Peter Eastway writes an almost weekly newsletter from his Better Photography website (www.betterphotography.com). These are some of the more recent posts.
Near Paradise Bay, Antarctica.
55mm lens, Phase One XF 100MP, 1/1250 second @ f8, ISO 100
Naturally when I packed up my four prints for APPA this year (the AIPP's Australian Professional Photography Awards) I was hoping for four Golds. I didn't send Silvers down in my case, that's for sure, but that's how they came back - four Silvers With Distinction (which means 85 or higher). Now, some readers will be tuning out, thinking Eastway is a loser with only four Silvers. Others will think he's boasting and a bit of a w*&^er since that means all four images were in the top 20% - but does all this matter?
Entering competitions is about pushing yourself and learning. The benefits are already made by the time you send your entries off because of what you have learned in the process - and you're always learning and re-learning.
In this case, it was all about the use of clarity and contrast.
The image above has next to no clarity. It is intentionally high key, trying to emphasise the 'whiteness' of the southern continent. One of my earlier edits (which you can see below on the website), has a bucket-load of clarity. It looks quite 'interesting' at a small size, but I can assure you that when it was printed out, it looked horrible!
With a bit of luck, I'll get another crack at this location in December 2018 (Aurora Expeditions has extended its 15% discount offer until the end of September - see the links on this page), and I'll know what to do! However, check out the other version here....
An unsatisfactory result.
Apart from the fact it is a bit darker, the main difference is in the three-dimensional nature of the ice. The high contrast certainly has an effect and at this size, it's a bit overdone, but on a print, it simply screams 'awful'.
One of my suggestions when it comes to workflow is to leave the clarity slider and mid-tone contast operations until last. This certainly applies to producing prints (with rare exceptions). However, when working in Capture One or Lightroom and outputting files for the web or social media, I ignore this advice as the clarity (and dehaze) sliders certainly give small photos a lot of presence.
But presence on screen doesn't always translate to a good quality print on paper, so be careful what you wish for!
And if you're interested in a photography workshop in the next 12 months or so, I have places left on trips going to Bhutan, South West USA, Antarctica and the Silk Road. Full details on the Better Photography website!
Astrolabe Island, Antarctica.
Canon EOS 5DSR, EF11-24mm f/4L USM lens, 1/320 second @ f7.1, ISO 100
Astrolabe Island was just being released from the ice when we visited in December. There are lots of islands around the Antarctic Peninsula and the ones you visit are often determined by the weather as much as anything else. And while Deception Island is a favourite, my time at Astrolabe Island was quite fruitful.
The accompanying photos show how an ultra wide-angle lens can create a great sense of depth and perspective, especially when you have something of interest in the foreground. All these photos are taken from a zodiac, an inflatable dingy. I'm seated and leaning over the edge, so my camera is maybe 30 centimetres above the water for most of them. I'm filling the frame with the detail of the foreground.
At the same time, the ultra wide-angle lens turns towering peaks into relatively small, insignificant landmarks on the horizon. Photographers have a love-hate relationship with ultra wide-angles because in order to fit everything in (to create that amazing perspective), they have to shrink everything and so you are at risk of losing the grandeur of many locations.
To bring out the texture in the ice and water, I use contrast. Sometimes it's just a contrasty curve adjustment layer, but I also use clarity in Capture One (or Lightroom), and the high pass filter technique with a soft or hard light blend mode in Photoshop. However, I generally add this contrast in locally - meaning I brush it in over the foreground, but don't touch the background (or if I do, I use a different setting for the background as normally I don't want it to be as contrasty and strong as the foreground).
And for those fortunate enough to be thinking about it, I have a photo tour going to Antarctica in December 2018 (back for Christmas) with Aurora Expeditions. And there's a 15% discount offer on some berths if you book before 30 September this year, so if this is sounding like you, visit the website and have a look here.
And here are a few more photos from Astrolabe Island...
More views of Astrolabe Island.
