Autumn

I have been thinking about my 'Nature' series of photos and am torn between water and seascapes and Trees and plants. Autumn brings out fantastic colours in the tress and with the right sky the contrasts can be fantastic.

So, armed with my camera and zoom lens I took the dog into Hopwas Woods and looked for things to photograph. Easy. However, as the woods are so dense, you do not always get the best light or the best angle for the shot.  Ironically, I got 2 of the following when I got back home!

I chose only to take my zoom lens as  I specifically wanted to capture close up's of leaves, most of which I knew would be high in trees, or in locations that would not be easy for me to access. The downside of that, was that I was unable to capture any decent shots of the wood in all it's glory.

I am pleased with the 7 pictures that I have chosen, as when displayed side by side, they are very colourful view of the autumn.

ISO 200: f 9: 1/100: lens 55-200mm

I tried a number of shots to get this as the shot was taken almost directly into the sun. Focusing on the leaves in the foreground I managed to blur out the back of the image. However, the brightness of the leaves in the back contrasts nicely with the leaves in the foreground. 

The golden leaves in the image below contrast really well with the copper sulphate blue sky. I like the sharpness of the contrast and the detail in the leaves. You can see the real difference in the blueness of the sky as this was taken with the sun over my shoulder, whereas the first picture was taken almost into the sun.

ISO 100: f 9: 1/200: lens 55-200mm

Golden leaves are nice but there are plenty more colours and interesting things to take, so I contrasted these with some red berries and brown leaves from a tree in my neighbours garden!

ISO 100: f 9: 1/80: lens 55-200mm

I saw this broken twig on the floor with a shaft of sunlight lighting it up nicely. It stands out well from the background and creates a burst of gold against a dark backdrop.

ISO 1600: f 9: 1/160: Lens 55-200mm

I like the look of bark and in my files I have many images of tree trunks and snapped trees. Looking at this tree there was  a nice amount of reflected light which illuminated the trunk of this tree. The dark brown is in stark contrast to the lighter brown's in the dying out heathers.

ISO 1600: f 9: 1/80: Lens 55-200mm

Looking at the heather, some is dying off already and others of it are not. Picking out this leaf in particular, I was able to show it against a nice green backdrop to exaggerate the colour and shape.

ISO 1600: f9: 1/125: Lens 55-200mm

Finally, I wanted to add another dimension of additional colour and came across a bush of red berries. I took several shots and chose this one as it has a shallow depth of field, allowing one to concentrate on the berries on the left and allowing you to drift into the rest of the bush.

ISO 1600: f5: 1/1000: Lens 55-200mm

The Rule of Thirds

This is a common rule that is applied by many photographers. It works by dividing the image into a grid using two vertical and two horizontal lines, which split the picture into thirds both horizontally and vertically. The ideal location of the subject should be where the lines intersect.
Rather than placing the horizon in the middle, you should place it on one of the horizontal lines. Placing the ubect to one side or the other, on the vertical lines, gives the viewer more oportunity to look into other areas of the image.
As with all of these rules however, they are there to be broken. The trick is to know when.

The Golden Section

The Golden Section is a rule relating to composition which hails from the twelfth century. An Italian mathematician who was famous for creating a number sequence which starts with 0,1. By adding the second number to the first in the sequence and then dividing that second number by the previous you end up returning to Phi. 



0,1,1,2,3,5,8,13,21,34,55,89........

Superimposed on the images below it can be seen how this rule is applied ......

Black and White - Master monochrome

I am especially interested in B&W portrait photography as, for me, it creates another level of intrigue. So I was doubly pleased when I purchased the Essential Guide to Portrait Photography, to be able to pick up a copy of the above mentioned publication too. This is published by the Digital Photographer crew.
It gives advice and tips on how to visualise the picture in B&W as well as how to set up the composition, with detail about the 'Golden Section' (more to follow), some fine art tips, and an insight into what is perceived to be essential kit.

The Essential Guide to Portraits

Whilst going through yet another airport I chanced upon a magazine entitled as above. Produced by the guys at Digital SLR Photography, it is packed with some very useful hints and expert advice.
Content comprises everything from how to get the correct exposure, to the how to take great mono pictures.

Tuition is given by:
Daniel Lezano (the Editor)
Brett Harkness - one of the UK's leading portrait and social photographers
Bjorn Thomassen - an English born photographer, who specialises in the commercial and social aspects of people photography, and
Paul Ward - a Birmingham based  photographer who specialises in location and studio shoots.

