For no other reason than I am a fan of bumblebees, here’s another.
Run off my feet for the last few weeks, so I haven’t had much of a chance to blog. I did spend half and hour in the garden watching the bees buzzing around the thyme and chives. I didn’t have the perfect lens on for shooting them, just the 70-300mm that I was trying out to see how it performs on my new camera.
I got this shot. It’s flawed, but I like it.
Shot with Olympus OMD E-M5 mkII 70-300 at 202mm 1/160 f/5 ISO 200. Converted to black and white with On1 Photo Raw
1.2 trillion images were taken last year. This gigantic quantity of photographs is unimaginable. Perhaps you consider your shot an insignificant droplet in this Noachian deluge of images. But, every photo you take is important.
Reportage photographs of civil protests, the horrors of war, human rights abuses and environmental destruction have helped change attitudes and laws. Think of the picture of the lone man standing in front of a tank in Tiananmen Square, the little girl running from a napalm attack in Vietnam or the body of a drowned Syrian refugee three-year old washed up on a Mediterranean shore.
Photos of oil slicks, bleached coral reefs, the now extinct West African Black Rhino, receding glaciers and butchered whales galvanise people into action against the harm we are doing to our planet. Okay, so you and I are unlikely to shoot a picture that will have as big an impact, but each one can still make a difference.
Not long ago considered twee and just sentimental, wildlife photography is now an important tool in environmental preservation. When you share a photo of a bumble bee in your garden or a puffin on Inner Farne, both of which are in steep decline, it helps increase appreciation of nature and reinforce the importance of conservation.
Over 720 billion images a year get uploaded and shared on Facebook. Every one, when reinforced by those with a similar viewpoint to you, can help fight your corner, help to change attitudes and, importantly, make you aware that you are not alone in your opinions.
That archive of those billions of photos and the accompanying comments will be an amazing resource for the historians of the future. Imagine your descendant studying history at school in the year 2117 and using the photos you took today and your accompanying comments to illustrate their essay.
I’ve been restoring photos of my ancestors taken between the mid-1800s to the mid-1900s. Many of the original prints are fading. They are dog-eared with blotches, scratches and rips.
One of my ancestors was a bit of an adventurer. I have a badly degraded picture of him. I recovered a lot of the detail in the image which shows him with a group of people gathered in front of a train in India. I shared it with an Indian historical railway club and they were ecstatic. They were able to identify the train and make an educated guess about its location. A copy is now in their archive. Generations after the photo was taken it brought international friendship and made some railway enthusiasts on another continent very happy. I doubt the photographer ever thought that would happen.
Historians of the future, partly thanks to your photos, are going to have a far better record of our time than we have of our ancestors. Compared with the relatively small amount I deduced from that faded photo, our descendants a hundred years from now may well have a very good idea of what we looked like, what we believed in, where we were and who our friends were. Just as we look in awe at sepia-toned images of life in the Victorian age, so our descendants will be amazed by what life was like in 2017.
So, grab your camera, shoot an image, and upload it. It might help change the world.
This post is a modification of an article originally published in the Northumberland Gazette
(This is an edited and expanded version of an article that was first published in the Northumberland Gazette.)
Northumberland is unique. We are so lucky to live here. It is truly a photographer’s paradise.
Getting great photos of our wonderful county takes a lot more than just lifting a camera and snapping. To make an image unique, something worthy of hanging on your wall and not just a record of what the scenery looks like, takes great light, proper planning and careful composition.
I take my camera everywhere with me. When I go for a walk it’s hung around my neck, when I ride my bike it is in the panniers and on family trips we have to make room for my camera bag in the boot of the car. There’s not much point in me being a photographer if I don’t have a camera with me. I know that if I leave it behind that mischievous photography leprechaun, Pan O’Rama I call him, will set up some fantastic subjects and perfect lighting for me not to shoot.
Despite carrying the camera, nearly all my best shots are from when I have planned them. But, I also know that however carefully I plan a shoot, Pan will also play his tricks on me.
As always, I spent a good hour the night before planning the shoot. I checked Sollumis.com and Photoephemeris.com to see which direction the sun would appear above the horizon, and at what time. I read the weather forecast, checking the wind speed and direction, and used Google Earth and an OS map to work out the best place to stand. I checked the tide times too. My camera batteries were fully charged, memory cards formatted and the camera setting adjusted for the shoot. I fitted the appropriate lens and screwed the filter mount to it. My filters were cleaned and packed and I checked my tripod over.
