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It’s been a busy couple of weeks and looks set to remain busy for the rest of June. I’ve been shooting commercial properties for a single organization, inside and out, and have twenty or so more of them to do. It’s a hectic schedule as we’ve been trying to do at least two properties each shoot day with each comprising building, gardens, interior rooms, people and some lifestyle photography. It’s worked out to be a pretty physical job with lots of moving of furniture and the like. Having to work around the exceptionally busy working day of the people in the business properties has also impacted on the available flexibility of the shooting schedule.

This all translates into one thing really. There has been and will be no time for the setting up of lights. This introduces the problem of getting the exposure right in most of the interior room shots when, generally speaking, large windows dominate the internal lighting situation and I am often shooting directly towards the windows. No fill flash means one thing to me really and that’s High Dynamic Range (HDR) imagery.

I’ve been shooting sequences of nine exposures, one at normal exposure settings and another eight at one exposure stop increments/decrements. These are then blended in Photomatix to produce a single well “exposed” base image. Because the camera handles the exposure increments/decrements automatically it’s just a matter of operating the shutter nine times for each HDR shot. It’s fast on site but does introduce extra steps in the digital studio workflow.

It’s an interesting process and one that has allowed me to deal with the limited shooting time.

Taking and not taking photographs

Paul Butzi, in his article The photos not to take discusses his personal code when it comes to taking photographs:

Beyond the obvious trespass issues, though, there are other situations where I won’t open the shutter. If I’m setting up, and the property owner comes out and asks me to stop, I stop. I stop even if I’m on a public right of way, and have every legal right to be where I am and photograph whatever I can see. I don’t want the people who live where I’m photographing to feel that I’m an intruder, or that I’m a threat. Will I talk with them, explain what I’m doing, and try to persuade them to let me photograph? Sure – I won’t push hard, but I’ll give it a shot if I can keep it friendly. But while I’m being charming and persuasive, I put away the camera and the tripod, to make it clear that I’ve stopped. And, in the end, if they don’t change their mind, that’s it. It’s their choice. If they don’t want me to take the photograph, I don’t want to take it.

Paul also writes that …the fact that we have a legal right to do something doesn’t mean that it’s right to go ahead and do it… and Is this what we’ve come to – that we’re so intent on making our art that we’ll engage in deception to get the photo?

Compare and contrast to this report on the Leica M8 in Marrakech by, I’m assuming, Michael Reichmann:

Balancing not wanting to give offense, and yet responding to some of the most exotic street photography opportunities imaginable, leads to developing a few strategies. For example, I would sometimes ask my wife to pose as if I was taking her picture, while I was actually photographing the people behind her. Even then, it was not uncommon for people to turn away or cover their faces.

Ones ability to effectively do street photography demands appropriate technique. This means a small camera, held discretely in one hand. No long lenses, no motor drives or large battery grips, and definitely no flash in the souks.

See an opportunity, position yourself, lift the camera to the eye, frame and shoot. Camera down before anyone has time to notice, or to object. If they object after the fact, smile an apology, and move on. It works.

I’m not going to fall into the trap of making a moral judgement about these differing views. Both Paul and Michael are serious photographers and both go to great lengths to create their images but both have defined different boundaries within which they are prepared to work, as I guess we all do.

So what’s my point? My point is that photography, the kinds of images that we produce, say a great deal about the limits we put on ourselves and these limits are a reflection of our own way of living our lives. A body of work represents more than just the subjects, it represents the way the photographer looks at the world (visually) and also the way the photographer fits into that world.

Absolutely nothing new there, it was just that I was struck by the contrast of the sentiments within the two articles. Probably had something to do with me reading them one after the other.

Could you have resisted?

This article on the Online Photographer is a sublime example of how a small, but significant decision regarding composition can change everything.

The fear of heights is a common context. The photographer was fully aware of this and the resulting photographs are a triumph in the presentation of that context.

Having said that, sheesh, the guy with the tripod is a loony.

So that’s how it’s done

Ever wanted to know how to become an Ansel Adams? Apparently The Telegraph has the answer.

New Gallery Image – Moon Tree

I’ve added a new image titled Moon Tree to the digital galery which can be viewed here.

A composite image. The tree is a Walnut photographed in my garden. The moon is a blending of a number of different images, one a purely digital orb which helps with the halo effect.

Titled Moon Tree in recognition of the Apollo 14 mission and its Moon Tree legacy which you can read about here.


Someone once wrote, and I can’t remember who but I believe that I saw it on a blog somewhere, that it is sometimes of benefit to “fly in a different direction”. Well, recently I have been doing just that, spending many hours, days, weeks, sometimes late into the night utterly compelled to understand and develop ………….. Pop Art.

Pop Art – A visual artistic movement that emerged in England and the USA during the 1950s. Characterized by themes and techniques drawn from mass culture, such as advertising and comic books, pop art is widely interpreted as either a reaction to the then-dominant ideas of abstract expressionism or an expansion upon them.

UPDATE: Resizing down from the original loses texture. It’s a real problem for this kind of stuff. Here’s a tight crop:


I’m not quite sure what the best medium is for this image. Perhaps stretched canvas.

An image hunting for a concept

Sometimes, just sometimes, I create an image that screams out stock to me but fails to provide any further indication of why that might be the case. This is one of those images.


I mean, what is the concept there? Sure there’s some kind of juxtaposition thing going on. There’s surprise perhaps. Maybe even something clever in terms of mixing/blending contexts. But what does it all mean?

It no longer screams out to me but is, instead, constantly whispering …… stock ….. stock …… but I just can’t see it.

Shooting garlic

I had plans for photographing garlic. Taking this was not part of those plans but you know how it is, you’ve finished making the image you want, the lights are set, the tent is up and you just run to the cupboard and grab what you can before clearing the whole thing away.


I kind of like it. The surface, again, is black acrylic sheet but I bent a large piece of black card over the top of the set which blocked out light from above and the back which helped to reduce reflections in the sheet.

A larger image can be seen here.

Also, there’s probably less dust on the moon

I don’t know if you’ve ever tried photographing on black acrylic but if you have I offer you my sympathies. The effort involved in keeping the surface clean and scratch free is almost prohibitive. I mean, what special and magical properties must the material have to attract so much attention from every single fibre in the whole house? Clothes strain against their hangers, boxes of tissue paper edge across kitchen surfaces, toilet rolls unravel from their holders as every fibrous material in the house makes its way to the small acrylic sheet and it’s single bowl of uncooked rice.


And what is it about dust which seems to consider black acrylic as being akin to a black hole? From everywhere it comes! Wooosh. Like some kind of fundamental principle of the universe.

When it comes to difficult surfaces to photograph on, even the moon is easier.

Shooting weddings

Here’s an interesting forum discussion between a number of professional wedding photographers on the subject of guest photographers at weddings:

at the last wedding we had guests with D50, D70, D70s, D200, D2x, all drebels, several 30D and 5D, one with the 1 Ds and H2.. one guest asked me whether I had a bw film to sell him (Leica MP), given the choice of trix, plusx, apx, hp5, bw400cn and a few more he went for trix without hesitation… the visual culture of the crowd was quite high – one could see that easily judging by the way they took their own pictures.. several folks had flash slaves and various diffusors…