And if you're interested in a photography workshop in the next 12 months or so, I have places left on trips going to Bhutan, South West USA and the Silk Road. Full details on the Better Photography website!
Young King Penguin, Gold Harbour, South Georgia.
Canon EOS 5DSR, EF200-400mm f/4L IS USM EXT, 1/400 second @ f5.6, ISO 100
When you travel to Antarctica and South Georgia, one guarantee can be made: you will see penguins and lots of them!
In terms of photography, a rookery of penguins makes a great composition because of the incredible repetition of shapes. Standing, on nests, young near old - there are lots of variations and all you really need is a standard lens to capture it.
However, whether penguins or giraffes, there's a part of me that likes to photograph parts of animals. Sometimes they make interesting geometric shapes, sometimes it's just a tail or some wing feathers that make the photograph.
The lead image is the back of a young King Penguin. The tiny white feathers are possibly not from this penguin, but picked up from others. There have been occasions in Antarctica when it looked like it was snowing there were so many feathers in the air.
To take these photos, you need a long telephoto lens. A lot of these were taken with a 560mm or 600mm lens and both Sigma and Tamron make super zooms that reach out to 600mm for not too much money. Canon, Nikon and Fujifilm all have 100-400mm zooms which are reasonably priced when you compare them with the f2.8 and f4 super telephoto lenses. So, there are ways to get super telephoto performance without super high prices.
If I were going to Antarctica, I'd take the longest zoom I could, just for photos like these!
And funny I should mention that because I have a photo tour going to Antarctica in December 2018 (back for Christmas) with Aurora Expeditions. And there's a 15% discount offer on some berths if you book before 30 September this year, so if this is sounding like you, visit the website and have a look here.
And here are a few more penguin parts…
Some additional penguin parts.
And if you're interested in a photography workshop in the next 12 months or so, I have places left on trips going to Bhutan, South West USA and the Silk Road. Full details on the Better Photography website!
The Cabin, Middlehurst Station, New Zealand
Phase One A-Series 100MP, 23mm Alpagon, 1/10 second @ f5.6, ISO 50
After our Middlehurst Photo Art workshop last year, we shot (err, photographed) sheep again this year, but I haven't processed the blurred shots as yet. However, what we did discover was this wonderful old shack.
We arrived just on dusk while doing a quick reccy of the east part of the station (it took three hours). Willy and Sue, the station owners, take turns to drive us around as neither Tony nor I are up to the task of navigating the changing river beds and narrow tracks. In fact, we stand up the back of the ute (our photography guests are warm inside) and marvel at how deftly the locals drive their vehicles. Lots of experience.
While the photographers were busy exploring the area around the shack, Willie grabbed his dog and practiced his own art. Now, I'm not quite sure what you call sheep herding with sheep dogs, but the way the dogs control the sheep and respond to Willy's instructions is amazing.
I noticed Willy herding a half a dozen sheep around and asked if he could place them in front of the shack. At the time, I couldn't get quite the wide-angle composition I wanted because of an overhanging tree (just out of frame), but looking at my frames now, I'm quite happy with the composition. Just maybe I should pick up the lone dog and move him a little further to the left?
Here's my Photoshop tip:
Even at this hour, the sky was significantly brighter than the foreground. To solve this little challenge, I processed the file out of Capture One and loaded it into Photoshop. I then used the ADPpanel+Pro to select the highlight tones in the sky (this is a luminosity masking plugin), and adjusted the resulting mask a little manually. This allowed me to darken down the sky along the horizon.
You'll find the ADPpanel+Pro at http://www.aarondowlingphotography.com/luminosity-action-panel/
This approach works really well, but when you have little bits of scrub and bushes along the horizon line, there are always little problem areas where the mask doesn't travel. They appear as white halo lines. My solution is to flatten the image (or copy up all the layers to a new layer) and use the healing brush, set to Darken blend mode. In this example, I sample the sky (which is lighter than the mountain) and then with a small brush size, paint over the white areas. Because the blend mode is set to darken, the brush doesn't touch the mountainside, only the white haloes.
