Thursday, 31 May 2012

Lightroom upgrade

I have been on Lightroom 3.6 for a while now and have been watching Adobe's progress with version 4. Experience tells me that a major new release is prone to have issues and sure enough the bug reports for 4.0 were enough to make me hold off. A 4.1 beta came out quite quickly, followed by a 4.1 RC2 and finally this has become a full 4.1 release.

Some background from the Adobe Lightroom Journal:

Why upgrade?

To get a quick overview of some of the new features try:

For me LR is an excellent RAW converter and so it's the improvements in the Develop module that justify the upgrade. I also think the Map module may be of some interest.

The upgrade process

In preparation for this I:
  • purchased the LR 4 upgrade (media with serial number)
  • watched the journal and other bug reports
  • downloaded the LR 4.1 install file (very large) 
  • downloaded the LR 4 help guide pdf
  • backed up my various configuration files; presets, watermarks, exports etc
  • finished off any client work
  • tested my catalogs for integrity
  • optimized my catalogs
  • backed up my catalogs
The upgrade actually ran through quite smoothly. The only thing I had to do was set a custom install path as it seems it does not look to see which drive or where it is currently installed on. The catalogs converted surprisingly quickly. The interface itself is sufficiently similar to previous versions that experienced users will be able to start using LR4 immediately.

Develop presets

One issue I do have is that I have a number of presets and these work with the older (2010) process. I will need to convert these to work with the newer (2012) process and/or get new presets.


Tuesday, 29 May 2012

BJP May 2012

This was the "Dark Arts" edition of the BJP, no not something from Harry Potter but in fact an issue featuring night photography.

Beam of attention

I loved these 'beam of light' images from James Nizam. The idea of photographing something that is 'not actually there' appeals to me and the geometric nature of the 'structures', combined with the high contrast monochrome finish yields quite striking images.

by James Nizam
James Nizam, Thought Form (Cube), 2011, archival pigment print
on fibre paper, 30 x 36 inches, Courtesy of the Artist and Gallery
Jones

"In his Thought Form series, Nizam harnesses the sun’s rays and contorts them into geometric shapes: a cube, overlapping triangles, a tetrahedron. Working in a darkened studio, the artist allowed in a single concentrated beam and documented its movement, deflecting it between precisely angled mirrors around the room. Even with the aid of artificial fog to highlight its presence, the streak of light was only traceable for about 3-5 bounces; for more complicated constructions Nizam would record the light through multiple exposures over time, with the mirrors’ placements carefully calibrated to compensate for the sun’s constantly changing position, and willfully defying the notion that a photograph captures a single moment in time. Viewing these abstract, linear forms their planes jump into the foreground then back, literally destabilizing the idea that photography offers an objective or static point of view."
(from http://hereelsewhere.com/see/james-nizam-trace-heavens/)

by James Nizam
James Nizam, Thought Form (Fan), 2011, archival pigment print on
fibre paper, 30 x 36 inches, Courtesy of the Artist and Gallery Jones


More at:
http://www.jamesnizam.com/

Monday, 28 May 2012

A Written Plan

This exercise is to write a plan for my chosen event, in my case the wedding.

Is it feasible?

Most wedding enquiries come from couples locally based or with a local connection. I define a road distance of 25 miles as being local and then apply a mileage charge or other travel expenses beyond that.
http://www.astburyphotography.co.uk/photos/faq.htm#local

Normally the couple will have a wedding date and venue before contacting photographers so these key facts are known from the outset. One of the very first checks is to look at the diary and see if the date in question is free, if not then the enquiry cannot be progressed. If I get more than one enquiry for the same date then first deposit paid gets it.

The whole thing is subject to being commercially viable. In order to take a wedding booking it is important that:
  • I meet the couple to explain my services and that some rapport is established.
  • The couple have a budget that falls within my range of packages. There can be some negotiation and associated tailoring of packages but where the budget falls well below I have to decline the work.
  • A deposit and booking fee is taken.
  • A contract needs to be completed and signed by all parties.
  • The balance of payment needs to be made according to the terms of the contract.

