not there yet.
- Presets in Lightroom are still my go to…but they are teaching me a lot about how to use post to make an image pop.
- Go with your strengths. My photography still has a long way to go…but my chatting to people skills are pretty good. So no matter how bad I may think the technical side of a shoot is going, I need to maintain that dialogue with the person I’m photographing. Even if I take a really good photo, I won’t be invited back if I act like an aloof dick.
- I took over 100 photos for about 20 ‘keepers’ (and in all honesty 5 that I was really happy with)…the Washington Generals have a better shooting percentage than that!
- The constant soundtrack for this photoshoot was ‘Craftsmanship’ by Buck 65. So it’s only fair that I finish with a line from that song:
  ‘There’s a right way to go about your job and a wrong one
  I find this way is much better in the long run
  It ain’t about the dollar or trying to go fast
  Unless you take pride in what you’re doing, it won’t last
  Craftsmanship is a quality that some lack
  You got to give people a reason for them to come back’
You can see the full gallery of shots here.
If you don’t already own a copy of Buck 65’s Talkin’ Honky Blues, then go out and buy one…it’s genius.
And once again thanks very much to Luke for his patience and enthusiasm.
May 17, 2015
My top 10 photos for 2014

2014 has been an interesting year of photography for me. On the one hand, training for the Ironman has left very little time to get out and take photos. But on the other hand taking part in The Age’s ‘Clique’ photo competition has meant that I’ve been forced to really push myself out of my comfort zone in terms who and how I shoot. Plus I shot my first wedding (there’s a blog on that coming soon). The net result is that I shot a lot more photos that I was happy with this year…so here are my top 10 in no particular order (if you’re having trouble viewing the images you can also find them here.)

#1 X & A

X & A. ISO 100, 50mm, f1.4 1/200

Probably the biggest change to my photography came with my purchase of the Zack Arias video series ‘Onelight 2.0’ It transformed me from someone who swore he would never shoot with a flash, to someone who suddenly saw the opportunities a flash presented. Like capturing that moment when a couple of 2 year olds give each other a big hug. On my normal settings I would have missed this. They would have been slightly blurred…or a little out of focus. But with the flash they were captured in this moment, and they both just look so freaking happy to be in each other’s company.

#2 Lightspeed at the roadhouse

Light speed at the roadhouse. ISO 640, 24mm, f2.8, 8sec

I owe a pretty hefty debt to Luke Vesty for the idea for this one. We were on a two day roadtrip in regional Victoria and had decided to take some long exposure shots. Luke got an amazing shot of a truck driving past so all you could see was a road sign and the trucks red lights disappearing into the distance. Clearly I couldn’t steal his idea…but I could appropriate it! So this is my remix. I set up my shot of the roadhouse and then waited for a truck to come past. When it was about 500m away I took and 8 second shot…and this was the result.

#3 Selfish portrait

Selfish portrait. ISO 400, 17mm, f3.5 and 6sec

One of the Clique challenges was to ‘shine a light on something you are passionate about’. So I had the idea of getting a shot of me out on the cycling trainer with a long enough exposure that my legs would look blurred. In theory the idea was pretty straight forward…but it took about an hour of setting up the camera, pressing the button, then running over to the bike and pedalling until the shot was done, then getting off the bike and back to the camera to see if it had worked. Eventually it did and I love the final shot (the light on the back wheel is coming from my phone which I had set up against the trainer)…but was it worth the numerous mosquito bites? Probably not.

#4 Down at the Nieuw Amsterdam

Down at the Nieuw Amsterdam, ISO100, 17mm, f2.8 & 1/6sec

Another Clique challenge was to take a photo of someone who worked from dusk til dawn, and you had to use available light (ie no flash). I have a friend at work whose husband runs a restaurant in the city called Nieuw Amsterdam and I asked if I could come in and take a photo, and she said no worries. So I traipsed into the city one Wednesday night and headed down to the cocktail bar at Nieuw Amsterdam, and discovered that while the bar had an awesome ambience…it was freaking dark. So I asked the barman if there was any way of getting some more light in to the bar ‘Will this do?’ he asked and put a brulee torch to a block of sugar. *snap* ‘Yep, that will do nicely.’

#5 Maxim

Maxim, ISO 100, 24mm, f2.8 & 1/80sec

This shot was taken at Josh’s birthday party. My children pretty much refuse to do anything that I ask in a photo…but that doesn’t mean I can’t ask other, more polite children to stand under a skylight and look up towards it. I originally wanted to use as a colour shot as there was heaps of brightly coloured lego in the background…but it worked so much better as a black and white.

