Moving from 35mm to 50mm!

For the past while I have mostly been taking photographs with a 35mm lens, so much so that I feel very comfortable using this focal length, it seems to suit my documentary style and provides a wide frame within which to arrange the various elements.

Recently I was reminded that Henri Cartier-Bresson invariably photographed with a 50mm lens and that he never cropped photographs.  I decided to take a walk around Belfast’s historic entries with a 50mm Summilux lens and to rely on zone focusing at f8.  “F8 and be there” is attributed to the New York photojournalist Arthur Fellig, although I see that some attribute the quotation to the famous war photojournalist Robert Capa.  This aperture is wide enough to let in sufficient light and small enough to provide adequate depth of field. All I had to worry about was composition!  

As I continue to explore street photography and the rangefinder camera I am finding photography even more enjoyable by just working with one camera body and one prime lens with all the freedom this brings.  However I did find using a 50mm lens a little bit more challenging with its narrower angle of field forcing me to frame more carefully.  On the plus side I did like how the viewfinder on the rangefinder camera allowes you to observe what was entering the leaving the frame.  This added information is really useful.  Also zone focusing does not always produce pin sharp focus at full resolution, something which digital photographers are increasing becoming obsessed with.

Looking back at the famous street photographers who used expensive Leica cameras, they did not capture pixel peeking sharpness!  They instead concentrated on capturing emotion, which is really what photography is about, photographs that tell a story.  In HCB style here are the results of my Belfast entry explorations.

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All images contained on this website remain the property of Roger Bradley. Images may not be downloaded, reproduced, copied, projected, or used in any way without express written permission. 

An environmental portrait telling a story

Having now used both Fujifilm X type cameras and more recently a rangefinder camera for quite a while now I had forgotten just how heavy DSLR cameras are.  I recently covered an awards ceremony when I used my old D700 with its 24 – 70mm lens and it weighed a ton. Having a slight thumb injury the camera felt quite unwieldy so much so that my heavier D3 never left the camera bag.

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The next day I was in an office with my lighter rangefinder camera when I took this photograph.  It was so much more enjoyable to use.  I was intrigued by the office, there are so many clues here which tell a story.  The photograph was unposed and I took the opportunity to photograph while a phone call was being answered.  Building layout plans were pinned on the noticeboard, which indicates the nature of the work conducted here. Post-it notices on the wall and the untidy desk indicate the level of activity and perhaps the limited view through the window provides yet another clue.

I like the image because it is unposed and entirely unplanned, it was taken on the spare of the moment using just the ambient light in the room, but it does capture a moment in time, it describes an activity and indeed it now provides a social history in what has been a hectic period for this office worker.

This photograph shows Jonathan Mattison who is the curator of the new interpretative centres promoting the Orange Institution which will be formally known as the Museums of Orange Heritage.  The museums, currently undergoing construction at Schomberg House, Belfast, and at Sloan’s House, Co Armagh, are part of the REACH Project (Reaching out through Education and Cultural Heritage), which received £3.6 million from the EU’s PEACE III programme, managed by the Special EU Programmes Body.

All images contained on this website remain the property of Roger Bradley. Images may not be downloaded, reproduced, copied, projected, or used in any way without express written permission. 

 

Finding those golden rays

Over the past few days I have been making repeat visits to Island Hill in Co Down, sometimes two or three times in the one day.  I often rephotograph locations that I have been to before and find that it always pays off by helping me to find the “right light”. 

As on my previous visits I left the camera bag behind and just carried the camera fitted with a 35mm prime lens.  On this visit I selected f11 as my chosen aperture and set the infinity symbol inline with f11 on the lens scale, remembering the quotation “f11 and hold her steady”!  The main benefit being that I didn’t have to worry about focusing thereby enabling me to concentrate on composition.

The other thing I have been doing is limiting my exposures to 36, just as if it was a film camera, a discipline I have been observing lately.  From my visit this afternoon I have chosen two images:

Following where the light falls!

Following where the light falls!

Chasing the sunbeams!

Chasing the sunbeams!

Fujifilm X Pro 1 and the Leica rangefinder cameras are just made for this style of photography.

