1-B -Lee - Inspiring Professionals_2

8/9/2019 1-B -Lee - Inspiring Professionals_2

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Inspiring Professionals 2


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C o n t e

n t s 1

Buildings

Joe Cornish

Mark Denton

Jeremy Walker

David Ward

John Gravett

Introduction

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2

Coast

Joe Cornish

Mark Denton

Paul Gallagher

Tom Mackie

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3

Handheld and Travel

Charlie Waite

David Noton

64-75

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Correct Exposure

Charlie Waite

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Composition

Joe Cornish

76-81

Colour

David Ward

4


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4

Mountains

Joe Cornish

David Noton

Jeremy Walker

David Ward

John Gravett

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5

Sky

Charlie Waite

Joe Cornish

Paul Gallagher

Tom Mackie

David Noton

Jeremy Walker

John Gravett

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6

Snow and Ice

Mark Denton

Tom Mackie

Jeremy Walker

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7

Water

Paul Gallagher

Tom Mackie

David Noton

Jeremy Walker

David Ward

John Gravett

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98-101

Creative Use

of Filters

Tom Mackie

122-127

Shooting Digital

David Noton

142-145

Stitched Panoramas

Jeremy Walker

170-173

Thinking in

Black and White

Paul Gallagher


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Having studied fine art at Reading University, Joe Cornish then

turned to photography, working first as an assistant and thenas a travel photographer. He is now devoted to landscape

photography, his working territory being predominantly thenorth of England and Scotland. His freelance commissionswith the National Trust have continued over 20 years and an

environmental focus defines his work.

Joe is the author of the bestselling and influential book,First Light: A Landscape Photographer’s Art. His 2009 book,Scotland’s Mountains: A Landscape Photographer’s View,has been hailed as a classic of its kind. Recent works include

the book, Joe Cornish: A Photographer At Work by EddieEphraums, and the full-length documentary film, WithLandscape In Mind. He is co-director of a publishing

company and gallery based in Northallerton, North Yorkshire(the Joe Cornish Gallery). A renowned thinker on photography,

he has led workshops, given talks, and written magazinearticles for the British photo press for two decades. In 2010,Joe launched onlandscape.co.uk with fellow photographer

Tim Parkin. This has become an important web resource foranyone with an active interest in landscape photography.

In 2011, he was on the judging panel of the WildlifePhotographer Of The Year and has acted as the competition

judge’s ambassador on the Alan Titchmarsh show and in other

media events. Joe is also an honorary member of the FRPS.

Visit: joecornishgallery.co.uk

withlandscapeinmind.com

Joe Cornish

P

h o t o g r a p h e r s

Mark Denton is one of the UK’s leading panoramic

photographers. He is currently working on his eighthbook of original material based in the area around his

home in the Yorkshire Dales. This book will complete atrilogy of publications on Yorkshire. Other works includebestselling and follow-up volumes on London, plus the

Lake District, Edinburgh and a five-year project coveringthe whole of England.

Mark is also working on a long-term project on Scotland.It covers the entire country and is likely to take up to tenyears to complete. He also dreams about honing his

mountain skills and bravery enough to one day publisha book on the Alps.

Mark runs bespoke courses on film and digital panoramasin a variety of locations, and also sells used professionalpanoramic equipment.

Visit: markdentonphotographic.co.uk

Mark Denton


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Based in Braithwaite in the Lake District, John Gravett is the

photographic director of Lakeland Photo Limited. Thisincorporates Lakeland Photographic Holidays and

Lakeland Photo International.

He is a professional photographer with more than 35 years’experience and is recognised as one of the most respected

photographic tutors in the country, working with more than

300 photographers annually. His workshops are now held inthe Lake District, Tuscany, Marrakech, Iceland and the USA,with new destinations planned for the future.

Over the past few years, he has moved entirely to digital

photography, but still firmly maintains the principle ofgetting it right at the taking stage, rather than relying on

digital manipulation, so LEE Filters are an important part ofhis digital set-up.

Visit: lakelandphotohols.com

John Gravett

Paul Gallagher is a renowned master black-and-white

photographer and printer with 30 years of experience inthe use of film and digital cameras. He has lectured

extensively for many years on landscape photography andprinting, both in the darkroom and on modern inkjet printprocesses. He is an experienced workshop leader and is the

co-founder of Aspect2i, a company that runs workshopsand classes designed to teach skills in landscape

photography. Paul is a firm believer in teaching how to‘see’ as opposed to simply mastering camera equipment.His passion for the subject is infectious.