Our Middlehurst workshop for 2018 appears to be fully booked, but if you would like to be waitlisted or put on the list for 2019, please touch base with Kim at email@example.com. We are just finalizing the details for 2019 now and are thinking about July so there's a bit more snow - maybe!
Another view of The Cabin, Middlehurst Station, New Zealand
Phase One A-Series 100MP, 23mm Alpagon, 1/4 second @ f5.6, ISO 50
The River next to The Cabin, Middlehurst Station, New Zealand
Phase One A-Series 100MP, 23mm Alpagon, 1/15 second @ f5.6, ISO 50
And if you're interested in a photography workshop in the next 12 months, I have places left on trips going to Canada, SW USA, Bhutan and Antarctica. Full details on the Better Photography website!
Hamadan Taxi Driver, Iran.
Canon EOS 5DSR, 70-200mm lens @ 200mm, 1/400 second @ f2.8, ISO 100
New York is known for its yellow taxi cabs and no doubt they are prevalent in many other cities around the world, but I'd suggest few cities have as many yellow taxis as Hamadan in Iran. On our photo tour, Nuran Zorlu and I spent a few hours loitering in the Hamadan's busy centre with our band of adventurous photographers. The Imam Khomeini square boasts a rich but decaying circumference of elegant building facades, with a hurried, bustling congestion below. Crossing the road to the park in the centre of the square was not without its challenges!
Nuran had suggested that Imam Khomeini square was a great place to sit down and observe life, but we weren't sitting very long before we found ourselves the centre of attention, with plenty of opportunities to photograph the people.
What struck me was the number of taxis, either in transit as a laneless melee around the park, or waiting in long lines for fares. The challenge was to capture them as a part of daily life. For the street scenes, I found a wide-angle lens allowed me to get close to the taxis as they whizzed past, placing them in the foreground and retaining the building facades behind.
As I stood on the roadside, I noticed how every taxi had its own sub-plot inside, the life of the driver and maybe his passengers, so I switched to a 70-200mm zoom and lowered my camera height. This let me look across the road into the taxis and at the driver.
On occasion I was discovered by the drivers, but never castigated. Perhaps it was because I was obviously a foreigner and somewhat of a novelty in a country that has recently re-opened its borders for general tourism.
There's no doubt this taxi driver knew I was there!
One of the side residences at the Golestan Palace, Tehran.
Canon EOS 5DSR, 11-24mm @ 11mm, 1/40 second @ f5, ISO 3200
At a smart new vegetarian restaurant next to an art gallery in Tehran, we were seated opposite three well-dressed women. A beautiful strawberry flan, large enough to feed a dozen people, was delivered to their table - rich, red strawberries with what appeared to be a suitably thin, crispy base, just the way I like it.
One of the women observed me looking at their flan. She laughed and made a couple of comments to her friends. Had I been a little obvious?
I asked our waitress if we could order a strawberry flan for our table, only to discover that the flan was not on the menu. My language skills didn't allow her to elaborate, but I guessed the women had brought it with them for a special occasion.
After we finished our main meal some time later, the strawberry flan appeared at our table. Three small slices had been consumed, leaving a generous gift from the women.
This gesture was to epitomise the friendly disposition of the Iranian people we met throughout our trip. Persia of antiquity was known for its luxury and entertainment and perhaps it is this generosity of spirit that has been handed down over the generations. Wherever we travelled, we'd meet people who would say, "Welcome to my country".
We had a little conversation with the three women. It was a birthday for one of them and when I asked her if she was 21, she looked offended and said she was only 18! I wondered if we'd be this hospitable in Australia if the roles were reversed. I'd like to think I would be, at least now.
