Simmons creates his nocturnal landscapes using fluorescent lamps and a range of post-production techniques. His images might be described as ‘hyper real’; they have an aesthetic that somehow seems to transcend photo-realism. They look almost artificial, like video game graphics.
Tim Simmons established a successful career within the field of motor photography. Simmons’s innovative lighting methods that brought him to the attention of advertising agencies, who wanted to place cars within his out-of-this-world landscapes.
His recent projects are more tightly cropped ‘vignettes’ or almost meditative viewpoints. Simmons locates his practice within a fine art context and has installed his images in temporary open-air exhibitions across the world, some of which, ironically, have been presented on billboards.
Luc Delahaye (born France 1962) also describes history painting as a point of reference to his practice, although his process is very different to Wall’s. Delahaye, whose earlier career was in photojournalism, continues to make work around current, ‘newsworthy’ stories across the globe. Throughout his ongoing History series, Delahaye has attended political ceremonies and meetings, as well as recent and current war zones. Instead of using high-end digital equipment
and hurrying to transmit his images to agencies before his competitors in the field, Delahaye uses large format analogue cameras to make large-scale gallery prints. His approach goes very much against the grain of modern photojournalism. While his images are not typically as sparse of people as the work of ‘late photographers’ working with similar equipment, they all have the
presence and communicate the gravitas of the scenarios he depicts. Unlike photojournalism, there is no conspicuous attempt to reveal a ‘decisive moment’. Delahaye photographs at a discrete, but not disengaged, distance:
“As Delahaye points out, his pictures highlight ‘the insignificance of my
own position.’ They also entail a reversal of the history paintings they
call upon, where the grandeur, spectacle and glory of war and figures
of power were celebrated. There is little that is glorious here. Instead, his
views show up the scale of things, very often putting them in perspective.”
(Mark Durden ‘Global Documentary’ (2005) in Deutsche Börse Photography Prize 2005. London: The Photographers’ Gallery, p.13)
Ori Gersht was born in Israel in 1967, but has lived in London for over 30 years. Throughout his career his work has been concerned with the relationships between history, memory and landscape. He often adopts a poetic, metaphorical approach to explore the difficulties of visually representing conflict and violent events or histories.
Flowers
Photography Series
!! To look through properly
Trees
Ghost Olive
For the making of this work I spent a lot of time in Galilee, among trees that were over 500 years old. The olive trees have a unique significance – they symbolise the bond between the farmer and his ancestors and the land. For that reason they are at the forefront of the current territorial disputes.
I took the photographs at midday, when the bright and bleaching sun was hovering mid sky. I overexposed the film by many stops, allowing the harsh and violent sun to attack the film and melt the images of the trees.
Later in the darkroom I attempted to rescue the details and the traces from the overexposed and therefore dense negatives. In contrast to the violent and destructive act of exposure, the images that appeared on the paper were frail, delicate and gentle.
This project is designed to develop your research skills. If you haven’t yet begun to generate some ideas for possible approaches to Assignment Three, then this exercise could be a good starting point.
Using the internet, local library, museum or any other resources at your disposal, conduct a short investigation into a historical aspect of the area in which you live or are currently based. This could relate to industry or other narratives in the distant past, or a more recent event. Don’t spend more than half a day.
Gather some primary sources such as copies of photographs, illustrations, maps, written/oral accounts, and write a brief account (around 300 words) describing what you’ve researched and any ideas you have about how this subject might be photographed today in a project such as Assignment Three.
For this local history assignment – which was only supposed to take half a day – I started by doing an internet search – starting with a Google search on ‘Chesterton history’. I have lived in Cambridge since I came here as a student in 1972, and moved to East Chesterton in 1984. Witnessing very many changes. I have also selected different places on the River Cam where I walk everyday as the subject for Assignments 5 and 6.
I did not expect the internet search to be very enlightening – when I looked a couple of years ago there had not been much. But this time there is quite a lot – it seems that local history is a growing interest as people become more linked up through Facebook. This is now a new area of interest for me – I find it fascinating to find out more about the place where I live and when and why things have changed.
My general findings are draft edited in the following pdf, though there is a lot more I can follow up:
From my initial search I then followed up on the many links to specific areas, buildings and topics.