It is not by chance that Bjorn and Paul feature in my blog.

Reflections

Whilst away last weekend, I spent some time on the beach looking at various reflections off the water. Using a combination of wide angle and zoom lenses I captured the images below with varying levels of success.

Thinking of the pictures that I have seen by Jonathan Chritchley, I wanted to try to get some kind of reflective quality into the images, with the minimum amount of detail in the picture. The reflections off the covering of water on the sand gave me that mirror like quality.

Planning
I looked for a wide expanse of beach that would enable me to use my wide angle lens. I took several images with this lens. However, the sky was a very dull grey (until the sun came out!), so I took a number of images in portrait with this lens and then I opted to take various images with my zoom lens, which gave me greater flexibility to shoot near, or far, without having to keep swapping lenses on the beach.

ISO 100: f22:  1/60

Lens: 10-20mm

I like the simplicity of this image. The arc of the clouds is reflected from the sand and draws the eye from left to right in a natural way. There is very little detail, which is intentional, save for the lone windsurfer in the water.

ISO100: f32: 1/25

Lens 55-200mm

Unlike the previous picture this has more detail in it, but the interest here is in the reflection of the runner as he jogs down the beach. Yet again, there is minimal interference in the background, which allows you to concentrate on the runner as he disappears into the distance.

ISO 100: f32: 1/160

Lens 55-200mm

With this image I was trying to see just how much reflected image I could get. I zoomed in closer to fill the viewer with the surfer and got lower in my pose, to try to increase the length of the reflection on the sand. Centering the subject, I tried to make the most of keeping the surfer in the top third that hopefully got me the reflection in the bottom third of the image. The reflection is kind of not exactly where I would have hoped and the reflection is a bit broken, but it was an experiment.

ISO 100: f9: 1/15

Lens 15-55mm

Later in the day I went to take some pictures in a completely different setting. In actual fact my original aim was to take some 'big skies' and reflective images of the sun going down over the sea. As it happened the peninsular obscured what I originally wanted to achieve. However, making the most of the situation, I noticed a lagoon behind me and directly opposite was this boat house. 

The boathouse itself was interesting but, with the stillness of the lagoon and the lowering sun giving a yellowish hue to the picture, I was able to take the above, which is almost a mirror reflection of the boat house and tree.

Corn Wall

Overview

Taken once again in Cornwall, very early in the morning just before sunrise, this picture provides some good contrast between the patterns in the dry stone wall and the milky, foggy, motion of the sea.

I like the way that the patterns in the wall and the rocks contrast with the smooth water.

ISO 100: f10: Shutter Speed 20.0s

Lens: Tamron 55-200mm

It is unlikely that the final image will not remain in colour. I have taken this with the specific thought of converting it to a black and white image. as I envisage that black and white will enhance the effect of the stone wall and that there is not sufficient strength in the rest of the image due to the lack of peripheral light.

Planning.

I wanted to get some shots of the sea when there was little light and I could use a long exposure to get the desire effect of blurring out the water motion. The previous night I checked the map to see where I could go that would give me a good chance of getting the right light and the right amount of wave motion.

As it happens, I should have checked the location out the day before and I will need to bear this in mind again in the future, as the location did not quite live up to expectation.

I knew that this was going to be a 'timed' exposure, so was sure to take my tripod and my remote control trigger.  I also took a variety of lenses to make sure that I had something for every opportunity. I chose the zoom lens in this instance to allow me to get close to the topic and to remove any unwanted peripheral image data.

Health and Safety Considerations

It was early and so quite dark and the picture was taken on a slipway, with boats, fishing nets, and ropes all around. I checked to make sure that there was nothing that could cause much of a hazard. The most likely incident would have been that I could have slipped or fallen over, or into the water. Consequently, I made sure that I was not in danger of tripping or slipping over, and that the area in which I was working was as 'safe' as it could be. In addition I made certain that my tripod was firmly fixed in position. There was no one around, so I did not have to worry about cars or other traffic.

Africa

I am fortunate to be going to Africa with work and whilst I am there I will be looking to take as many pictures as I can. Concentrating on the Portrait theme I will be seeing how I can make the most of my time there.


Having not been before it is difficult to know what to expect. However, I am hoping to get some urban scenes and am thinking about settings and scenarios, for example, people in bars or on the street, kids playing football or such like.

Looking at the health and safety angle, Africa can be a dangerous place, so I am also thinking about security and safety. Not putting myself into a dangeours space and making sure that I am accompanied by a local when out taking photos.