#6 Show me the boy at 7 and I’ll give you the man

Josh, ISO 800, 55mm, f2.8 & 1/100

As mentioned in #5, my kids have pretty much decided that my interest in photography is just a ploy to annoy them. As such, I have at best 10 seconds to get any shot of them before they walk off…and, no, they won’t be taking any direction…what you see is what you get. And sometimes that is pretty awesome. There’s nothing special about this as a photo…but as a parent it’s exactly how I see Josh, and how I think I’ll see him in about 10 years time. So I’m so glad I’ve got this as a keepsake.

#7 Sir James

Sir James, ISO 100, 24mm, f2.8 & 1/160 (with flash bouncing off an umbrella)

Another big lesson for this year was ‘Don’t be afraid of autofocus’. I had always assumed that pro-photographers eschewed auto focus and manually focused all of their shots. But having spoken to a few photographers about this, they all had the same reaction ‘Wow, you’re focusing everything manually…I don’t do that!’

For this shot I was in near total darkness and had no scope to manually focus and so trusted the autofocus…and lo and behold the shots came out beautifully.

I had hired some flash gear for the weekend to take these shots, so I was shooting with gear I’d never used, following a technique I had just learnt from a video and I was taking photos of my father-in-law. So the scope for disaster was pretty spectacular, but if this year has taught me anything it’s that the more you push yourself, the bigger the rewards. My challenge with any portrait is to try and capture the essence of the person, and so in this shot I think you see someone who is content, confident, a bit cheeky and incredibly comfortable with a glass of wine in his hand. Which is pretty much exactly how I see James.

#8 The big sister

The big sister, ISO 200, 85mm, f1.8 & 1/200sec

Similar to the photo of Josh, this photo is incredibly important to me as it serves a record of how close these two are. Holly’s patience with Xavier is biblical, and Xavier’s adoration of his big sister is equally epic. In time this may change…but I’ll always have this photo.

#9 Harry Potter

Harry Potter, ISO 200, 17mm, f6.3 & 15 secs

I can remember in my late teens I was having guitar lessons, and my teacher had given me a series of scales to learn. He explained that I could play the notes in pretty much any order and they would all work with each other as they are in the same scale. I worked on those scales for weeks…then one day I suddenly started to see the patterns in them and was suddenly able to create little solos by using the notes from the scales. It was like suddenly seeing how the magician did the trick. Suddenly things made sense.

This photo was a similar experience for me. I knew what I wanted to do with the shot, but couldn’t get the camera to do it. So I went to full manual mode and realised what I had to do. I changed lenses, I put the camera on a tripod, I manually focussed on the church, cropped the moon just out of the shot so that the overall shot was darker so that I could use a longer exposure, and I got this shot. Suddenly things made sense.

#10 Footjam Nosepick

Footjam Nosepick, ISO 200, 42mm, f4.5 & 1/1,000sec

The final Clique challenge was to take a shot using a fast shutter speed, which again was something I’ve never really done before. So we headed to the Edinburgh gardens, and after watching the skaters for about 20minutes, I saw this guy on the BMX doing a few runs. He was pulling off some pretty awesome tricks, and so I decided he was my star. I watched him for a bit longer to work out where was a good place to take the shot (ie where I was close enough to a trick to get the shot, but not in the way of anyone else). Then I shot in bursts of 1/1,000. I got a couple of pretty good shots of him doing airs, and one of him grinding…but this was the hero shot.

I really like photos where the more you look, the more you see, and so if you look closely you notice his tatts, you notice the two skaters in the background watching him, and if you look really closely you see that he’s not using a hand-brake to keep his front wheel from moving, he’s jammed his foot between the tyre and the fork – a ‘footjam nosepick’.

In conclusion

So that’s my top 10 for 2014. I was really stoked to have my portfolio of photos for Clique make the final for the grand prize. But I was much happier with how many risks I was willing to take this year to work on my photography. From approaching relative strangers to be photographed, to taking on my first wedding, to trying new techniques and equipment…every risk I’ve taken has given me some reward. Now I just have to work out a way to get paid to do this on a regular basis so that I can afford to get some of these printed.

Thanks for following the blog this year, I know that it’s been pretty sporadic. But once I’ve got this Ironman done (in March 2015) I’ll have much more time to devote to creative pursuits….and hopefully 2015 will be an even better year for photography.

December 23, 2014
‘No flash photography’

I’ve always hated using a flash when taking photos. It conjures up horrible memories of washed out images, of people taking photos at concerts in a way that only illuminates the heads of the people in front of them (and not the performers on the stage 50m away), of menu boards in cheap restaurants where you end up ordering the ‘special’ because thankfully they don’t have a photo of that, and of people and pets who look demonically possessed due to red/yellow eyes. In short, I didn’t see how using a flash could add to an image.
But I’ve just embarked on my first ever shoot with a flash…and I am so happy with the results that I felt the need to blog about it.

