Primary colours

I usually go for more muted colours, or even black and white, but this one was crying out for its colours to remain intact:

It was a bright day and as I was insisting on a slow-ish shutter speed, the camera chose f32! - oh the dust spots!

Nikon D600, 1/15sec @ f32 and ISO 100. 70mm on a Nikkor 28-300 lens.

Show the show jumper

A couple of posts ago I included the 'straight out of Lightroom' version of this picture (as I usually do on this blog). However, after blogging, the better pictures then go into my 'to be processed' folder from where they are given a fresh and more careful development in Lightroom and a fairly intensive going over with other software tools (in this case Photoline, Topaz and OnOne). The best of these pictures then go on (hopefully) to be sold. This is one of those pictures.

A superficial glance at the before and after versions may possibly show only minor changes, but print them big and the improvements in clarity, detail and depth are quite amazing. I just wish I could show that at web sizes but you'll just have to take my word for it :-)

D600, 1/1250 sec, f5.6, 116mm on a Nikon 28-300 lens.

Shear skill

Watching the shearers at work is fascinating; a real display of speed, strength and skill. The D600 did a fantastic job under challenging lighting conditions, Lightroom brought out the shadow detail and Topaz dealt with the introduced noise (I keep trying other tools but these are the ones I come back to).  1/2500 sec @ f5.6 and 300mm on a Nikon 28-300 lens. Good job everyone; you too sheep.

Oxford A&P Show

It was good to get out with the camera again after an enforced break for a few weeks. The Oxford A&P show was blessed with a long weekend and fine weather and was 'buzzin' this year. Here are a few of the highlights:

Buskers Festival

The Buskers Festival came around again and I finally managed to get along on a sunny, if somewhat windy, day. The organisation this year, centred in North Hagley park, was excellent though I have to say that for a sunny Saturday too many of the venues were lying idle. Nevertheless, the acts that were on display were entertaining large crowds.

"Bazza" the bronze rugby player was statuesque, until the girls came along, when he would suddenly become very vocal.

Juggling atop a pole in a high wind was not the easiest act in town:

Bus stop:

Some could hardly watch; while others did ...

Rockin it (that's a badminton racquet around his waist!) :

Spinning contortionist:

L&P famous in New Zealand:

Boy in a ball:

Events like these are good place to do a bit of 'street photography' without feeling intrusive; everyone is in a good mood and there are plenty of cameras about, so people don't tend to view photographers with suspicion. Go, for it; find a crowd-filled event and have fun with your camera :-)

The making of engine 428

Google+ seemed to like engine 428 so much that I even got a request to write a 'how-to' explaining how the picture was produced. The 'how-to' (actually a 'what-to-do'!) can be found here: http://www.fords.co.nz/downloads/428HowTo.pdf in PDF format.

Thank you to those who +1'd the original picture and I hope that you find the 'what-to-do' useful.

New Year wishes

Forsaking my usual black background for florals, I've gone for soft and subtle with shades of pink to finish off 2012.

Tomorrow is a new year, a new canvas, time to try new things: Have a great New Year everyone.
David

The emotional dimension

The goal, so I am told, is to envision the final picture before you press the shutter release; it's called having 'artistic vision'. But, I have to admit, that for me the vision often comes later on. Take this picture for example; on the screen I had a technically good, full colour, picture but it just wasn't doing anything for me. My initial vision to capture the wind-swept emptiness, had come up short.

Then I decided to make it a black and white and darken the blue sky. Suddenly it ceased to be a picture about water and sky and became one about horizon-less tones of light and dark, and cloud shapes that reflected a wind swept tree. Finally split toned with hints of blue and yellow and it became a moody, surrealistic, landscape which echoed the, windswept, desolate feeling that I experienced that day at the Waipara River Mouth. 

Perhaps it has less to do with 'vision' and more to do with 'emotion'; recreating emotion is not just about capturing visual components but presenting them in a way that elicits the appropriate emotional response.

It seems to me to be a picture that needs a large canvas ...

Favourite model

My favourite model, again. She's not quite taking direction yet, but if I follow her around long enough something good transpires ...

From Christmas day, all natural light.

Little tip makes big difference

The week before last, I attended a workshop by Trey Ratcliff. It was a great day with lots of useful information. But, it's turning out that the most useful takeaway from the day was a very simple tip about not processing all your photographs as soon as they are taken.

My habit was to return from a shoot and then process that shoot before embarking on the next shoot. This created a lot of self-induced pressure to complete processing quickly so that I could move on. The consequence was that processing often didn't get the attention it deserved, and sometimes good pictures got passed over completely. Since the workshop I have been processinga shoot quickly in Lightroom (quick adjustments only) and then moving the very best pictures into a 'To be processed' collection. Then, when I am good and ready, I can dip into that collection and process a few photos.

Without this approach I would never have made this picture from the Weka Pass Railway - it simply required too much work to complete as part of the 'shoot and process' workflow. But I had gone back and dragged it (with many others) into my newly created 'To be processed' folder where it later caught my eye. Thanks Trey.

PS. See 21 October for the original picture.