I started to Grassy Corner where there seemed to be quite a lot of information as the topic for Assignment 3. I found a book with old photos and there are even separate Facebook pages for places like the traveller caravan park.
I am planning now to incorporate local history research into my photographic submission for Assignment 5 : Bench and Assignment 6 Transitions: Bridge. I think this can be done in a number of ways:
Using local history as a framework for choosing particular places – their history significance to local people
Giving an insight on particular photographs and places already chosen – a backdrop to my own images, feelings and interpretation in order to contextualise my images
Every digital image consists of a fundamental small-scale descriptor: THE PIXEL, invented by combining the words “PICture ELement.” Each pixel contains a series of numbers which describe its color or intensity. The precision to which a pixel can specify color is called its bit or color depth. The more pixels your image contains, the more detail it has the ability to describe (although more pixels alone don’t necessarily result in more detail; more on this later).
PRINT SIZE: PIXELS PER INCH vs. DOTS PER INCH
Since a pixel is just a unit of information, it is useless for describing real-world prints — unless you also specify their size. The terms pixels per inch (PPI) and dots per inch (DPI) were both introduced to relate this theoretical pixel unit to real-world visual resolution. These terms are often inaccurately interchanged — misleading the user about a device’s maximum print resolution (particularly with inkjet printers).
“Pixels per inch” (PPI) is the more straightforward of the two terms. It describes just that: how many pixels an image contains per inch of distance (horizontally or vertically). PPI is also universal because it describes resolution in a way that doesn’t vary from device to device.
“Dots per inch” (DPI) may seem deceptively simple at first, but the complication arises because multiple dots are often needed to create a single pixel — and this varies from device to device. In other words, a given DPI does not always lead to the same resolution. Using multiple dots to create each pixel is a process called “dithering.”
Printers use dithering to create the appearance of more colors than they actually have. However, this trick comes at the expense of resolution, since dithering requires each pixel to be created from an even smaller pattern of dots. As a result, images will require more DPI than PPI in order to depict the same level of detail.
In the above example, note how the dithered version is able to create the appearance of 128 pixel colors — even though it has far fewer dot colors (only 24). However, this result is only possible because each dot in the dithered image is much smaller than the pixels.
The standard for prints done in a photo lab is about 300 PPI, but inkjet printers require several times this number of DPI (depending on the number of ink colors) for photographic quality. The required resolution also depends on the application; magazine and newspaper prints can get away with much less than 300 PPI.
However, the more you try to enlarge a given image, the lower its PPI will become…
MEGAPIXELS AND MAXIMUM PRINT SIZE
A “megapixel” is simply a million pixels. If you require a certain resolution of detail (PPI), then there is a maximum print size you can achieve for a given number of megapixels. The following chart gives the maximum print sizes for several common camera megapixels.
# of Megapixels
Maximum 3:2 Print Size
at 300 PPI:
at 200 PPI:
2
5.8″ x 3.8″
8.7″ x 5.8″
3
7.1″ x 4.7″
10.6″ x 7.1″
4
8.2″ x 5.4″
12.2″ x 8.2″
5
9.1″ x 6.1″
13.7″ x 9.1″
6
10.0″ x 6.7″
15.0″ x 10.0″
8
11.5″ x 7.7″
17.3″ x 11.5″
12
14.1″ x 9.4″
21.2″ x 14.1″
16
16.3″ x 10.9″
24.5″ x 16.3″
22
19.1″ x 12.8″
28.7″ x 19.1″
Note how a 2 megapixel camera cannot even make a standard 4×6 inch print at 300 PPI, whereas it requires a whopping 16 megapixels to make a 16×10 inch photo. This may be discouraging, but do not despair! Many will be happy with the sharpness provided by 200 PPI, although an even lower PPI may suffice if the viewing distance is large (see “Digital Photo Enlargement“). For example, most wall posters are often printed at less than 200 PPI, since it’s assumed that you won’t be inspecting them from 6 inches away.
CAMERA & IMAGE ASPECT RATIO
The print size calculations above assumed that the camera’s aspect ratio, or ratio of longest to shortest dimension, is the standard 3:2 used for 35 mm cameras. In fact, most compact cameras, monitors and TV screens have a 4:3 aspect ratio, while most digital SLR cameras are 3:2. Many other types exist though: some high end film equipment even use a 1:1 square image, and DVD movies are an elongated 16:9 ratio.
