I’ve been a member of 500px.com for about 18 months and have seen many – but by no means all – of my photos ranked as Popular. One of them, Sunlit uploads, made it into the top 15 a couple of weeks ago. In that time, I have looked at the work of many other members and have gained a good idea of what gets to the top of its Popular and why.
Before I share my tips to help you rank higher, here’s a quick summary of Continue reading »
Nearly a month ago, I went out on a dawn shoot on the Blackdown Hills in Somerset. My main intention was to capture the sun rising over the Isle valley beneath its eastern escarpment.
The shots I took there were nothing special but on the way, I noticed that the Otter valley on the other side of the ridge was filled with early morning mist. Rather than driving home again, therefore, I took a small detour and found a lane from which I was able to capture several stunning views of the sun rising over the mists. This was the stand-out shot that I uploaded to 500px.com:
In terms of post-processing, I made global adjustments in Lightroom, cloned out some distracting lens flare in Photoshop, applied lens corrections in Dfine 2 from the Google Nik Collection, then finished it off with a soft glow effect in Perfect Effects 8.5 from OnOne. Before doing any of this, though, I added keyword tags and a geo-tag in Lightroom, for the reasons I set out in my recent post for Ordnance Survey.
Very gratifyingly, thanks to hundreds of Likes and Favourites – with lots of reciprocal appreciation of other photos on my part – it made it into the top 20 on 500px.com, with my highest ever final ranking of 99.4.
I guest blogged today for my employer, Ordnance Survey. My topic is using maps in photography and I explain how I use maps to decide where to shoot, how to find good vantage points and, on my return home, why and how I use Lightroom to geo-tag them.
I hope you enjoy it; do share your thoughts with me either here or on the OS blog.
Whilst on a family weekend away a few weeks ago, I crept out of our hotel at something like 4.30 am to take advantage of the soft dawn light. Driving away, mist was rising from the fields, which would have made a great shot in itself, had I been able to stop – unfortunately, I was on a main road and couldn’t. Either way, it was great to be out at that time of day.
My first stop was Tetbury, a lovely little market town boasting some fine Georgian architecture:
Other highlights include its church with a tall spire and a very unusual Market Hall on stilts:
Not a soul was stirring, so I had no problem with stray people in my shots. In fact, you could argue that it was too empty: people going about their business do bring towns to life.
Just nearby is Highgrove House, country seat of HRH the Prince of Wales. High walls and security meant that I couldn’t get a view of the house from the road, so I continued on my way. A few minutes later, I drove past a herd of cows in a field and, with the sun just having risen, spotted a lovely pastoral scene:
I didn’t hang around too much for fear that their mooing would bring out an angry farmer out with a shotgun!
On to my intended destination, Frocester Hill Nature Reserve which offered a commanding view of the upper Severn Estuary from the escarpment. Mist was rising from the river in the distance as I captured a panorama of the scene:
A sharp bend in the road lower down the hill lent visual interest to another view towards distant Gloucester:
My actual final stop was the long barrow on Selsey Common, overlooking the Stroud valley:
By this time, the sun was well and truly up and starting to lift temperatures on would prove to be the hottest day of the year to date.
Getting up early at this time of year isn’t too difficult; I certainly recommend it as a time to take memorable landscape photos.
Have you taken photos at dawn? If so, where did you take them. Feel free to share your thoughts in the comments below.
If you’re looking for inspiration in terms of new ways to post-process your raw photo images, I commend to you Serge Ramelli, ‘a French photographer living in the beautiful city of Paris’, as he always introduces himself in his bi-weekly YouTube broadcasts. He has certainly shown me how to get the maximum detail and conjure impressive effects from my image data. This is the episode that got me hooked:
I was seriously impressed by how he used Lightroom to transform a rather dull-looking evening scene into a one that positively glows. With over 120 photography, Lightroom and Photoshop tutorials to his credit, on topics ranging from landscapes to architecture, portraits to printing and much more, he has covered a lot of ground.
To complement his broadcasts, Serge makes the raw files he processes on screen available for download to those who sign up to his email list, enabling them to practice on it at home. He also regularly releases more in-depth paid tutorials. I bought one a while back about Lightroom 4 and found it very useful.
The best value option, if you can run to it, is the Photoserge complete package, which gives you download access to everything he sells – tutorials, Lightroom presets and sample files – for $340 (about £200) in one of his periodic 40%-off sales. Although some of Serge’s zipped archives are very large, the physical video files they contain are yours to keep once you have downloaded them; you don’t subscribe for a fixed period to watch online, as with some other tutorial providers.
Incidentally, I can vouch for his refund policy, since I took the plunge with the complete package a day after buying his long-exposure course and then asked for a refund on the latter, briefly explaining why. This he duly gave without quibble.