All images contained on this website remain the property of Roger Bradley. Images may not be downloaded, reproduced, copied, projected, or used in any way without express written permission. 

Print it big!

This past week I have conducted a small experiment with photographs that have featured in my last couple of blogs.  The problem with digital photography is that few images taken ever get printed and Facebook is killing the photographic print.  So I decided to print some myself and to select two printing labs to print the same images for comparison, one local and the other from Stockport.

From the three options my own printer and the locally based printing lab produced similar results, so I was quite pleased that my own printer, a Canon Pro 9500 MkII, was up to the job.  However DS Colour Labs Ltd from Stockport provided an outstanding service at half the price of the locally based print lab and their print quality was simply outstanding.  I definitely recommend them.

Printing the image big is also recommended, in this case I printed 12 x 16 inch prints which rendered fine detail, the following image of the prints does not really do them justice.

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I personally use Fujifilm Satin inkjet printing paper which gives fine results.  I also noted that DS Colour Labs Ltd also used Fujifilm paper.  The prints were printed on Fujifilm Pearl Crystal Archive paper which gave my monochrome prints an almost silver metallic appearance. When selecting images to print those which show good contrast and a good dynamic range look great. I would be happy to settle on this paper but would like to see how colour prints are rendered.

Finally, rather than viewing your photographs on a PC screen try printing them!

All images contained on this website remain the property of Roger Bradley. Images may not be downloaded, reproduced, copied, projected, or used in any way without express written permission.  

 

The black & white print!

I am still in my monochrome phase!  By selecting carefully the right composition it can often be better to render the image in monochrome.  Some people print in monochrome simply because the colour version was weak; this is a terrible reason to choose monochrome!  So what am I trying to achieve?  The following image is Kilmood Parish Church, a five minute drive from where I live:

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What I am looking for in a monochrome image is a good dynamic range from pure black to pure white.  I want lots of detail that will almost produce a 3D image, of course a photograph can only be two dimensional but you can get a 3D look!  In this image I was focusing on the headstone in the foreground, yet with a f4 aperture I was able to achieve good depth of field to the church tower in the background.  The right light does help, weak winter sunlight – a great time to take photographs!

Of course holding a 12 x 16 inch print in your hand is the real test, the computer screen does not do it justice and even less a Facebook posting ;-)

All images contained on this website remain the property of Roger Bradley. Images may not be downloaded, reproduced, copied, projected, or used in any way without express written permission. 

 

Photographic lines

This blog is more about composition, something I don’t talk enough about!  But in framing a photograph the lines of direction, or to put it another way, the direction of force within the image are important, among other things.  It is the leading lines that direct how you read the image, they direct your eyes into the image.  There are of course other visual influences such as colour and lightness and darkness.

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In the above image I used the line of the roof on the left to draw your eye towards the centre of the image and in this case it works.

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The use of lines in this image is quite different, perhaps more subtle.  I have used the line of the roof of a burial vault in the foreground with that of the line of the church gable end roof to frame the shadow of a branch from trees that were behind me.  The church tower at the other end of the building provide a depth of the image, which incidentally was taken at f2.8, not an aperture associated with deep depth of field.  This is where a wide angle lens comes into its own, in this case a 35mm lens.

All images contained on this website remain the property of Roger Bradley. Images may not be downloaded, reproduced, copied, projected, or used in any way without express written permission.

From this to this!

One of the joys for a photographer is to see how their images are used by others.  How will they interpret your images or will they change the message you intended when you made the photograph?  One of the pleasures of working with graphic designers is getting a brief of what they want and then going out to achieve the specific requirement, armed with the knowledge of what they are tasked to achieve.  The following image and location was the subject of a recent blog came about following a brief chat with a designer and now it has been used to promote walking tours featuring CS Lewis:

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This image was interpreted in the following way.  Note how the feel of the image is now projecting a much more dramatic and even sinister mood!  The skills of the photographer and the graphic designer coming together.

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All images contained on this website remain the property of Roger Bradley. Images may not be downloaded, reproduced, copied, projected, or used in any way without express written permission.