I guess I could look at the guys at work, which would be a safer bet. However, I need to look at what is available and go with it.

Wave Motion

Influenced by Jonathan Chritchley, I took the opportunity to get to the coast and to take some very early morning pictures of the sea. It had to be early in order to enable me to take long exposure of the water, but it had to be light enough to get some light reflecting off the rocks in order to create the contrast in the rock structures.

ISO100: f29: 1/25

This photo was taken with a very small aperture and a long exposure. This allows the water to blur and smooths out and flattens the harshness of the sea.
I tried to find the ideal spot and actually climbed onto some rocks, in order to gain the right view. Armed with my tripod to steady me I took a variety of photos, on continuous shooting, rather than tying to wait for the 'right' wave.
Timing is everything and whilst this was taken very early in the morning, already the  ambient light was getting too strong to allow me to continue taking long exposure photographs as the sun had actually come up over the horizon.
I will ultimately aim to crop this image and convert it to black and white in order to exaggerate the contrast.

The final picture

Background Picture 14-10-2010

I get tired of looking at the same old pictures, so I have changed the background on my blog, to the picture as you see. However the picture is somewhat obscured by the text and comments etc, so I have inserted here for everyone to see.

Bag Lady

This was taken whilst on holiday in Egypt. Arabic nations can be funny about having their picture taken. They either refuse to allow it, or they demand money. However, I took this surreptitiously whilst sitting having coffee in a coffee bar.
It was taken with my zoom lens (Tamron 55-200mm) ISO 100: f10: Shutter Speed 1/30: without her knowledge. I rested the camera on the table and pointed it in her general direction and took several photos. From time to time I checked to see that I was aiming in the right direction (clandestinely) and finally ended up with this shot which captures her mood.
It was a very hot day and she was sitting in the shade, cooling off, relaxing and watching the world go by.....

Statement of Intent - Assignment 208 - Nature

Intentions/purpose of the photography to be undertaken

It is my intention to gain a much better understanding of composition, the use of light, spatial awareness, and generally what constitutes a great photo rather than a good one. In addition to that, understanding the techniques employed to enhance a location and how to identify an interesting location too.
All of this to help me to take great photos too.

Reasons for Selection of theme (including inspiration from the work of others).
I spent much of my life living in the country and have an appreciation for the great outdoors. Today I have a dog and walk for over 1 hour each day in and around the countryside near my home in Lichfield. Hence I have an intense interest in nature and the outdoors.
Having looked at the works of photographers like Paul Forgham I am interested in the use of light and colour to dramatically increase the emphasis on key areas of the image. Also, I have seen that using the natural features of the settings can force you to look at a picture in a certain way and cause you to follow an intended path into the image.


The photo imaging equipment and medium that will be used and why.
I will be using the following:

• Canon 400D Digital SLR Camera
• Canon 18-55mm Lens (f3.5-5.6)
• Sigma 10-20mm wide angle lens (f4-5.6)
• Tamron 55-200mm Zoom Lens (f4-5.6)
• Nissin Di622 Speedlite ETTL Flash
• Camlink TPPRO 028B Tripod with a Manfrotto Pistol Grip head.

With reference to publishing the images, I will be using the internet, in particular this blogsite, as my established medium for distribution. It is widely available for all to access and allows my work to be quickly viewed and commented on.

Techniques that will be used and how they will help convey the visual message

1. The use of different lenses to create different  effects will draw the eye into different aspects of the image. 
2. It is important to get the composition right, so as well as focusing on the subject, get the setting right and  use whatever is available in your surroundings to create emphasis on the subject.
3. Colour or black and white, or even removing certain colours to leave an interesting effect will all be employed to create the right effect.
4. Working in manual, or semi-manual (Aperture priority mode) will give you control of the finished project. So, using combinations of the right aperture and shutter speed combined with an appropriate ISO setting will enable you to control the outcome.
5. You can use flash to increase light or to fill in the foreground on a back-lit situation, but the key thing is to vary the time of day that images are taken to ensure you have the right conditions for what you are trying to achieve. 
6. Finishing the image will also play an important role. The main aim is to have minimum use of software to enhance or adjust the original image, but certain effects will require the use of specific applications (PSE for example) to create the effect that you are trying to achieve.
   