In 2010, Aspect2i took over the Epson Print Academy UK,and now offers classes throughout the UK in imagepostproduction and mastering the use of modern printers.

Printing has long been a passion for Paul since hisprofessional darkroom days and he sees the print as the

ultimate photographic statement.

Paul is the author of two books. His first, Aspects Of

Expression, was an exploration into the mind of themonochrome photographer, while Chords Of Grey is abeautifully crafted, cloth-bound, limited-edition portfolio.

Visit: paulgallagher.co.ukaspect2i.co.ukchordsofgrey.com

Paul Gallagher


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Buildings


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Buildings

Be it a towering, modern skyline such as that aroundLondon’s Canary Wharf, an elaborate, ostentatious

palace set in its own grounds or a semi-derelict barnwithin the Yorkshire Dales, buildings are often whatgive a scene its character and personality, speaking

volumes about man’s relationship with the land, aswell as design, innovation and industry.

As with any photograph, the angle at which light hitsa building is what gives it dimension but, in manycases, there may also be artificial light sources to

contend with – either illuminating a building fromwithin or lighting the streets outside.

Make the most of such contrasts by shooting as theday heads towards twilight: buildings come into their

own during this ‘crossover’ period.

A polarising filter can help eliminate distractingreflections from windows, while an ND grad will help

balance sky with subject, so the viewer is less likely tobe distracted by extremes of contrast.

Architecture is the backbone of not just our cities but,

in a crowded country like Great Britain,

much of the countryside, too.


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One of my personal rules is to avoidbright tones breaking through the edge

of the image, as I have done here.This is why rules are meant to be broken!

The sun does burn out the image

where it enters on the left, but it alsofloods in to the picture, carrying energy

with it. The curve of the hill on the leftechoes the curve of the foregroundheather and, together with the arc of

the path, these ‘gestures’ set up therhythm that unifies the composition.

The central focal point hill, RoseberryTopping, is deliberately centred over

the heather dome, which creates astrong vertical axis, stabilising the image

structure. The cooler shadow colours

in the foreground help balance thedominant warm tones of the setting

sun. Energy flows in from the sun,gathers on the sunlit highlights in theforeground, and is contained by the

sweeping path, ultimately concludingat the summit of Roseberry.


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Perhaps the best-known (and I might saynotorious) rule of composition is the

so-called rule of thirds. It always givesme a great sense of satisfaction to find

that very few of my pictures follow thisrule, and Stormclouds Over Alnmouth proves the point. The effective horizon

line runs through the middle of theframe, so the sky and the landscapeoccupy almost exactly the same

percentage area of the image. Theprinciple points of focus, the bright

clouds (top left) and the white boat(right foreground) do not sit on somemagical thirds-based intersection.

The picture works composed as it is

because the way in which the energyflows and the eye travels through the

image is active yet balanced. There isa clarity to the elements, yet they arecomplex also, providing a sense ofdepth and interest. The sky, quite

literally, is equally as important to theimage as the colour/texture of the land

and the detail of the boats.

It is worth pointing out that the horizonline itself is low contrast – it barelyregisters and we are therefore notdistracted or bothered by its central

position. I honestly think that onlysomeone composing by numbers

could take issue with it.


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84 Mountains / Badwater fin

One might think

that the salt formations

at Badwater, California, change very little

from year to year,

merely eroding slowly and becoming less

interesting over time.

The weird thing is that theseformations continually change andeven grow. Following one of the

rare floods, the formations dissolveaway then, over months and years,

the crust breaks and a fractalpattern of salt platelets forms.Occasionally, one of these platelet

boundaries will throw up a reallyexuberant, amazing form, such as

this 60cm high fin.

I’d noticed this formation from

about 50m away and walked overafter shooting the first light on themountains to the west. The fin was

still in the shade, but the tops of themountains and the landscape in

the distance were in strong, earlymorning light.

I worked out my exposure fromthe lightest salt in the shadedforeground, placing this at one and

a third stops above my chosenreading. This would ensure that it

remained white. I then tookreadings from sunlit areas andfound these were a massive five

and a half stops brighter. I placeda 0.75ND filter over the mountains

and across the dark salt in themiddle distance, with the 0.9NDbarely overlapping this.