I carry both third party liability insurance (guest trips over camera bag and gets hurt type scenario) and professional indemnity insurance (for contractual issues). I have never needed to make any claim involving these but would not want to be without either. Currently I arrange this via Aaduki Multimedia Insurance:
http://www.aaduki.com/

To do wedding photography a certain amount of kit is needed and this needs to include enough that a failure or breakage will not prevent cover. I would usually attend with two camera bodies, about 4 lenses, two TTL capable flash guns, and a heap of spare batteries and memory cards. My memory cards are always kept in Gepe Extreme Card Safes to prevent accidental damage:
http://www.gepe.com/website/index.asp?pageID=299

Permissions and access

This may appear to be straightforward in that the couple hiring you obviously want you to take photographs and are implicitly giving you permission and access to do so.

But, of course, it is far from being that simple. Where the ceremony is a religious one then the customs of the religion must be observed. Any restrictions made by the person conducting the ceremony must be observed. In churches this often means no photographs during the ceremony and limited use of flash. Cameras with high ISO capabilities and the use of fast lenses can help a lot.

I am particularly fond of Humanist services as the celebrants do not normally place any restriction on photography, it can be whatever the couple want, so usually makes for a very relaxed shoot and can yields lots of good images.
http://www.humanism-scotland.org.uk/

Venues may also place restrictions on access, for example some larger venues may even be hosting more than one wedding on a particular day and so any clashes with other wedding parties are to be avoided.

Site reconnaissance

The first thing to note is that weddings often involve multiple sites, to include:
  • Preparations at family homes or hotels.
  • The site of the ceremony, may be a church or other location.
  • The site of the reception, often a hotel but again could be a variety of locations.
In the case of church weddings there is often a rehearsal in which case attending can be useful. This can give and idea of:
  • the sequence of events and positioning
  • flows of people, in and out
  • some assessment of the light (I take a light meter and/or take some test shots)
  • and allows a conversation with whoever is conducting the ceremony about any restrictions on the photography.
Its seems rehearsals are unusual when the venue is not a 'regular' church. In which case I will try to visit the venue and have a good look around. If a venue has a wedding coordinator then it is worth introducing myself to them and hearing what they have to say.

A provisional shot list

I would usually try and have a face to face planning meeting with couples a few weeks before the wedding date. At this point I can establish if there any specific shots that are requested. Some brides will have a list while others will mostly trust to my experience and discretion.

I also ask for a formal group shot list. This is normally no more than about 10 group combinations. I ask for these to be arranged biggest group through to smallest as it tends to be easier to let people go when done with them rather than be trying to round-up people. The groups are numbered and I then try to ensure that a couple of helpers (often the ushers) have the lists and can assemble the required people (as I often won't know who the various people are).

I can't guarantee to get any specific shot because of potential issues such as weather, venue restrictions, timing, people not cooperating etc. The contract makes this clear.

There are sample wedding shot lists that can be consulted and I found this helpful when starting out. For example "The 48 Shot Wedding":
http://www.swpp.co.uk/professional_imagemaker/48_shot_wedding.htm

The output from the planning meeting is plan document that:
  • is short, a page or two, that I can have in my pocket and quickly refer to on the day
  • will have key names and mobile phone numbers in case of the unexpected
  • will have timings for the main stages of the day
  • will have notes on which camera and lense combinations I anticipate
  • will have notes on any key shots or special requests from the couple
  • will have notes for an assistant or 2nd photographer if there is one

If the couple are having an album (and most do opt for this) then I need to consider this as I take the photographs, this means being observant to some of the smaller details and also more general or wider views that can make for backgrounds.

Follow up

My actual plan and group shot list for my chosen wedding have personal details including names and mobile phone numbers so I won't post it here but these documents will be submitted to my tutor as part of the overall assignment documentation.

Saturday, 26 May 2012

Assignment 5: Preliminary

In one way or another I have actually been working on my assignment for several weeks now so it seems appropriate to gather my thoughts and get something blogged setting out my approach.