How light quality can be used to help convey the visual message
The effective use of light is critical in delivering the end result. How much? How little? The time of day. The sky, is it bright and sunny, or is it cloudy and grey? The amount of light you have can be helped through increased ISO settings, or by the use of external flash. However, typically the nest times of day will be early in the morning (sunrise) and later in the early evening (sunset). These times of day will give the best results with regard to the golden glow of the sun and the length of shadows. In addition if you are looking to add colour, the sky in the morning and the evening will have a host of golden colours reflecting of any clouds and in the late evening pinks, reds, and purples abound.


Safety considerations
I am sure that the health and safety executive have a number of rules and regulations to cover this topic, but here are some of the things that I think one should consider to help to minimise the risk in outdoor photography:

1. Always keep an eye on where you are and what is around you. Do not stand too close to edges of precipices for example and make sure that you cannot get run down by a car, or tractor perhaps!
2. Think about what you are taking and how that will impact on you and your subject. Getting too close to an animal may startle it, taking your dog into a field of cows will cause mayhem.
3. Look around you. Make sure that you are not in any direct danger from the location - falling debris in a wooded location, falling rocks, or other if you are in a quarry.
4. Avoid climbing into trees or standing on ladders on uneven ground.
5. Take your telephone in case of trouble. 
6. Scope out the location before you take your kit with you. Look at the possible areas of concern and make sure you do not put yourself into obvious danger.
7. Let someone know where you are and when you are likely to be back - just in case.
8. Protect your equipment from danger too and make sure that it is in a secure case or bag.
9. Be aware and respectful of your surroundings and do not drop litter.
10. Do not antagonise the locals (people or animals). Be respectful of your surroundings.
11. If you are on private land, seek permission first before being confronted by land owners.

Paul Ward

Paul Ward is a Birmingham based photographer who specialises in portrait and fashion photography. He took a degree at Wolverhampton University in electronic media and is accomplished in many areas other than simply photography, such as digital photo-manipulation, 3d computer animation, video production and graphic design.

I have chosen the following images for various reasoins:

The light in this image is reflected all down the stairs. The eye is swept along the staircase, in the direction that the woman is looking, and you are drawn automatically up and around her.

There is a good amount of detail in the lines of the stairs and the patterns in the stonework that simply adds detail to the image.

Dressing the girl in black add a contrast to the lightness of the rest of the image.

Even the position of the top stairwell adds additional focus and interest to the subject matter and balances the image.

I partiularly like the simplicity of this image. A guy sitting amongst his mess, or rather his musical wires and pedals.

There is much to see in this photo, but it is the apparent obliviousness to his surroundings, as he is focused on playing his guitar that creates added appeal.

Is she trying to escape from prison, or is she trying to entice you in?  The focus is on the girl in the image, as she pulls the beads apart. Immediately your eye is drawn o her and then you wander into the picture as you begin to look behind the beads.
This does give a prison bar type feel, but obviously it is not.

How does he keep the face totally focused whilst the rest of the image is moving all over the pace? The intense use of colour in this picture vreates a carnival atmosphere and the blurring effect indiatce movement.

The focal point is position in the first third of the picture, adhering to the rule of thirds, but also allowing for the guitar to occupy a substantial part of the image.

I just love the duplicity in this image. although it seems to have been heavily photoshopped, this gives the image a cartoon like character.

Centering the character, but positioning the original in the top third creates a double whammpy, when the reflection is in the bottom third.

There is much detail in the sky too, which adds detail to the image.

Statement of Intent - Assignment 208 - People and Portraits

Intentions/purpose of the photography to be undertaken.
I am very interested in faces, young and old. Creased skin, vacant eyes, happy and sad expressions, all create interest and intrigue and this is why I am looking at people and portraits.
The use of light to create atmosphere and mystique within a photograph intrigues me and I am looking to seek inspiration from a number of sources to enhance my ability to capture the moment.

Reasons for Selection of theme (including inspiration from the work of others)
I am especially interested in people and portrait photography as it provides an ability to create mood and feeling into a picture. Expressions of joy, or of sadness can be exaggerated by the use of colour or the emphasis of shadows and darkness.


Composition of the picture, with the positioning of the people or objects in relation to the focal point, also enables the photographer to create meaning in the image.


I did not want to use the studio to create images as, whilst this can give truly excellent results, I am not often in a studio and the majority of my photography is taken when I am out and about. I have been studying the works of Bjorn Thomassen, Paul Ward, and Brett Harkness, to gain some addition vision and insight into the world of Portrait Photography.

