Workshop with Simon Tomkinson
You can use movement as a genre in itself or as a tool inside a specific genre (documentary, fashion, etc)
HISTORY & CONTEMPORARY PRACTICE
-Edward Muybride – chrono-photography
-Henri Cartier-Bresson – about the decisive moment
-Robert Capa – blurring
-Sebastio Salgado – freezing
-Nick Knight – movement in fashion
-lens with a speeding focus and wide width
-lighting kit (speedlight, Profoto B1 or B2, Broncolor Move or Score for top highlight range)
-a good stable and light tripod (Manfrotto)
FLASH How does it work ? (see great explanations)
Aperture controls foreground ; shutter speed controls background
In movement photography, there is Three ways to achieve your idea :
What shutter speed do you need to freeze the action? It depends on the action. Here’s a rough guide:
•1/60 second for a subject posing motionless
•1/125 second for a subject standing still but swaying
•1/250 second for a subject walking
•1/500 second (or faster) for fast movements (running, jumping)
Choose a fast shutter speed.
Zoom out : it will magnify and sharpen everything
Shoot when the action has paused : at the end of a movement or at the top of a jump, the subject is still which means less motion and less blur
Pan with the camera : track the dancer’s movement (!) not being too fast or too slow, you need to be at the same pace.
What can you do to minimize camera shake?
-Image stabilization (in the lens or the camera)
-Take burst of images (at least one will be sharp)
-Shoot between breaths to reduce movement of your body
-Use a tripod or monopod
3. Combine the TWO
(!) color balance – continuous is redder ; flash is bluer, you might need to use filters to compensate color temperature. Always set up one light at a time with the continuous first ; set up the flash light to second curtain shutter
The all purpose is to get THE moment !
Workshop with Rachel Zoller, London College of Communication
I already attended a bookbinding workshop a few months ago with Joe Dixon, but it was worth to refresh my mind on how to make a simple book. It opens again millions of new ideas and desire to create. I am really enjoying that time, a time of MAKING, a time of doing by HAND.
Nice (quite expensive) store to get materials and equipment : Shepherds (London)
Toning is a technique to change cast of black-and-white prints and create a toned monochromatic image. During the process, metallic silver particles are replaced by silver compound. Different toning processes give different colors to the final print. It usually works better on fibre-based paper than resin-coated ones.
Caution : it is a toxic process, ventilate the room and wear rubber gloves.
Toning is interesting for two reasons:
.Change the colour cast
. Increase chemical stability and archival quality (longevity) of the print over years (sepia, gold toning) or decrease stability (iron, copper)
Split Toning pdf
Split toning is a technique to give different colors to the highlights and the shadows, by using two toners one after the other. Different combinations of toners will create different results.
One of the most fabulous class inspired by psychology and Annie Leibovitz. Thanks to Ian Macaulay
A little of theory
Color is a characteristic of human visual perception, but it is such a complex notion that it can not be reduced to a single definition. The science of colors (chromatics, colorimetry) explore color as an electromagnetic radiation, a light, a material, an emotion, a cerebral activity, etc…
There are two principal color systems : additive and subtractive systems. Color printing in darkroom use the second one and work with layers of Cyan, Magenta and Yellow (filters in the enlarger, negatives and light-sensitive paper)
Color printing process (C-41)
1. Set your enlarger with lens f11/16, negative holder. Adjust size and focus of image, and timer. Set your filter on the head of the enlarger (Cyan 0 / Magenta 50 / Yellow 75)
2. Switch off every source of light Now you are in the total darkness for the end of the process
3. Exposure adjustement : do a first exposure test stripe (5′ 10′ 15′ 20′ 25′) until you find the correct exposure
|!| You can’t control contrast in color printing as in BW printing. It is determined by the paper and film you use.
4. Color adjustment : Play with filters until you get colors you want (neutral or shade)
Tutorials and references
Adams, A. The Print
Last week, we took some shots during the workshop on large format camera. I developed some slides this morning. Nothing complicated, it might be sometimes tricky to put slide on the rack. Follow same steps as a 35mm or medium format development (Fix, Stop, Rev Wash + continuous agitation). 30 min alone in complete darkness : it is a meditative session !
I’ve been lucky enough to get my tutor’s trust who borrow me an Hasselblad 500 to play with during the holidays. I have to say that it is an amazing camera. My first experience with a medium format camera (a Mamiya RB67 wasn’t really successful) but this camera islight, easily handly and work efficiently. It was quite tricky the first few minutes to adapt with the reverse image seen in the viewfinder but it is such a pleasure to work with it.
A few days later, I’ve developed films I shot and I’m so impressed by the results, the quality of images, the vibrancy of colors and the grain of photographs (I know it also deal with the quality of film I used, Portra 160). I definitely enjoy shooting with an Hasselblad, my new dream camera !