The good flash and the bad flash

I can still remember my first really good Pad Thai, my first really good Pinot Noir, and my first really good bike, because I had that moment where I thought ‘Oh…now I see why so many people rave about this!’ It was still just a combination of ingredients, or elements or parts…but it was done by someone who knew what they were doing and so it worked. What I realise now is that I simply hadn’t seen flash photography done well (or perhaps more accurately I hadn’t realised that some work that I really liked was the result of a flash). Thankfully a friend of mine Tim Arch (check out his website…he’s awesome!) introduced me to the work of Zack Arias and suddenly I wanted to try to take some photos with a flash!

If you’re even vaguely interested in taking photos using flash then I highly recommend downloading his ‘Onelight 2.0′ videos. They basically take you through how the flash works and then takes you through different photo shoots where he only uses one flash and get’s some amazing photos. They are beautifully filmed, he’s an excellent host and best of all you LEARN a hell of a lot! The boring bits are still interesting, and and the interesting bits are inspirational!

Off camera flash

The biggest difference between what I had seen as flash photography and what Zack was doing was that instead of having the flash mounted on his camera, Zack was mounting the camera somewhere else and then using a wireless transmitter to fire the flash when he took the photo on his camera. So instead of having someone who looks like they’re about to be hit by a car…you have someone who is lit in an artistic or nuanced way. Also he is using something to diffuse the light (a softbox or an umbrella).
I should also add that this is nothing new…it was just new to me.

So I decided to bite the bullet and hire a light stand, some wireless camera triggers, a reflective umbrella and a flash (about $100 for two days) and take as many photos as I could.

Shoot 1 – The brick wall

If you’ve been to our place post-renovation you will know the brick wall we now have in our dining room, I really wanted to use this as a backdrop and so this was my first place I set up the gear.
Now one thing I learnt very quickly is that it’s really difficult to set up the shot without someone sitting in the spot while you take numerous test shots and ask yourself questions like; How powerful the flash should be? Should I be closing down the umbrella to try to focus the light?, How far away should the flash be from the subject? and What’s the sync speed on this camera? (the correct answers for these shots being about 1/16th, yes, about 2ft and 1/160). So you will need to coax someone to sit in while you take the practice shots. Be warned that children have very low tolerances for such things when they could be scooting around the house…and that pleading/needy look in Dad’s eye is just becoming tiresome. But if you can keep one of one of them in the seat for a couple of minutes, you can get something like this

I really like this shot…but because the ambient light was so low I had to rely on the 550D’s autofocus because I couldn’t really see the face clearly…which I find tends to be a more hit than miss. In this case the focus is on the lips rather than they eyes…but it still works. I also later learnt that I could have had the ambient lights up a lot brighter and still got a good shot as the flash was going to drown out any ambient light…but it’s little things like this that are great to learn in front of a non-paying client.

If the kids have been bundled off to bed, then can try to take a photo of your spouse. They may need to be plied with a cup of tea…but it’s all worth while when you can get a shot like this.

Shoot 2 – The Cellar.

I’ve been promising to take some photos of my father-in-law (James) for a website for his wine racking system (I’ve also been promising to build this website…but first things first). So I packed the gear and headed over to his place to take some photos in his cellar.
Again there was a fair degree of faffing around with the gear and setting up the shots…but I’m really happy how they turned out (and best of all he likes them enough to let me stay married to his daughter!)

How old? Very old.

Shoot 3 – Outside

This was a purely impromptu shoot at about 5pm in the backyard of Chateau Righi. Basically we had finished shooting in the cellar, I’d had a glass of something cool and delicious, and I decided to try shooting just as the day light faded. What really surprised me with these photos is how the flash overpowered the ambient light. They look for all the world like they were shot in darkness…but it was dusk at the latest and there was still plenty of light in the sky.
What I really love about these is that in using the flash I was actually able to capture a few moments that I would never have captured shooting as I normally do. In that light, even the slightest movement would have meant that the faces were blurred…but the flash captured the moment perfectly.

Where’s this bat that you’re talking about?

So in summary, did I like shooting with the flash? Yes I did. Have I completely changed my tune on flash? Yes…but I still won’t use the flash that’s built into the camera. Am I going to buy the gear so I can shoot like this whenever I want? No. At this stage it’s still too expensive…but it is definitely on my list of things to buy…along with the 5Dmk3…and the 85mm lens…and the Fuji x-T1…and the ND filters…oh, and the food for my family…but in that order.

May 6, 2014
Night time photography

One of the things that I love about photography is that there is always something new to try (and of course new gear to wish you had). I have recently been trying a bit of long exposure night-time photography, and figured seeing as I have done it twice, I’m clearly now an expert and it’s high time I started dishing out advice.
I was originally going to do a bit of an explanation of what long exposure photography is and how you do it…but then I realised that all you have to do is type ‘long exposure photography’ into Google and you can find any number of people (hah, who am I kidding? You can find any number of men) telling you how to do it. So instead, I’m going to tell you a few of things I’ve learnt after my first couple of forays into the field.