The photo imaging equipment and medium that will be used and why.
I will be using the following:

• Canon 400D Digital SLR Camera
• Canon 18-55mm Lens (f3.5-5.6)
• Sigma 10-20mm wide angle lens (f4-5.6)
• Tamron 55-200mm Zoom Lens (f4-5.6)
• Nissin Di622 Speedlite ETTL Flash
• Camlink TPPRO 028B Tripod with a Manfrotto Pistol Grip head.

With reference to publishing the images, I will be using the internet, in particular this blogsite, as my established medium for distribution. It is widely available for all to access and allows my work to be quickly viewed and commented on.

Techniques that will be used and how they will help convey the visual message

1. The use if different lenses to create different  effects will draw the eye into different aspects of the image. For portraits a wide aperture and a large lense creates an excellent shallow depth of field and really focuses on the image of the subject.
2. It is important to get the composition right, so as well as focusing on the subject, get the setting right and  use whatever is available in your surroundings to create emphasis on the subject. PLan ahead wherever possible.
3. Colour or black and white, or even removing certain colours to leave an interesting effect will all be employed to create the right effect.
4. Working in manual, or semi-manual (Aperture priority mode) will give you control of the finished project. So, using combinations of the right aperture and shutter speed combined with an appropriate ISO setting will enable you to control the outcome.
5. You can use flash to increase light, or to fill in the foreground on a back-lit situation, or to highlight a particular area to create emphasis on the topic. The key thing when working outdoors, is to vary the time of day that images are taken to ensure you have the right conditions for what you are trying to achieve. 
6. Finishing the image will also play an important role. The main aim is to have minimum use of software to enhance or adjust the original image, but certain effects will require the use of specific applications (PSE for example) to create the effect that you are trying to achieve.
   

How light quality can be used to help convey the visual message
The effective use of light is critical in delivering the end result. How much? How little? The time of day. The sky, is it bright and sunny, or is it cloudy and grey? The amount of light you have can be helped through increased ISO settings, or by the use of external flash.
Harsh light is to be avoided, if at all possible, as it removes skin tone and bleaches the image. For portraits you may need to use reflected light in order to remove shadows in certain scenarios, but for others, you may want to position your subject where light higlights only certain parts rather than the whole image. So you ned to think about the end result and then use the light accordingly.
Use flash to back-light a location or to emphasise a part of the image.
Your surroundings too will have an effect on the light that you have and the amount of light that you want to add.

Safety considerations
I am sure that the health and safety executive have a number of rules and regulations to cover this topic, but here are some of the things that I think one should consider to help to minimise the risk in outdoor photography:

1. Always keep an eye on where you are and what is around you. Do not stand too close to edges of precipices for example and make sure that you cannot get run down by a car!
2. Look around you. Make sure that you are not in any direct danger from the location - falling debris in a wooded location, falling rocks in a quarry, or falling masonry or other if you are in an urban scenario.
3. Avoid climbing or standing on ladders on uneven ground.
4. Take your telephone in case of trouble. 
5. Scope out the location before you take your kit with you. Look at the possible areas of concern and make sure you do not put yourself into obvious danger.
6. Let someone know where you are and when you are likely to be back - just in case.
7. Protect your equipment from danger too and make sure that it is in a secure case or bag.
8. Be aware and respectful of your surroundings and do not drop litter.
9. Do not antagonise the locals (people or animals). Be respectful of your surroundings.
10. If you are on private land, seek permission first before being confronted by land owners.

5 Image Assignment

I was not at the original meeting when this was issued but have taken these photo's since. The majority of them fit the brief exactly (although you may have to look very hard to find the people in some) but there is an issue with the ISO1600 shot, which does not include a person. Anyway, here goes....

ISO 100: f32: shutter speed 1/160: Lens 55-200mm

With this particular photograph I was trying to emulate Jonathan Chritchley, with the blankness of the grey and the scale. The picture was taken on a grey, hazy, day when the sun came out briefly to really highlight certain areas. I like the reflection from the water on the sand, the smallness of the surfers and the blankness of the image.
There are a number of blemishes on the lens (spray) which would normally be removed in PSE and I may have lightened the whole picture, in reality. But I wanted to present the image with no adjustment or enhancement.

ISO 200: f6.3: shutter speed 1/250: Lens 55-200mm

With this picture I was concentrating on the 'lip-gloss applicator'! However, taken in front of the window on a sunny day, the natural light adds a very contrasting image. Taken with an aperture setting of  f6.3, the back of the image is blown out.