David Ward

0.9 ND

Grad Hard

0.9ND

0.75ND

0.75 ND

Grad Hard

Grad position

Filters used


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90 Mountains / Emerald Lake at dawn, Yoho National Park, Canada

Spending four days

working this beautifullocation in the

enticingly named

Yoho National Park was a productive treat.

Often it pays to stop travelling,

establish a base and really getto know an area. Every morning,in the darkness before dawn, I’d

be the first along the trail aroundthe lake, breaking the cobwebs,

wondering if I was about tocome face to face with a bear.

On the fourth morning, the

reflections and this subtle lightingwith wisps of low cloud hanging

over the mountains was thereward for my persistence.

A 0.6ND hard grad laid along the

water line perfectly balancesthe exposure top and bottom.

David Noton

0.6 ND

Grad Hard

0.6 ND

Grad position

Filter used


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98

Not all horizon lines are

created equal. Irregularityadds spice to life and to

photography.

Creative Useof Filters by Tom Mackie


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Unconventional uses

for the ND grad.

Dynamic angles create the feeling ofaction within a frame. However, they

can also create problems in terms ofexposure control and filter use, because

they mean the lighter area of the sceneis not above the usual flat horizon.

Usually, an ND grad is positioned directlyparallel to the horizon and covering thesky. But remember, this is an exposure-

control filter – so it should be placedin such a way as to control the lighter

areas of the scene, wherever they mayappear in the frame.

I created this image during a workshop I was leading in Iceland. The stormy conditions werechallenging and, while most people were tucked up inside their cosy houses, we were out braving

the elements.

With this image of the crashing wave at Reynisdrangar in Iceland, there is a vast difference between

the highlights of the sky, sea and crashing wave, and the dark shadows of the basalt columns of thecliff. I positioned a 0.9ND soft grad over the right side of the frame, following the diagonal lineof the cliff. This allowed me to bring down the brightness of the sky and the highlights of the water,

and expose for the dark shadow areas of the basalt columns.


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112 Sky / River Thurne reflections, Norfolk

Winter is the best time to photograph the

Norfolk Broads.The air is clear , the skies

are more impressive and theholidaymakers have given the

area back to locals and

the odd photographer .

On a cold January morning, I went

to one of my favourite stretchesalong the River Thurne to see ifI could find anything of interest.

There is a value in returning tofamiliar places and I find the fact

that I have an in-depth knowledgeof an area actually helps meproduce fresh images.

This location has much photographicpotential, with two wind pumps,

golden reed beds, sail boats and alarge expanse of water where the

dyke enters the River Thurne. The airwas still and silent, with only thesound of geese flying overhead.

I stood beside the riverbank and

watched the clouds drifting in fromthe east.

I could feel I was on the verge of

an exciting image. I just needed towait for the clouds to drift to the leftside of the frame to balance the

image, but not break the edge ofthe frame.

The river was like glass and, within15 minutes, this gorgeous cloud

formation filled my viewfinder from

edge to edge in perfect symmetry.

One last requirement beforetripping the shutter was the

addition of a 105mm circularpolarising filter to make the cloudspop against a deep blue sky and a

0.9ND hard grad over the sky tobalance the exposure.

Tom Mackie

0.9 ND

Grad Hard

Circular

Polariser

0.9ND

Grad position

Filters used


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160 Water / Derwent Dawn

Taken from Strandshag bay,

looking across Derwentwater

towards Catbells,

this image benefited from the

high water levels after heavy rains

the previous month.

The low viewpoint allows the

foreground grasses, usually foundmuch further up the shoreline, tobecome a strong visual element

poking out of the shallow water at thelake’s edge. Carefully setting up my

tripod, I ensured that the grasseswould neither break into thereflection of Catbells, nor leave too

big a gap of featureless water

between the grass and the reflection.

I used a 0.45ND hard grad pulleddown to the far shoreline to balance

the sky and the reflections, as I findreflections in water are usually oneand a half to two stops darker than

the landscape above, and I wantedthem to be more balanced.

I was careful to include the sliver of

moon visible at the top of the framein the sky above Catbells. In all mytime in the Lake District, this was

one of the most magical morningsI have ever experienced.

John Gravett

Grad position

Filter used

0.45 ND

Grad Hard

0.45ND


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