Nuran Zorlu and I are just back from a remarkable journey through Iran. From a photographic perspective, it was simply exceptional. We were joined by nine photographers who also appeared to enjoy what we found. There will be more about Iran in future newsletters as I work through my files. Nuran is looking to take a group back to Iran in March/April next year, and I'd be keen to join him again in 2019.
Yes, there are political tensions involved, but on the ground with the 'average' Iranians, when you're walking through a market or across a field, I haven't visited a more friendly country.
The photo above gives you a glimpse of the opulence presented by some of the historical architecture. Iran - or Persia - goes back three or four thousand years and while some buildings have been restored in recent years, you're continually picking your jaw up off the ground as you gape in amazement at the building interiors. The walls and ceiling of this ballroom (I'm assuming) were covered in finely shaped and decorated mirrors. A remarkable space.
A portfolio of my Iranian photos will be up on my personal website shortly - viewwww.petereastway.com.
Matriarch. Areni Village, Armenia
Fujifilm X-Pro1, 16mm lens, 1/4400 second @ f1.4, ISO 200
I'm known as a landscape photography, but I'm also a closet people photographer. This doesn't mean I photograph them from a closet, which boggles the mind when I think what could mean. Rather I like to engage with people and, if I am brave enough, take their portrait.
And sometimes not speaking the language is a huge benefit. It's not like photography is a secret science anymore. And taking a photograph no longer means stealing someone's spirit or soul! So, walking up to someone, smiling, saying one or two words in their language and then pointing at your camera usually gets the question across.
In Georgia and Armenia last month, we stopped off in a few little villages just to take a walk around. In this village we also stopped to have lunch, so I figured the locals were used to tourists, if not photo tour tourists! Sometimes I walked around with the women on my tour because they seemed to be much better at striking up a conversation than me. On other occasions, I struck out on my own with mixed success.
But I enjoy the process. Very much!
This photograph of an ageing matriarch came about as a result of an introduction. A few of the other photographers had discovered her before lunch, so we made up an excuse to return to her home to see if the rest of us could take a photograph. I think it made her day. During the 60 seconds or so I crouched in front of her, she moved her stick here and there, but I like it best outstretched as you see it here. And I love the look she is giving her daughter behind me - "What the hell are these people doing here!"
We placed her on her verandah in shade and then sat back and conversed with sign language. Mehmet our guide and the matriarch's daughter managed to converse a little and she also seemed to enjoy the visit. I'm not sure they'd want a horde of photographers there every week, but I am certain it brightened up their day and will give them something to talk about with their neighbours.
Chances are they experienced something similar!
Prayer in Sioni Cathedral, Tbilisi, Georgia.
Fujifilm X-Pro2, 16mm lens, 1/45 second @ f1.4, ISO 400
Should we take photographs inside churches, mosques and temples? And if we do, should we take photographs of people at prayer? I'm actually a little apprehensive about the different viewpoints people will have, but hopefully I can summarise my response as follows: It's okay if it is allowed and if you show respect.
This is Sioni Cathedral in Tbilisi, the capital of Georgia. I will post another photograph of the incredible paintings and artworks that decorate the walls and ceilings in another post - it is a magic place in which to take photographs. There is a sign outside saying no flash photography and I think that's a good thing because flash would indeed be intrusive on the parishioners. And of course, flash will generally kill the mood which I like to think I have captured in this image with available light.
On one of our visits, a member of the clergy came out and said since they were about to take holy communion, would we mind stepping outside for a while, but we would be welcome back again in half an hour. A similar approach was taken in the Blue Mosque in Istanbul when I was there a few years ago. I think this is very reasonable and I'm happy to comply.
Many of the more popular churches and cathedrals around the world don't allow any photography and in terms of crowd control and their priority for the parishioners, I can understand why. I think it's a pity, but as one priest explained, his church gets more complaints when they allow photography from their parishioners, than from photographers complaining they can't take photos.