ISO 400, 17mm, f5.6 30 second exposure

What do you need?

Camera – Clearly you need a camera that will allow you to keep the shutter open for an extended period (most DSLRs will let you go for 30 seconds).
A tripod – no matter how steady you think your hand is…taking a photo for 30 seconds without using something to keep the camera steady will lead to an image that looks a little like the last thing you saw before you passed out having consumed ‘snake blood’ on that trip to Vietnam.
A torch – Ideally you will be shooting somewhere that is has almost no light pollution (ie light coming for streetlights, or houses etc), which is great for your images. But it’s not so good for setting your focus or changing settings on your camera…or working out where the hell you put the lens cap.
A torch can also be really helpful if you are trying to frame a shot and can’t see anything through the viewfinder. You can shine a torch to get an idea of where your frame starts and stops.

30 seconds can be a long time

This is particularly true if you are standing alone in a field in absolute darkness, and all you can hear is the heavy breathing of cows and their occasional footsteps. It is incredibly unnerving and you will regret watching any horror movie you have ever watched.
However you will not leave, because the 30 seconds it takes for the camera to take the shot is like a distilled version of Christmas Eve when you were a kid, or that time you spent shaking a Polaroid picture back in the 80’s…for that 30 seconds, the photo you are taking could be an award winner, it could be one of the greatest photos anyone has ever taken, it could be AMAZING!!!
Then the photo appears on the screen on the back of your camera and you realise that you must have moved, or that thing you thought was in the shot actually isn’t, or that you have got the ISO/apperture/shutter speed wrong. And so you reset the camera…and spend another 30 seconds living in hope!

That photo looks amazing!…on that tiny little screen on your camera.

Unfortunately, while the shot may look fantastic on the screen on your camera…by the time you look at it on your computer screen, you’re going to see a lot of ‘noise’ (this is a photography term for anything in a photo that makes you walk away from your computer and swear). But don’t worry. You can remove a lot of the noise in programs like LightRoom, and if you managed to get a great shot without any noise or movement on your first couple of tries, everyone else would hate you.

ISO 6400, 17mm, f2.8 30 seconds

Plan your shots…if you can

While I was driving around Sandy Point during the day, I saw a couple of things that I thought would be really good to have in a photo. So I identified a couple of landmarks that I would be able to use when I was driving at night, with zero visibility other than what was in my headlights. It worked a treat.Having said that, my whole reason for heading out that night was to get some photos of the big wind turbines down there. This would struggle to have gone any worse. In my mind, the spinning blades would create an amazing effect with the long exposure and I would be hailed as a genius. In reality, the blades were spinning so fast that after a 30 second exposure they were invisible…and so I had a brilliant photo of a pole. Needless to say, the job offers haven’t been rolling in.
But on the way back from the wind turbines, I spotted this little shack and pulled over to take the photo. There was a service station across the road about 200m away, and while it was closed there were a few lights on which gave just enough illumination for me to get this shot.

ISO 6400, 17mm, f2.8, 30 Seconds

Bring a friend

You are going to be doing a lot of standing around in the cold, trying to be very still for 30 seconds and then swearing under your breath…why not share this experience with a friend/fellow photographer (ideally someone who is both). They will probably have different gear to you, so you get to see how it works (and if you should buy it), they will probably have different ideas and approaches (which you can steal and claim as your own), and standing out in a field under an enormous canvas of stars is a pretty amazing experience…but it’s much more fun to be able to share that experience with someone.
Most importantly, if you are stuck out in the middle of nowhere in a field of cows and there is a psycho killer waiting in the darkness…you don’t have to be faster than the killer…you just need to be fast than your friend.

ISO 400, 28mm, f11 & 30 second exposure

If you’ve go any tips or tricks I would love hear them…and if you’ve got any questions about any of the photos in this post, I’m more than happy to answer them.

September 12, 2013
My night at the roller derby

On Saturday night I headed to my first ever roller derby bout, armed with a media pass from The Victorian Roller Derby League and got some of the best photos I’ve ever taken. So I thought I’d spend this blog talking about some of the things that worked…and of course a few of the things that didn’t.

Get good talent
I’m a great believer that you can take a great photo of anyone, it’s just that some people need a little more coaxing and effort before you can get a good shot. Of course the flipside to this is that some people are just naturally outgoing, naturally engaging and generally up for anything…a number of these people play Roller Derby.
I was pretty keen on getting some shots that actually reflected their personalities, so I literally just gave them the chalkboard prop, told them to write their name and then just let them do whatever they wanted. Sometimes this sort of lack of direction drives people back into their shell ‘But what do you want me to do?’…I was blown away at how quickly the players adopted a range of poses I would never have thought to have asked them to strike.