ISO 400: f7.1: shutter speed 1/8: Lens 18-55mm

Walking down the street, I noticed a 'traffic mirror' and decided to take this self portrait. In reality, I think that this image is a little dark, but to be honest, it was taken at about 7:00am and with the wind blowing a gale, I found it difficult to focus and to stand still long enough to obtain a steady image.

ISO 800: f11: shutter speed 1/5: lens 18-55mm

The colour in this image is especially pleasing. This vase was taken in a hotel lobby whilst waiting for a plane. Keeping the camera steady was the trick in this. I could have shot with a wider aperture, but this gave me the best and most vivid colour response.

ISO 1600: f10: shutter speed 6.0: Lens 18-55mm

At 6:45am on a Saturday morning in Lichfield you can often find the odd empty beer bottle or two. Using my tripod, I placed this bottle on a wall overlooking Stowe Pool (the Cathedral moat) and used the lights from various buildings and street lamps in the background to create more interest.

Jonathan Chritchley

I have researched, via the internet again, another UK photographer, Jonathan Chritchley. Jonathan was born in Wimbledon, but moved to Lymington on the south coast at the age of 14; where his fascination of the sea developed. In 1998 he moved to Biarritz, southern France, which has enabled him to continue to develop his work not only taking on all things related to the sea, but also has allowed him to work in the mountainous region of the Pyrranees.

This picture is typical of his style. Working extensively in black and white he creates a mystique all of his own.

What makes this picture so enthralling? I don't really know. It is merely a fishing hut, on its own, out at sea, connected via the walkway adjacent to the hut.

But there is nothing and it is the 'nothingness' that makes it so intriguing.

The use of light, or rather, the darkening of the top and bottom does draw you towards the horizon and the fishing hut, which itself seems shrowded in a bright light.

As for the horizon, it is almost non existent, with just a hint of contrast between the sea and the sky.

Having the post sitting on the left, off-sets the loneliness of the hut and does balance the view, but this is a cold and lifeless image that is haunting in it's solitude.

The small aperture and  longer exposue in this image has ensured a milky quality to the waterfall. The eye is drawn from right to left and over the edge of the rocks. There is a contrast between dark and light, with the motion going for the dark towards the light.

The eye is drawn into this image through the hardness of the rock line moving from right to left, towards the centre of the image. The contrast between the dark sky and the lighter water keeps the eye down onto the sea. The sea has taken on a misty form which in itself contrasts greatly with the harshness of the rocks.

The sharp edges of the rocks and the cracks in those rocks add an aditional quality to the rocks themselves.

With nothing in the picture apart from six sticks it is difficult to understand how Jonathan was originally inspired by the initial view. The milky water is softened and gives the sticks a harsh reality against the flatness of the sea. The dark sky keeps you looking doawn towards the sticks and to the light milky water.

I absolutely love the way that these sails billow in the wind. Being a black and white images enhances the quality of this image. The contrasts here are between the solid sail on the right and the soft billowing sail on the left. Yet again, this is a picture of contrasts.

Paul Forgham

 I discovered Paul Forgham by searching through Google. However, I am very interested in his work, especially his seascapes and the way in which his photographs are finished.

As he is a UK based photographer, I think there will be more opportunity to see some of his work displayed somewhere and will be looking over the coming weeks to see where that may be. Having been on his website I have also emailed him to establish where he may be exhibiting and to gain more information about him and his work.

The image below is a classic example of his technique. The line of the rocks draws you into the distance and pulls you into the  picture, as do the clouds. The rocks themselves stand out, looking hard and sharp against the soft, milkiness, of the water.

I assume, but have no data to support, that this has been taken on a wide angle lens with a slow shutter  speed to flatten the water. To exaggerate the centre of the picture, it also appears that a vignette may have been applied, darkening the edges.

I really like this picture. It is  clear and to the point. It draws you in and has depth. The sky gives it warmth and the lightness of the rock detail contrasts nicely with the dark blue of the skies.

Assignment 208 - Principles of Location photography

I have decided to do this assignment and to specialise in People and Portraits and Nature photography. I have always been interested in faces and in objects in isolation. I grew up in the countryside and have an affinity to that, hence my interest in the 'nature' elements too.

Level Two Certificate in Specialist Photography and Presentation

I have chosen to do this course so that I can work on my outdoor portrait work. I have opted to do courses 211 - Presenting photo images and course 208 - Principles of location photography.