This means that if your camera uses a 4:3 aspect ratio, but you need a 4 x 6 inch (3:2) print, then some of your megapixels will be wasted (11%). This should be considered if your camera has a different ratio than the desired print dimensions.
Pixels themselves can also have their own aspect ratio, although this is less common. Certain video standards and earlier Nikon cameras have pixels with skewed dimensions.
SENSOR SIZE: NOT ALL PIXELS ARE CREATED EQUAL
Even if two cameras have the same number of pixels, it does not necessarily mean that the size of their pixels are also equal. The main distinguishing factor between a more expensive digital SLR and a compact camera is that the former has a much greater digital sensor area. This means that if both an SLR and a compact camera have the same number of pixels, the size of each pixel in the SLR camera will be much larger.
Compact Camera Sensor SLR Camera Sensor
Why does one care about how big the pixels are? A larger pixel has more light-gathering area, which means the light signal is stronger over a given interval of time.
This usually results in an improved signal to noise ratio (SNR), which createsa smoother and more detailed image. Furthermore, the dynamic range of the images (range of light to dark which the camera can capture without becoming either black or clipping highlights) also increases with larger pixels. This is because each pixel well can contain more photons before it fills up and becomes completely white.
The diagram below illustrates the relative size of several standard sensor sizes on the market today. Most digital SLR’s have either a 1.5X or 1.6X crop factor (compared to 35 mm film), although some high-end models actually have a digital sensor which has the same area as 35 mm. Sensor size labels given in inches do not reflect the actual diagonal size, but instead reflect the approximate diameter of the “imaging circle” (not fully utilized). Nevertheless, this number is in the specifications of most compact cameras.
Why not just use the largest sensor possible? The main disadvantage of having a larger sensor is that they are much more expensive, so they are not always beneficial.
Does all this mean it is bad to squeeze more pixels into the same sensor area? This will usually produce more noise, but only when viewed at 100% on your computer monitor. In an actual print, the higher megapixel model’s noise will be much more finely spaced — even though it appears noisier on screen (see “Image Noise: Frequency and Magnitude“). This advantage usually offsets any increase in noise when going to a larger megapixel model (with a few exceptions).
NOTE: To be completed. I want to take a practical course on digital printing with the Camera Club and study this in depth.
If commercial print companies are used see image guidelines for each lab. Images need to be either JPEG or TIFF), with whatever colour profile is required by the printer (usually Adobe 1998 RGB or sRGB) at the specified resolution (usually 300 dpi) and at the exact dimensions required.
The Task
It’s not a requirement to submit prints for formal assessment, so you may choose to submit your work on the self-directed project in a different format, such as a book or a multi-media piece. However for the purposes of this exercise please imagine that you’re going to submit prints. 1. Search the internet for different companies offering inkjet and C-type printing. Compile three quotes for getting your work professionally printed, with a variety of different options such as C-type or inkjet, for portfolio review. (The pictures don’t need to be framed or mounted.) Prices will be available on the companies’ websites. This kind of information is useful to inform your project proposal. 2. Imagine you will order from one of these companies. Prepare one image file exactly as specified by the printers. Please note that you don’t actually need to have your work printed professionally in order to complete this exercise. 3. Write a brief entry in your learning log, reflecting on whether or not you feel that an inkjet can be treated as a ‘photograph’.
Different labs providing C-type printing use different machines and different brands of papers that will produce subtly different results and varying levels of quality. Some companies often offer postal services, such as sending test strips for you to assess, so you can instruct their technicians to make any adjustments to the exposure or colour balance before making the final print. They will then store the adjusted file for any future editions.
A key aim in this module was investigation of the differing requirements of major stock image libraries and landscape photography libraries and then submitting relevant images and starting to get concrete professional and audience feedback on my work.
Stock Photography outlets
Shutterstock: a good place to start because they give good support materials and useful technical feedback. On You Tube many contributors make most of their income from Shutterstock because of volume of sales
iStock Photo (part of Getty Images): photos, illustrations, video. Take 45% commission.
Pond5
Alamy
Dreamstime
Adobe Stock (took over Fotofolia)
Smugmug Pro can make good money. Make own website and pricing.