Have a plan
I knew that I wanted to have a consistent background for the photos, but not knowing what the venue was like I didn’t want to be reliant on finding something that would work. So I decided I would use a big roll of white paper I had used a couple of times as a background. I also knew that the players all had awesome roller derby names (‘Pony Slaystation’, ‘Mon U Mental’, ‘Calamity Maim’ etc) so I thought it would be cool to have them write their name on a small blackboard and then have them hold it so that the photo was somewhere between a mugshot and a school photo. The final part of my plan was to shoot a wide shot and a close up and convert them all to black and white.
I think that going in with a vision was great as there are basically hundreds of ways I could have shot them, but when you only have a person for a minute or two, you need to know exactly what you are after. To once again quote General George S Patton ‘A good plan executed violently now is better than a perfect plan executed next week’.
Of course you also need some leeway, and when I started working on the shots in Lightroom I realised that a lot of them looked a lot better in colour.

Take a risk
A couple of years ago Veeral Patel quit his comfortable IT job and decided to go and photograph the Tour de France. It was a massive risk and I really admired his dedication. Since then he has won awards and his photography has gone from strength to strength. Clearly going to take photos of roller derby players isn’t in the same league as throwing in your job to follow your dream, but this was the first time I had decided to call myself a photographer and put all the focus on just my photos (rather than having them as an incidental part of a video).
The risk certainly wasn’t huge. If the photos had been appalling, there probably would have been a few people who were annoyed that I had wasted their time, and the person who helped organise everything (Monica Campo) would probably have been annoyed that she’d wasted her efforts.
But it was still a big step up on the previous level of risk, which was ‘Nan doesn’t like the photos’.

You can see all of the photos here

But what didn’t work?

Action shots
Without a flash it was always going to be difficult getting good action shots at the speeds they were travelling. This was one of the best action shots I got, and that’s just because someone else’s flash went off just as I took the photo.

Also, not knowing anything about the sport meant that I was always just off with my timing or I was in the wrong place at the wrong time. I tried to make up for this by taking a number of photos of things that weren’t moving. But this lead to my second problem.

Batteries
I had no idea when I would get access to the players, so I just headed around taking photos of the games and the audience…for 4 hours. So suddenly after the second game when a whole lot of players came over to have their photo taken, the battery light on the camera was flashing furiously. Which meant I rushed the photos of the last few players, which meant I didn’t get the shots I was after.

The viewfinder
I know this is going to make any real photographers reading this throw their hands up in the air, but I find the LCD screen on the back of the camera a lot better to use than the actual viewfinder. But the LCD screen also chews through the batteries a lot quicker. So when I switched to just using the viewfinder for the last couple of shots to preserve the batteries…I ended up with shots that were at best ‘soft’ and at worst, out of focus.

But ultimately if you can come away from an experience like this with some photos that you are really happy with and a few lessons learnt…then you can chalk it up as a success!
So a big thanks to my Dad for coming along and being my camera assistant. An even bigger thanks to Monica for giving me the opportunity. And my biggest thanks to the players from the Dolls of Hazzard, the Toxic Avengers, the Rock Mobsters and my team the Dead Ringer Rosies for taking the time, and being so damned photogenic on and off the track.
The VRDL Grand final is coming up on Nov. 24, I suggest you be there!

October 16, 2012
Russell and the kebab van, a modern parable of success and failure.

Keen observers of this blog may have noted that we are moving out of our house while we renovate. One thing I wanted to do before we moved out was to take some photos of various Preston landmarks and institutions as a bit of a keepsake. I had a mental list of photos I wanted, but one was of Russell the Big Issue vendor at the Preston Market who I buy my magazines from…and the other was Haci’s Kebabs, a kebab van set up opposite McDonald’s on the corner of Bell St. and St. George’s Rd. As it turned out, my attempts at getting these photos met with very different results…but I did learn quite a bit.