 

 

CS Lewis sculpture

bradley-5640A new year brings new opportunities and challenges and the possibilities in photography are endless.  I was recently asked if I had an image of the CS Lewis sculpture located in East Belfast, the well known author and Christian apologist and of course an Ulsterman!  I replied that I hadn’t but that I always intended to photograph it but have never got around to so.  I made my first visit on Christmas Eve, I returned on Christmas Day and then yet again on Boxing Day. 

You would be forgiven for asking why so many visits?  Each time I returned the light was different which changed the image.  I kept finding new angles to shoot from and using different lenses also changed the image I saw through the viewfinder.  This is the standard approach taken by any editorial photographer, cover all angles and points of view and you will get the image that the client wants.
 
Clive Staples Lewis
Novelist, poet, academic, medievalist, literary critic, essayist, lay theologian, and Christian apologist.
Born: November 29, 1898, Belfast
Died: November 22, 1963, Oxford
Spouse: Joy Davidman (m. 1956–1960)
Plays: The Lion, the Witch and the Wardrobe
Movies and TV shows: The Chronicles of Narnia: The Lion, the Witch and the Wardrobe
Books: Mere Christianity, The Screwtape Letters, The Voyage of the Dawn…
 
All images contained on this website remain the property of Roger Bradley. Images may not be downloaded, reproduced, copied, projected, or used in any way without express written permission.

Christmas markets again!

Over the past few days I have visited two Christmas markets, Belfast and Manchester.  Its been a while since I talked about what attracts me to make certain images and my recent visit to two city centre Christmas markets provide a perfect opportunity to do just this. Here are the two images I selected and my reasons for their selection.

Belfast Christmas Market

Belfast Christmas Market

Manchester Christmas Market

Manchester Christmas Market

I took just a few images at each location rather than shooting in all directions.  Both cities were hiving with people and in these situations I find it difficult to simplify what I see through the viewfinder.   In the case of the Belfast market it was the colour which drew my attention.  Red is a strong colour and the scene was naturally framed by the stall itself.

In the second image the couple in the lefthand side foreground drew my attention.  They were isolated in their own space and I was struck by how I could counter balance their vertical stance with the advertising cylinder on the opposite side of the frame.

The other feature common to both images is that ‘the decisive moment’ was captured, in the first image the exchange of money to complete a transaction and in the second the boy letting the girl take a bite from his beef burger.

Henri Cartier-Bresson was a French photographer considered to be the father of photojournalism and the master of candid photography.  He coined the phrase ‘the decisive moment’ which he described as follows. “There is a creative fraction of a second when you are taking a picture. Your eye must see a composition or an expression that life itself offers you, and you must know with intuition when to click the camera. That is the moment the photographer is creative”.

All images contained on this website remain the property of Roger Bradley. Images may not be downloaded, reproduced, copied, projected, or used in any way without express written permission

From light to darkness!

These images were taken at a band parade in Banbridge Co Down for the purpose of testing the Fujifilm X-T1 from conditions of early evening daylight through to late evening street light to see how it would perform.

Obviously as the evening continued I was forced to increase my ISO setting, from 400 to 1600 and then finally to 6400.  How would this effect digital noise in dim light?  I was using a 56mm f1.2 lens, so a fast lens should help considerably.

Later in the evening as it got darker I had to abandon auto focus and switch to manual, the focusing ring on the lens was a delight to use, very smooth!  The images are below together with camera settings.

ISO 400, f4, 1/160

ISO 400, f4, 1/160

ISO 1600, f1.4, 1/60

ISO 1600, f1.4, 1/60

ISO 6400, 32.0, 1/125

ISO 6400, 32.0, 1/125

ISO 6400, f2.0, 1/125

ISO 6400, f2.0, 1/125

ISO 6400, f2.0, 1/100

ISO 6400, f2.0, 1/100

My view: I enjoyed the shooting experience, the slowest shutter speed was 1/60 and good for hand holding the camera.  The only issue to be aware of is manual focusing in low light with a moving target and a wide aperture with shallow DoF!

All images contained on this website remain the property of Roger Bradley. Images may not be downloaded, reproduced, copied, projected, or used in any way without express written permission