So, head over to Serge’s YouTube channel, enjoy his free videos, subscribe, practise on the raw files and take your photos to the next level, to coin a well-used cliché. My major challenge is finding the time to get to grips with the varied techniques he illustrates!
Here’s one of my photos, inspired by his techniques:
‘School of Serge’, you might say…
Over to you. If you’re a photographer, who do you learn from online or from books and magazines? How do you balance learning with taking photos and managing your ever-expanding image library?
My wife and I paid the modest fee of £1.60 apiece to walk out onto Hythe Pier and found that it afforded us a great view of the festivities, with Queen Mary 2 and her sister liners Queen Victoria and Queen Elizabeth facing us. I had plenty of room to set up my camera on a tripod but groups of people walking past made the decking wobble, which wasn’t so good for long exposure photography. The tremors were even greater when the quaint little train that trundles down to the end of the pier and back rumbled past!
When shooting the fireworks, I found that I got best results by taking the shutter speed back to about 2 seconds, with ISO at 100 and aperture on F16, to get good starburst effects without over-exposure. I brought out detail in the scene – there wasn’t much – mainly via the Shadows slider in Lightroom back at home.
In these photos, Queen Mary 2 is obscured by the fireworks, which were let off from a barge; to her right are sister liners Queen Victoria and Queen Elizabeth.
As the fireworks died away, they all sounded their foghorns – sounding like beasts in some primaeval swamp – and then Queen Elizabeth led them in convoy down Southampton Water to start their next respective cruises.
If you’re within reach of Southampton and enjoy maritime photography, keep an eye on ABP’s Live shipping movements pages. You’ll find details there not just of cruise ship movements but also of mercantile traffic. With ships leaving for destinations such as Port Said Roads, Baltimore, Panama and Singapore, it’s a reminder of just how trade really does connect Hampshire with the rest of the world.
Did you see – or even just hear – the ships on Friday night? Have you sailed on them before? Do you have memories of older Cunard liners? I’d love to hear from you.
Photographing is sometimes described as the art of painting with light. Capturing cars at full speed as dusk falls is a good way of letting vehicles paint the strokes for you. From a viewpoint perspective, I’m fortunate to Continue reading »
Earlier this month, I attended a talk, The location and the light, by the renowned documentary photographer Joe McNally at The Photography Show, held at the NEC. He gave a fascinating tour d’horizon of his career and his approach to photography, as well as some of the people he has photographed. Here are the lessons I drew from it.
1. Take the breaks you’re offered and be grateful for them
2. Gear and technique isn’t the last word in photography
Most photos he has taken, he thinks, probably have some small technical flaw in them. What counts at the end of the day are the stories they tell.
3. Be flexible and approach your brief creatively
One National Graphic story covered different aspects of the brain. Thus he attended an operation during which part of somebody’s brain was removed to capture a shot of the living organ; he also spent time with people suffering from mental illness to capture a different dimension. Projects, then, can and should involve multiple genres of photography.
3. Think big
He can spends several days and thousands of dollars setting up a shoot. For example, to photograph the Very Large Telescope in Chile, he hired a big crane and directed proceedings via walkie-talkie from 300ft aloft, capturing the right moment at dawn after a very early start.
4. Know your place
Even though, the shoot itself might be complicated and expensive, his day-rate is still on $650. Photographers, he suggested, are still the ultimate expendable resource for publishers.
5. Get to know your subjects, and keep in touch with them
The essence of documentary photography – his speciality – is capturing the face behind the mask: real emotion and natural behaviour rather than a pose for the camera.
7. Be humble, polite and interested in the other person
This lesson I took from his demeanour in front of us. A few minutes before he started, he entered the hall quietly and shook hands with everybody in the front row of his audience, whilst sharing pleasantries with them. Afterwards, he waited patiently behind to enable everybody who wanted a quick chat, an autograph – or indeed a shared selfie –to spend a moment with him.
To be one of the world’s leading photographers and yet still have time for the little guy: that is the mark of a true professional.
Over to you: which photographers particularly inspire you and what impresses you about their style?
There’s a bit of red-herring that does the rounds sometimes: landscapes should never contain people. On the contrary: they lend a sense of scale to the vista, as these two photos illustrate. This one was taken on the beach at Westward Ho! in North Devon and features a lone figure looking out to sea.
Out of the camera, the shot was much more drab; I warmed up the colour balance quite heavily to capture the reflective mood I sought.
My next shot was taken at sunset on Dunkery Beacon, the highest hill in Somerset. It features several figures in silhouette, enjoying the view at the end of their climb.
The walkers here convey not only scale but mood. Next time somebody is standing in the middle of your view, therefore, don’t just stand there seething until they walk away: think about how you can use them for creative effect.
Do you capture figures in your landscapes? Tell me about them and feel free to share a link.