Russell

If you have ever been to the Preston Market on a Saturday, you would most likely have seen Russell. He sets up shop just near the entrance to the deli area, and has a steady stream of regulars. He is a genuinely amazing person. He’s worked with Brando, met the real ‘Red Dog’, has excellent musical taste…and regularly heads down to Apollo Bay (and Johanna if the surf’s good). He’s cheerful, energetic, always chats with the kids when we see him…and doesn’t complain too bitterly when they take the magazine but refuse to hand over the money.
However, at what point do you ask someone who you only really know through a weekly conversation that you’d like to take a photo of them? Do you just rock up with the camera one morning and spring it on them? Do you plan it out in advance? What if they say ‘no’? In the interests of not creating a scene…and having a 6 month period when I wouldn’t see him (while the renovations are being done and my Preston Market visits are curtailed) so that if he said ‘no’ there wouldn’t be awkwardness. I chose to ask him the week before we moved out if it would be ok to take the photo on the following week. He said ‘yes’, and so the following week I took my camera (and my new 50mm lens) with me to the market.
I’ve taken plenty of photos of relative strangers for work…and that’s been fine, because that wasn’t being done for me. It was for an event, or a work video, or for them to take home…but this was the first time I had asked a relative stranger to give up some of their own time so that I could take a photo of them…and I won’t lie I was very nervous. But Russell was of course the consummate professional, and when I finally got to look at the photos on a decent screen (3 days later as a result of moving house), and had a play in Lightroom, I was absolutely rapt with the results.

Haci’s kebabs

On the way to take my photos of Russell I saw this ice-cream van in the car park

I had the camera so I took a quick photo, but I had my heart set on another fast food van; the Haci’s Kebabs van. For those not familiar with Haci’s, it’s a relatively unremarkable take away kebab van located on the corner of St. George’s Rd and Bell St. What makes it remarkable is that it is set up across the road from a 24 hour McDonalds. Of all the places to set up a fast food van, why would you set it up across the road from the only McDonalds in miles? Surely there’s no way it could survive. But it does. In fact when coming home from work late at night when I first moved into Preston, there was always a bit of a crowd around the van. When I walked our kids along St. Georges Rd to get them to sleep in the dead of the night…there were always a few people there enjoying a late night feed.
So when I was thinking of Preston landmarks to take a photo of, Haci’s had to be on the list. In my mind I thought of a long exposure shot at night of the van all lit up and a few people standing around having kebabs. It was nothing original…but it was going to be a good shot. All I had to do was get down there and take the shot. But in the week leading up to our big move, I simply didn’t have a chance to get down there. Then suddenly Saturday was upon us, and it was the last night we would be in Preston. If I was going to get the shot it would have to be tonight. So having spent all day moving house, at 10pm I grabbed my tripod and camera, and with my 10 month old sleeping in our baby carrier on my back, I trekked down to Haci’s.
When I got there I went up to the van to make sure it was OK to take the photo and said “Hey do you mind if I just take a photo, I’m just…” but before I could even finish the guy behind the counter said “Yeah, we mind.” And with that, I realised that the photo I had in my mind was going to have to stay there. It never even occurred to me that they wouldn’t want me to take a photo, and I’ve got to admit I was devastated…and not a little pissed off. As a few photographers told me after the event, I would have been totally within my rights to take the photo from the footpath. But I really wanted these photos to demonstrate a sense of pride in my suburb and the people who live there, and taking photos of people who had already said they didn’t want photos taken was going against this. Plus, I got the feeling that if I did try something like this, I would have found my tripod inserted somewhere painful.

So what have I learned from this? Well, it always pays to check with your subject before you take a photo. A brilliant photo in your mind, remains just that unless you actually get the shot. But most of all, if you ever have $5 in your pocket…buy a Big Issue from Russell and not a kebab from Haci’s, it’s a much better investment.

August 17, 2012
Why I love Instagram

As most of you probably know, Facebook recently purchased Instagram for $US 1 billion (which is about $AUS 2 billion if Adobe or Apple are charging…but that rant is for another time). This was disappointing on a few levels:
Firstly I don’t really like Facebook,
Secondly I had hoped that Google would purchase it for Google+,
…and Thirdly because I had offered to buy the company for $85, and that was now looking like it wasn’t going to be enough.

But none of this has been enough to diminish my love of this app. So I’m No Expert But…here’s why I love Instagram.

1. It can make remarkably average photos look sensational.
Allow me to present exhibit A:
Before

After

2. It’s very easy to use
Just download the app onto your phone, then either take a photo with the app, take a photo with the phone’s camera or choose a photo from your library.
Open this photo in the app and start adding filters, blurs and borders.
Once you’re happy with how it looks you can then add it to your Instagram account, share it on Twitter or Facebook… and the photo is saved in your library if you want to email or text it.

3. Filters and blurs
There are about 18 filters available, giving you everything from pronounced black and blues, through to washed out reds and black and white. I personally like ‘X-pro II’, ‘Lo-fi’ and ‘hefe’. But it really depends on the photo you’re using.
The are only two blurs, but they are awesome. There is a circular blur that you can manipulate the size of, and that can used to cheat a depth of field. And there is a straight line blur which can create a pretty cool tilt-shift look.
One feature I’ve been using a lot is the ‘lux’ tool (the little sun like icon in the bottom left of your screen). It basically adds contrast and saturation to the image (the before and after shot above is a really good example of what it does).