False Start

I had initially identified a "Pipe Band Championship and Highland Dance Competition" as a possible event. This was mainly based on the idea that I thought photographing the highland dancing would be enjoyable (though I am not such a big fan of bagpipes). It took me several weeks to track down a contact for one of the committee members to ask about the photography. I was told that they wanted someone who would offer on the day, on-site printing, i.e. a full mobile retail unit (which I don't have) and that they already had a couple of photographers who had agreed to pay them an attendance fee to come along. So I tried to I explain that I was looking to do a more editorial style shoot as part of my course. At this point I was told that they had concerns that children would be at the event and that unless I had a current Disclosure Scotland they would not wish me to take photographs (I had an out of date disclosure document, nobody asks when doing weddings and portrait sessions). I offered to get a new one, it takes about 10 days but they did not feel that gave them enough time for the committee to consider me. They also told me that two of the newspapers were sending their own photographers. So my only option would be to attend and photograph as a member of the general public.

So it seemed that particular event wasn't the best choice but I suspected much of these issues were going to be typical. There seems a general paranoia about anything with children, which is a lot of events. Event organisers generally prefer fully dedicated event photographers with all their kiosks, generators and printers etc, clearly not me. And trying to sell to the local and regional papers might be near impossible as they just send their own photographers.

Disclosure Scotland

Disclosure Scotland is the Scottish version of the CRB (Criminal Records Bureau) check. I had been through the process for basic disclosure (the only type you can apply for as an individual) some years back and received a certificate showing my status for convictions and cautions (none in my case).

My experience has been that for the type of work I do (mainly weddings and portraits) people don't ask to see the Disclosure certificate. I carry the certificate in my portfolio case but I think I have only shown it to somebody once and even then I think it was because I mentioned it first. There is also a fee payable for each application. So for these reasons I had not updated my Disclosure for some time, but prompted by the conversation with the competition organisers, I opted to get an update anyway. This has now come through, so if someone asks I am at least current again for the time being.

http://www.disclosurescotland.co.uk/

Direction

I had given my tutor an update on my progress towards the assignment and had commented that I felt there was an irony that in fact I am well used to planning and selling events, but in one particular context, when I do a wedding! A little further dialogue then established that I could in fact base my assignment on a wedding.

So I'm using an actual real wedding as the basis for my assignment. In addition to agreeing this with my tutor I also sought the permission of the bride and groom which they gladly and kindly gave. My wedding contract covers me for using images in an unrestricted variety of ways anyway but I would never wish to surprise or embarrass a client so if in doubt I always ask clients before using their images in any way they might not expect.

It is my intention to respect the privacy of the bride and groom as much as is practical so I will restrict my blog entries to the more general aspects of the 'event'. Any aspects that seem more personal will be omitted from this blog and the final selection of photographs will for the tutor and assessors only.

Wednesday, 23 May 2012

Research and analyse web slideshows

This exercise is to look at the websites of magazines and newspapers that feature slideshows.

So what is a slideshow

In common with many people my age, much of my childhood and early family life was recorded on slide film. And I myself used slide film in my first camera as a teenager. We would sometime view these by holding them up to the light or by placing them in a simple viewer unit but the real excitement came when we had a slideshow evening. This involved setting up a large screen and then arranging the slides in cartridge or carousel units to feed the projector. There would always be a few that ended up backwards or upside down. Viewing was a very interactive affair, the family would be gathered and discussions would often involve lots of pointing to areas of the screen.

Over the years I have accumulated many slides from grandparents and will hopefully take custody of my parents slides at some point. However I don't currently have a good working projector or a suitable scanner (needs to have backlighting).

But the term slideshow has evolved and now would more commonly be taken to mean "any display in the form of a series of static images, such as on a computer screen".

Examples

The course notes direct us to look at a series of examples:

Characteristics

"Do the different sites present slideshows in essentially the same way, or are there subtle or substantial differences between them?"

The Guardian: This is unusual in that it starts to play sound as soon as the show starts. This is one of the 'cinematic' ones due to the pan and zoom effects applied to the stills. Images can be viewed with or without caption text. With captions active, navigation is then a matter of following the links from there.

The New York Times: This didn't seem to be a slideshow as such, more a sequence of images to step through manually. That said, I liked the simplicity.