I’m good at waking up early. Creeping out of bed, trying not to disturb my family, I was outside long before dawn.
The skies were beautifully clear. I jumped on my bike and pedalled to the location to get that perfect shot. This was going to be competition winner. Landscape photographer of the year, here I come! Of course, Pan dumped a cloud bank across the horizon, completely obscuring the sunrise. The light was flat and there was neither colour nor interesting features in the too-heavy clouds.
Although things can go wrong, planned shoots do usually produce far better results than impromptu ones. I drove up to Lindisfarne two days later, having added the important crossing times to my plan. From the car park, I hiked to the beach in the dark. I set up my camera on the tripod and carefully composed the shot and watched the beautiful morning light appear.
I did get the shot. Patterns and pools in the sand left by the receding tide lead my eye to Lindisfarne castle silhouetted against the glow from the early morning sunrise; pastel oranges complementing the retreating dark blue of the sky.
That mischievous photography leprechaun left me alone, chased away by proper planning and careful composition.
The art of photography is wide-ranging, appealing to so many different tastes. Still life is the staple for some while capturing birds interacting with their environment is the aim for others. For me, the timelessness of black and white is king, while others yearn for colour. Many prefer to carefully compose a landscape using the unadulterated natural lines of hills, water and trees. I think a person, animal or bird changes a scene to something far more dynamic.
I think the same applies with architecture. Buildings, bridges, streets were put there for people and adding people into that environment changes the entire feel of the image. These are, of course, my subjective tastes and not everyone will agree.
The psychology, techniques and even the terminology of photography are similar to those of hunting. Heading out into the field, carefully aiming, breathing out and waiting for that split second to get that perfect shot, then gently squeezing the trigger could easily describe either activity. Photography is without the slaughter.
It’s not without its controversies though. I’ve always been fascinated with street photography. There was a trend a while ago for photographers to force their camera into faces, capturing unflattering views of people’s features close up. These did the reputation of photographers no good at all. Fortunately, times have changed again and projects like Brandon Stanton’s “Humans of New York” and Max Gor’s “Raw Streets” work in London have a much more deferential approach to photographing strangers. Both Stanton and Gor’s excellent and respectful work are often on-location portraits and usually much less about the interaction with the urban setting, although Gor does some splendid candid work too.
In style, they are quite different from the great Henri Cartier-Bresson who stepped back and documented people interacting with their world. The documentary, candid style that he pioneered is what really appeals to me.
When he said your first 10,000 photos are your worst, Cartier-Bresson was speaking in a very different time. His quest of trying to capture what he called the ‘decisive moment’ has been lost, swamped by the scatter-gun photography of multiple exposures and the trillion snaps a year that are vomited out by those seeking to record and share their every waking moment. If he lived today, I wonder if he would have said your first 100,000 photos are your worse. Photography for many has become more akin to dropping a cluster-bomb rather than hunting for that shot.
Saying that, there is nothing wrong with shooting multiple exposures. For wildlife and sports photography it is a boon. My next camera, the Olympus OMD EM1 mk ii, has an unbeatable 60 frames per second frame rate. But, that is not why I am buying it. It’s the image quality, versatility and portability that enable me to get the images I love to take. I can think of no camera better to have on a street assignment or for shooting puffin on the Farne Islands.
Of course, if you head out into the street, recording what you see, you will capture moments in time that are uncomfortable, images that challenges the viewer to ask questions about the world we live in and even make judgements about the rights and wrongs of publishing some pictures.
Yesterday evening I had a delivery of my brochures to make to a local holiday business. Walking back with Johanna I saw the moon had a huge halo, a moonbow. Formed by ice crystals high in the atmosphere reflecting the moonlight, they are fairly unusual here and this was the largest I had ever seen. Johanna and I walked to the harbour and I grabbed a few shots.
This was a 5 second exposure (“Sit very still, my lovely wife!”) at 12mm, f/3.2. The foreground is lit by sodium lights, hence the off colour cast in the foreground. The wide angle of the lens distorts the horizon in these forst two shots, which I could correct in Photoshop, but I actually like the strangeness of the warped look. This first image actually works really well as a black and white, the version I am adding to my portfolio.
This is a panoramic shot of three images stitched together.