Foap: amateur phone Ap where you can sell direct from your phone
Clashot: sell photos through an Ap you set your own price 50-80$
Snapwire
EyeEm
Shutterstock
I identified Shutterstock as the best place to start because You Tube contributors said Shutterstock was easy to use and very good at giving technical support and feed back.
1) For Commercial Stock: trademark issues (send as editorial)
no brand names
no IPP
keywords should not contain trademarks
no isolated pictures of single buildings and avoid landmark modern buildings
2) Noise
filmgrain
compression artefacts
posterisation
check skies and shadows
3) Composition/Concept
what is concept? what could it be used for?
arrangement not optimal. leading lines, rule of thirds. use in-camera grid
distracting elements
horizon line crooked
negative space so customers can insert text
shoot from different angles
4) Focus
Focus a bit too soft. try single and continuous focus
Camera shake: stabilise yourself against a tree, elbows in and don’t breathe
avoid zoom lens or move closer
5) Exposure
under or over-exposed – use histogram and correct
not good lighting
avoid midday, ‘golden hours’ 1 hour before or after sun
If rejected
look at on-line resources
use critique section on forums
sometimes they do make an error
make correction and re-submit
So I started to develop a quite diverse portfolio – following You Tube advice not to specialise at this stage or narrow my stylistic options. Before selecting images and places to work on I did a search of the Shutterstock image library to see which subjects, places and styles were over-represented and for which places and styles I could fill a market gap that was in line with subjects and styles that appeal to me. There were few images for all the places I selected, and the images that did exist were overwhelmingly high/over-saturation high over-sharpness images. Many of which I find very ‘over the top’ – but was not sure if images were that way because they were what the market wanted or whether other types of image might be successful also.
The general advice from You Tube contributors with long experience of stock photography with similar tastes/social aims to my own is to develop a range of different types of image and style. This means that the numbers of people discovering your images will be much larger, encouraging them to then look at your whole portfolio. This also serves to test a number of different market and types of user. Then once something sells, to produce more of that style/subject matter and develop a number of niche markets. This is a different approach from higher end professional photography portfolio sales where it is important to have a more distinctive ‘voice’.
Suffolk: Orford Marshes (10 colour, monochrome and split tone images processed in Lightroom and/or Silver FX)
Norfolk: Hunstanton (39 ‘English seaside on a cold New Year’ colour images processed in Lightroom) and Norfolk: Cromer (5 colour images including 2 that were substantially processed in Lightroom to correct lighting and perspective, and 2 ‘nostalgic sea-side images in Analog Pro)
Suffolk: Aldeburgh (28 high colour images of Aldeburgh Carnival 2016 around ideas of ‘Englishness’ and ‘English Holiday’ ‘English seaside’ and quirkiness processed in Lightroom only) that I intend to revisit as part of work on ‘English seaside nostalgia’ together with:
Suffolk: Orford Quay (16 ‘Brexit’/’British’ images processed in Lightroom that will form part of Assignment 5 ‘A Very British Day Out’ together with photos of National Trust’s Orford Ness for which I need a professional photographer’s license to publish)
My experience so far has been broadly positive – good resources database on areas like intellectual and privacy rights, technical tutorials and quick and helpful response to some queries I had. I have learned a lot technically. and the experience has taught me a lot so far. Most of my 220 images were accepted when submitted first time (having consulted all their documentation first). The main reasons for rejection have been because of issues like titling, editorial vs commercial categorisation or keywording. Only 3 have so far been terminally rejected on jpg quality issues, but even these I think I plan to re-submit as more artistic creations using NikFX.
Sales have been less successful. Shutterstock is generally considered by You Tube contributors to give highest income because of volume of sales rather than percentage of price. But in order to make substantial income you need to have around 2-3,000 images and constantly have a drip of new images going on. I have so far sold two images for the huge total of USc50! The first download was someone local in Isleham, Suffolk and the second someone in Korea.
The first two images are suitable for backgrounds, rather than editorial. They are also desaturated and different from the overwhelming majority of highly sharpened and highly saturated tourist images. Possibly this distinctive style is one of the ‘niches’ where I may eventually choose to focus. Particularly as I enjoy the experience of taking and processing these types of landscape image and would like to develop my photographic as well as software processing skills.
Carnival image
A third image accepted after two months (showing that images are not necessarily lost) was
SLR Camera Sensor