The Times: Again not really a slideshow, another series of images to step through manually. Quick to load and update. All image links route via a login page so a very short experience for non-subscribers.

Paris Match: This delivers large images and is what I would consider more 'sensational' in its content and therefore layout (e.g. lots of use of the colour red). The mechanism is a little unorthodox, each page seems to redirects to another on a timer.

Stern: For me the link provided by the OCA always gives a 404 error (page not found). My inability to read German meant traversing the site was difficult but I did manage to find a few image sets. These were presented simply on 'clean' pages in a way typical of more serious news.

Telegraph: Nice big photos and plenty of social-media type sharing options.

So there are numerous differences between the various slideshows, sufficient to give very different overall viewing experiences.

Some basic characteristics I can identify include:
  • Position within a page and sizing
  • Proximity to advertising and other content
  • Play controls (stop/start/pause/full screen etc)
  • Navigation controls and linking
  • Sound
  • Transitions (effects and speed)
  • Technology used (Javascript/Flash etc)
  • Performance (bandwidth usage/load times etc) 
  • Sharing options (social media options, Tweet this etc)

Common Features

"Are there any features that all the slideshows have in common?"

In the loosest sense yes,  they all have a set of images in a sequence that can be viewed on screen and that either carry caption information and/or link to further news items. Beyond that the numerous variations in approach mean that no two are really the same.

Viewer Choice

"How do the slideshows differ in the amount of choice that they offer the viewer for playing them? Is the viewer choice a good thing?"

Again this varies by site and implementation. Generally the viewer cannot do anything beyond the configuration options offered by their browser. Some sites offer the viewer limited options. These include stepping forward and backward through the sequence. Displaying thumbnails. Displaying in full screen (though the resolution doesn't usually increase so can go very blocky).

If I were a regular visitor to a site I would welcome more options for viewing so I could tailor my experience to my own preferences.

Failings

"What are the most obvious failings, in your opinion, of these slideshows?"

My first impressions of the slideshows from the sample links were not good, they all seemed to have issues for me. And I am always surprised to see how many HTML errors (standards violations) these pages have (counts included below), which makes browser rendering somewhat of a lottery:

The Guardian: The Flash based content will prevent those accessing from Apple platforms. This starts to play sound as soon as the show starts and with no obvious way to turn it off. Irritating if your are listening to music or maybe browsing in an open environment (office space). Navigation was my main issue here. Clicking on the images just seemed to stop and start the show. To find the news item I had to activate the captions and follow the links from there. Linked content opened over the slide show, using the browser back button then reloads the page and so the slideshow resets so there is little continuity if you wanted to then view the next story.
30 HTML errors.

The New York Times: This didn't seem to be a slideshow as such, just a series of images to step through manually. That said, I liked the simplicity.
62 HTML errors

The Times: Until you mouse over there is no visual cue that this is anything other than a single still image. Again not really a slideshow, another series of images to step through manually. All image links route via a login page so a very short experience for non-subscribers.
32 HTML errors

Paris Match: Too much RED, aarrggghhh. And the timed jumps are completely independent of the viewer, it changes even if you still looking at the current page.
596 HTML errors (anybody's guess as to how the page should display, amazing it does)

Stern: I liked the clean simple presentation, no  major criticisms here.
30 HTML errors

Telegraph: I accidentally mouse-overed one of the ads and it immediately expanded to cover over the slideshow. Because of this I found the advertising content far too invasive. Image transition involved re-loading the whole page so content 'jumps' about. This was truly awful for me.
166 HTML errors (wonder it displays at all!).

NB Pages can be validated at http://validator.w3.org/. As a Firefox user I like the HTML Validator plugin.
Pages can also be tested for accessibility, always a challenge for multi-media type presentations. An example tool would be the HiSoftware Cynthia Says.


Features to include

"If you were constructing a slideshow for one of these sites, list the features you would include, based on your experience so far?"

As a viewer the objectives and therefore the desirable characteristics are not necessarily the same as those for providers. As a viewer the priority is finding interesting and relevant news and being able to drill down for more detail where required. As a provider the whole enterprise has to be financially viable, which typically means the two routes of advertising based revenue or subscription news services.