Walking to the end of the pier, the moon was illuminating the sea nicely but it was too dark to focus or compose the next image, so this was a point and shoot shot. I set the camera on the tripod facing out to see, turned the focussing ring to almost infinity and increased the aperture to f/4.5 to give me a bit more depth of field. Using the viewfinder I checked the position of the flashing light to guess the composition, the other images were shot using Live View. It was a 50 second exposure at 20mm.
What better to get the photographic juices flowing than a new bit of kit.
My E-5 is a 6-year old camera now, and I still love it! I think the look of Olympus images is different from the other brands. I like that difference.
Since Olympus stopped making its Four Thirds DSLRs in favour of its Micro Four Thirds Mirrorless CSC, some excellent, used kit has been appearing on the market for a fraction of what it would have cost a couple of years back. The £960 Zuiko 12-60mm ED SWD lens used to not lose much of its value at all in the second-hand market. I’ve just bought one in as-new condition for about a quarter of its original price. It’s really fast to focus and the image quality, when mounted on my E-5, is superb.
There are plenty of newer cameras that have double the pixel count, or more. But, my camera is well beyond more than adequate for printing images far larger than A3, and I never need more than that; Mostly, I am printing A4 or 5 x 7. Most of my images end up only online. Besides, I don’t want photo files that are 25 MB each. (If I did need to print larger, I have software that allows me to enlarge images.)
My camera is so fast to focus (especially with the new lens). The high ISO noise control is good even at high ISOs. Some of the most modern camera’s can produce usable images at ISO 32000 or higher, but how often would I need that? With many of my shots I am trying to reduce the light reaching the sensor not increase the sensitivity!
The camera still fits my hands perfectly. It is a solid build with a magnesium alloy body, it’s splash-proof and I know my way around it in the dark.
But, I do need a new second camera. As more and more commercial shoots flood in, I need something to fall back on that is at least as good as the E-5. (My other camera doesn’t quite make the grade.)That has left me with a predicament and it is something I have been pondering over for months.
I could buy a second-hand E-5. But, there are so few on the market that they sell for a premium. Would I be better off spending that money on a new camera? If I do, it means changing to a different system; the Four Thirds DSLR system is discontinued. If so, do I swap to a newer micro Four Thirds mirrorless compact system camera, such as the amazing Olympus OMD-EM1 mk ii; my dream camera. Or, perhaps I should consider the excellent and more affordable OMD-EM5 mk ii. Both of these have tremendous low-light performance; useful for weddings and parties. The EM5 good enough for the likes of Gavin Hoey, so it should be good enough for me. An adaptor would allow my lenses to work with all their high-speed functionality on these bodies.
Or, do I go full frame? That’s something I have resisted. Lots of professionals are now migrating away from these huge beasts and opting for something more portable and practical, better suited to documentary-style photography. But, there are artistic benefits of having a larger sensor. There are excellent full frame cameras on the market for less than the OMD-EM1 mk ii. But, that would mean me having to invest in a new set of lenses.
What do you think I should buy? If you seek advice about what camera you should buy, a photographer will always recommend the make they have. They will never admit to having made a bad choice and will enthuse over their chosen brand. (There is one brand that I will avoid just because of the number of incidents I have come across of them going faulty, but I won’t say what it is. I don’t want to upset you if it is the make you chose!)
When people ask me about buying a first camera, and they regularly do, I sit down with them and search Flickr. There are fantastic photos taken with any brand and any model. Variations in quality are down to the photographer and not the camera. All cameras from any of the big makes are excellent and will perform as highly as the photographer’s skills will allow. (There’s an old saying that the best component in a photographic system is the one looking through the viewfinder.)
The next thing I always recommend going into a shop and trying different models to see what fits their hands the best. Ergonomics are so important.
I also say to check out the second hand market. There are hundreds or even thousands of great second-hand cameras available and some great deals to be found. Older models still take excellent pictures, as they did when they were new, and can be picked up for a few tens of Pounds. It’s also more environmentally friendly buying a used camera.
A word of caution. Although you should be okay buying a used camera from a reputable camera retailer, do take care when you buy elsewhere. Cameras regularly get stolen and are fenced on online auction and marketplace sites.
Ask to see a photograph of the serial number before you buy from a private seller. (Don’t just ask what the serial number is, crooks don’t tell the truth!) Serial numbers of stolen cameras are often listed online. Then, ask to see some historic photos posted on sites like Flickr from that camera. It’s relatively easy to compare the seller and check with the person who uploaded the images that the sale is genuine.
If the vendor is unwilling to do any of this, don’t buy it.
Here are some shots with my new lens.