4. But it’s not real photography
I can remember my guitar teacher telling me how he had played guitar for a couple of years and then bought his first wah-wah pedal…and suddenly everything he played sounded awesome. But he got so carried away with playing with the pedal that his actual skills deteriorated.
This app can definitely have the same impact on your photography, an average photo can be made look pretty damn good. So you can get a tad sloppy.
But by the same token, I’ve learnt a lot about shooting with the filters in mind and have found that I’ve been getting better results out of Lightroom because I know what I’m looking to do.

5. It ain’t perfect…but it’s free
I discovered Instagram because I was annoyed by the shortcomings of Hipstamatic (limited preset looks, missed shots because the app was ‘cleaning the lens’, inability to apply effects to existing photos etc)…so initially it ticked a lot of boxes. However it would be great if the photos could be saved at a higher res (you can do this by using the camera in the app…but I don’t like that camera as much). I would really like to enlarge and print some of the photos I’ve taken…but the file size is so small that it look pixelated on anything larger than a phone.
I’d also like to have another black and white filter…the one that’s there already is pretty washed out and it would be nice to have one that had more shadows and contrast.
But seeing as I paid $0 for it…I’m not going to complain.

So if you haven’t already got it, then I recommend downloading and having some fun. If you’re using some alternative apps I’d love to hear what you’re using and why…and if you want to follow me on Instagram my use name is @sumo_21

I’ll leave you with some photos I took on a recent trip to Geelong and Warrnambool.

May 1, 2012
Shooting portraits

My favourite photography to look at and to take is portrait photography. I love the idea of trying to tell a story, or capture an emotion in a single frame. I recently took a whole lot of portrait shots at a family get together, and I was really happy with some of them. So ‘I’m No Expert, But’ here are my tips for shooting portraits.

1. Light
If you have a studio and lights then you are probably reading this post on an ironic level…so I’ll just provide advice for the rest of us.
Use whatever natural light you have available. So if there is a window in the room, make sure the subject is facing towards it (and obviously avoid placing the person in front of the window, as all the backlight will make their face comparatively dark).

2. Shallow depth of field
A shallow depth of field basically means that one part of your shot is very clear, while the rest is blurred. To me this allows you to make the persons face the focus of the shot…everything else is just background. The lower the f-stop you use, the smaller the area that is in focus. My lens can go to 2.8 so that is what I use. Some lenses can get down to 1.4, some can’t get lower than 3.5.
The challenge with using a shallow depth of field is that while it means that you have one area beautifully in focus…you need to make sure that it is the area that you want. I have a dazzling array of photos where the person’s hair is in focus…or their ear. When in fact what you want to capture is…

3. The eyes
This is where the connection is for me. The mouth can be smiling…but the eyes will always tell the real story…so make them the focal point of the shot.
If you can, try to get some ‘light in the eyes’. If people are looking towards the light you will see a reflection of this light in their eyes, which adds an incredible sincerity to the shot.
Steve McCurry is a great exponent of this.

4. Camera settings
If you have the time and ability, then by all means set your f-stop, aperture and everything else manually.
Personally, I use the ‘CA’ (Creative Auto) setting on my Canon. Then use the following:
Flash: Turned off
Background: Blurred as possible (this is the shallow depth of field I was talking about)
Exposure: Leave as is unless it is really dark or sunny…and even then, just move somewhere else
Picture setting: Monochrome (I really like my portraits in black and white). But only do this if you can work with RAW files on your computer.
File type: RAW+L This will give you a RAW file (in full colour) and a JPG in black and white (if you’re in the monochrome setting). A lot of people will tell you to shoot full colour and then desaturate the image to make it black and white. But I personally like to see the image in black and white as I shoot it…and if I suddenly need a colour version, then I can just save the RAW file as a colour jpg.
Shooting: Continuous (people’s expressions change in the blink of an eye…so it’s worth shooting a whole lot of shots, to get that one moment where you have captured something special).

5. Put yourself in their shoes
Imagine you are sitting in front of a camera, unless you are an extreme extrovert, you are going to be feeling a bit nervous…the photographer takes the photo, then says ‘No, that didn’t work’ or ‘We’re going to have to do that again’. How do you feel? I’m going to guess ‘not so great’. As the photographer you may have meant ‘I didn’t quite get that right’, or ‘I’ve got to change my settings’…but the damage has been done. You are now very unlikely to get a great shot of this person because that are going to be feeling awkward or self-conscious.
So always put yourself in the shoes of the person you are taking the photo of…if you wouldn’t like someone doing something to you, chances are they won’t like you doing it to them. And from a purely selfish perspective, you are going to get a much better photo of someone who is happy to be there and having fun.