I like the animation of something like the Guardian but want to see the associated news without jumping away, so more like The New York Times.

See my earlier post for notes on how I have used the Nivo Slider for news items on my own website:
http://ocaphotopwdp.blogspot.co.uk/2011/10/web-portfolio-technology.html

Set apart

"What features set your two chosen sites apart from the rest?"

Of the sites the two I prefer are Stern and The Times. This is because they offer static pages that don't jump about and don't have distracting animated advertising. They also offer simple navigation allowing the viewer to proceed at their own pace.

Tuesday, 15 May 2012

Visit to the SNPG

Upon making my first visit to the Scottish National Portrait Gallery in Edinburgh I was impressed. The gallery had been closed for refurbishment for almost two years but is now fully open again and looking very good. The gallery holds the national collections of portraits, all of which are of, but not necessarily by, Scots and in addition it also holds the Scottish National Photography Collection.


Farmscapes - Stuart Franklin

"The Magnum photographer Stuart Franklin was commissioned by the Gallery to capture the diversity of agricultural production in Scotland. Franklin's spectacular images, recording everything from allotments to fisheries, island crofts to large estates, remind us of the significance of farming to the national economy and its profound impact on the landscape."

Organic Pig Farming, Elgin
Stuart Franklin, Organic Pig Farming, Elgin

I really enjoyed seeing this exhibition of Stuart's photographs as these are typical of the subjects and locations that I like to photography myself. He has produced a book "Footprint: Our Landscape in Flux" which I would like to have.




Monday, 14 May 2012

SWPP Mini Convention

On Friday 11th May 2012 the SWPP (Society of Wedding and Portrait Photographers) held a 'Mini Convention' in Falkirk.

This was an opportunity to network and included the usual trade exhibitors but I went specifically to attend a couple of the 'master-class' type sessions.

Catherine Connor - 60 minutes to change your businesses performance

"Feel overwhelmed by all that you have to do! Are you craving more time, business confidence and the right route map – if so this 60 minutes is certainly designed for you. If you are lacking direction, and you feel like you are treading water. This 60 minutes to change your business performance is for you and it will make all the difference. In one sentence Catherine Connor has been acknowledge for changing lifes, can you imagine what she would do in an hour! Sometimes ideas are just hard to come by, ideas that is that work, are tested and come with a great deal of experience. This exclusive lecture has been written and design with the photographers in mind."
 http://www.aspirephotographytraining.co.uk/

Gordon McGowan - How to Create Stunning Wedding Shots

"Demonstrate how to create stunning pre wedding shots of the bride using natural light, video light and reflectors. How to create extraordinary shots with very ordinary surroundings. The poses and lighting techniques will also be a good grounding for overall bridal posing which the photographer could use in other areas of the wedding day."
In this session Gordon shows you:
  • Learn how to develop a Style.
  • Tell you about what equipment he uses.
  • Show you how to look for backgrounds and use them to make stunning images.
  • Talk about the importance of posing and expression.
  • You will learn about bridal posing and have the opportunity to practice.
  • Demonstrate the use of video light
  • You will also learn how to see the final image before pressing the release and how to assess those images on the move.
  • Share his ideas about shots that sell.

http://www.gordonmcgowan.co.uk/

Notes and Conclusions

Catherine suggested allowing 'big picture thinking time' and suggested applying time to these areas:
  • Finances
  • Sales
  • Marketing
  • Photography
  • Customer Service
Essentially what she is advocating ties in with what I would think of as Hoshin Planning, something I do but probably not enough of.


Gordon has a very distinctive approach to his wedding photography, elements include:
  • no engagement shoots
  • no reportage
  • a 1 ½ hour B&G photo session (long)
  • mostly natural light
  • no OCF
  • high ISO

Placing an emphasis on three core elements:
  1. Background
  2. Pose
  3. Expression
I have been giving some thought to getting a continuous light source for use at weddings and so I was very interested to see a demonstration of the Lowel id light, now on my purchase list for this year.