Simple post for today, I guess that’s what you get when I’m on the road for a couple of days with only my iphone to blog from.
For those willing to challenge the traditional methods.
“Don’t think about how to fit into any moulds, think about how to blow those moulds to pieces!” CJ
To change things up on the blog I thought I’d start a weekly post to share my thoughts on photography. The industry, the art, gear, people, whatever, just a little weekly insight into how I perceive my (and our) world.
So rather than easing myself in with a quaint gear review, I’m hitting the ground running (oh and don’t worry I’ll explain the Jack Bauer too) . . . . . . . .
The real life printed photograph.
I’m sure that anyone whom I’ve chatted to over a coffee or two may have heard this rant/lecture before from me but I’ll ask my lead question again;
When was the last time you printed some of your work, for yourself? When did you last hold and feel a real photograph?
The world of digital has been and still is a revolution to our craft, but for most of the images captures the final form it will take is a bunch of 1’s and 0’s on a hard drive and being shown on a monitor. Admittedly this is a brilliant method for sharing your work to hundreds if not thousands of viewers around the world, something that is impossible to do instantly with the printed form. Remember when everything you shot was printed, you probably still have most of it in a shoebox under the bed or at the back of a cupboard. A good friend recently told me a story about him finding an old battered biscuit tin belonging to his Grandparents full of old photographs, handwritten letters and journals from his Grandfather to his Grandmother. This was shortly after they had sadly passed away and he’d never seen many of the items inside before, yet they told the most beautiful story of his Grandparents early history, their courtship and life together. A story which he was able to relive, and a history he could feel in his hands.
Now imagine our future, or the future of our children. Our battered biscuit tin is probably the hard drive of the computer you’re sat at while reading this. Those precious little black & white photographs are a stream of 1’s and 0’s, those handwritten love letters are probably deleted emails or SMS messages and that journal is probably just your iCal or Outlook calendar. I imagine that isn’t going to bring about the same amount of emotion, that’s if the data is still intact and in a readable format a few years down the line.
So please, back up your data multiple times in more than one location but just in case Jack Bauer can’t stop the next EMP worldwide data corrupting attack, print some photographs today.
I’ve been exploring my craft a little more of late, really trying to push myself and my boundaries both creatively and personally.
I read a post on this blog
Which got me to thinking about my failed 365 portrait project, after a brief analysis of my project I realised a few points which really geed me up to shoot some more street portraits. A little linking around the web later and I remembered a video I’d seen a while back that to me really captures what I like about street work, it’s the connection with the subject. It seems that it becomes the very simplified essence of a full on portrait shoot rendered down to the bare bones.
Watch Clay in action to see what I mean –
Also check out Clay’s blog to see some really great work
A creative exercise in the – create, share, sustain ethos.
Behind the scenes look at a landscape shoot from my latest trip into the Moors.
Shot on an iPhone 4
Edited in iMovie
Just a bit of fun really.
Music – Mirrors Edge Soundtrack, Solar Fields & Lisa Miskovsky
Rode by this spot a while ago and my creative mind went into meltdown. For two weeks my vision for this shot has been developing and maturing in my head. I knew that I’d be getting the sunset in the background, I wanted to bring along a strobe to light the cross so that it popped out of the background, giving it more prominance.
So yesterday I headed out with my vision in my head and a bag full of kit.
A couple of hours shooting and I knew I’d not only nailed my initial idea but also found a couple of other interesting shots.
I’ve been spending time learning more off camera flash work lately and It really helped me realise my vision in this shoot. I’m going to give props to Mr DuChemin for getting me back to working with my vision and to Mr Arias for helping me out with the knowledge to figure out that I could achieve this.
One of the good things about working for yourself is the ability to hand yourself some time off to work on something you want to do or learn.
I’ve given myself some such time this summer to work on my lighting.
My normal chosen arena for portraits is natural light using at most a reflector (but only at a push if I can’t find an environmental reflector). While I love working with natural light I’ve been looking at a number of other photographers work and have become inspired by some of the looks that they’re achieving using off camera flash both indoors and outdoors. Up until this point my use of flash outdoors has been restricted to minimal fill in the daytime (on very rare occasions where client needs demand it), and any studio work has been taken with bigger unwieldly monoblock flash units sticking to my tried and tested set ups (as I know they work and will get me what my client needs). I’m starting to envisage a whole new lighting ethos for me, I’ve seen some one light set ups which produce some really styled looking photographs. I’m really enjoying my “me” time, just creating, playing, exploring and learning.