I also think it’s worth making sure you get at least one photo that the person having their photo taken will actually want. Yes that photo of them in the middle of yawn ‘totally captured their inner child’ and yes that photo where pretty much everything is out of focus except for their left nostril is a fitting tribute to ‘the look you were going for there’. But you’re going to run out of people who are happy to let you take their photo pretty quickly if nobody likes how you’ve made them look.
So find some work that inspires you (I love cycling so Kristof Ramon , Veeral Patel, and Wade Wallace are a few of my faves) and get out there and try to capture some magic…then upload that magic to the internet…then wait for people to tell you that ‘you’re doing it wrong’.

April 10, 2012
Anyone can take a great photo

Welcome to the first NineB (‘Now I’m no expert, but’) blog

A while ago Things Bogans Like had an excellent piece on bogans purchasing camera equipment and assuming that they were automatically great photographers. As usual I started reading the article and thought ‘Ha, ha…those stupid bogans!’…and then gradually began to see more and more of myself in the article. Then I stopped reading it. I don’t have time for that sort of pseudo-intellectual lefty crap.

The problem that the bogan and I have, is that pretty much anyone can take a great photo. If everything goes right, and all the moons align, and you take enough photos…eventually you’re going to have one that is a great image. And you’ll look at it, and you’ll think ‘If I can do this once…I can do it again…so clearly I’m now a photographer!’ But you’re not. The big difference between me/you and a good photographer, is that they continually get great shots. They definitely shoot some duds…but then they also shoot some photos that are so good they make you want to just give up on ever taking another shot (I call this the Lee Jeffries effect).

But there are some things we non-pro’s can do to improve our ratio of crap photos to good ones.

1. ‘It is about the bike’
Sure Lance Armstrong may have said that his success was ‘not about the bike’…but that’s a lot easier to say from the comfort of a $10K road bike. Likewise, the money you put into good equipment (particularly lenses) will make a massive difference to quality of the images you take.

2. Using ‘auto’ features does not make you less of a man.
Yes, a great photographer doesn’t need a stabiliser, or autofocus…and they set the f-stop and aperture and everything else manually (they probably even know what the f-stop is). But you are not a great photographer…yet.
When I first got my DSLR I shot everything on full auto (other than flash..I hate using flash), and they are still some of my favourite photos.
By all means learn how to do everything manually (it will make you a better photographer), but if you see a great photo happening in front of you…don’t forsake capturing the moment for some sort of misplaced professional pride. Besides, when someone asks about your photo, you can still lie and claim you did it all yourself.

3. Don’t be afraid to ask for advice from photographers whose work you like.
Most good photographers know that there is more to what they do than just the settings they use (such as the way they work with the people they’re photographing, the post production processes they use, the time they spend in the freezing cold to get the shot), so they won’t mind answering your questions.
If I want to ask someone about taking a MTB our outdoorsy photo I’ll ask Tim Arch, or if I want some tips on taking a great portrait shot I’ll ask Veeral Patel, or if I want a great car shot I’ll ask Joel Strickland…and of course if I want a photo that represents the pain of riding from Melbourne to Adelaide on a fixie I’ll ask Andy.
But be warned, some photographers are just jerks and won’t get back to you…I’ve sent numerous emails and tweets to Ansel Adams asking if he uses a Canon or a Nikon DSLR. He still hasn’t responded to any of them.

4. Shoot what you know

If you like cars or bikes or wilderness or ponies, then shoot cars, bikes, wilderness or ponies. If you have an interest in something, then you’re likely to have an intuitive idea of; how things should look, when is a good time to take a shot…and ideally where you can find a pony who can either drive a car or ride a bike in the wilderness.
Most importantly, it is a lot easier to fit photography into your life than it is to make time to go and take photos. So the more you can work photography into what you do everyday, the more practice you will get,and the better you will become.

5. Shoot early, shoot often

The joy of shooting digital (and there’s no way you made it this far through this blog if you’re shooting on film…so don’t try to claim otherwise) is that you can take a whole lot of shots, and you can see them immediately, and then you can adjust things accordingly …and then you can shoot a whole lot of shots again.
It’s basically the snowboarding/surfing scenario. It’s a lot easier to learn to snowboard, because each time you fall over, you can just get up and try again. Whereas with surfing, each time you fall off you have to paddle back out, wait for a wave, catch the wave then try to stand up again. So be like a snowboarder, and take a lot of shots so that you can learn how things work. But at all times know that surfing is way cooler.
It is also very important that you get as good at deleting photos as you are at taking them. If you’re shooting a 100 shots and keeping more than 10 of them, you are either setting your standards way too low or you are some sort of photographic wunderkind. Either way you are not the target audience for this blog…so it’s probably best if you left.

So there you have my hints for taking a better photo, to paraphrase a DJ Shadow sample ‘It won’t make a bad photographer good…but hopefully it will make a good photographer better’.

March 4, 2012