So, if you get a chance to photograph in religious places, I suggest you be discrete. Don't interfere with other people and respect their privacy. Most of my photos do not show faces, although I'm not sure Cartier-Bresson would agree with me there. But unless I'm invited to photograph someone at prayer, there's something telling me to leave them in peace.
Perhaps I'm more sensitive than I thought!
Tatev Monastery, Armenia.
Phase One A-Series, IQ3 100MP, 70mm Rodenstock lens, 1/125 second @ f8, ISO 50
I'm a week back from a wonderful trip to Georgia and Armenia, two very special places if you have photography on your mind. Organised by my Turkish friend and photography guide, Mehmet, I was joined by eight fellow photographers and friends in search of some amazing images and exciting destinations. We weren't disappointed. While both countries are steeped in history and religion, there is so much more to them and over coming months, I plan to show you more photos from this trip.
Today, let's start with Tatev Monastery, one of Armenia's most famous landmarks. In fact, it's so famous and popular, the world's longest cable car will transport you from the other side of the valley, rather than requiring you to take a tortuous 30 minute hairpin drive (which isn't good for larger bus tours). But where is the cable car in this picture?
As you'll see if you click through to the rest of the article, Tatev Monastery is a little different when you view it in situ, yet most of the photos perpetuate the 'myth' that I have agreed to by excluding 'all the other stuff' that surrounds it. So much for truth in photography, even for monasteries!
The overview from the hill above the hill above the monastery!
From where the hero photo was taken, with a slightly wider view including the 'extras'.
Looking at the two location photographs, you can see what I mean. But let's not forget that Armenia has a history going back more than 4,000 years, so the fact this place looks as remote as it does, is testament to the inhospitable alpine environment.
I spent a little time in post-production on the hero shot, removing the background roads, covering up the corrugated iron roofing, and removing a few unnecessary power lines. However, the low cloud that helpfully rolled in did most of the hard work for me. Given we had driven through torrential rain and thunderstorms only an hour earlier, the abatement in the weather was much appreciated and the low cloud just perfect!
We spent an hour or so above the monastery, photographing it from several angles as the light changed. The wider view is worth working on, but I will have to steel myself for the post-production needed to clean it up. It's much easier to shoot the world as we find it, rather than as we would like to envisage it. Despite the modern encroachments, nothing can take away the age, the mood and the patina of a location like this, so I think it only fitting to portray it as we 'see' it with our minds.
Carmel Coast, USA.
Phase One XF 100MP, 240mm lens, 1/1600 second @ f8, ISO 50
Earlier this year, Tony Hewitt and I took a group of photographers around South West America in the footsteps of America's great landscape photographers. Naturally enough, Ansel Adams was one of them.
In preparation for the trip, I read a biography about Ansel and was fascinated to learn how much he has been misunderstood by many photographers.
At the risk of overly simplifying the issues, in the early 20th Century, Ansel Adams and Edward Weston were pushing to have photography recognised for what it was, not for trying to emulate painting. At the time, the 'Pictorialist' movement was doing everything it could to make photographs look like paintings.
Adams and Weston pushed the idea of 'straight' photography, meaning they wanted their images to look like photographs, not paintings.
Throughout their careers, their views on what photography should and shouldn’t be gradually changed as they worked it all out. I think Ansel summed it up pretty well later in his life as follows:
“A photograph that is merely a superficial record of the subject fails as an aesthetic expression of that subject. The expression must be an emotional amplification, and this emotional amplification relates to point of view, organization, revelation of substance through textures, tonal relations, and the perfection of the technical expression of all these elements.”
I loved reading this. For years, photographers who didn't like Photoshop and the ability to edit and interpret their work have held up Ansel Adams as a legend who produced photographs 'straight out of camera'. Of course, anyone who has read Ansel's books knows that this is far from the truth, however it is also true to note that Ansel questioned himself about how far he could push a photograph before going too far.
For instance, using a Yellow filter in black and white film photography would darken a blue sky, giving a more 'natural' result. Using a red filter would turn a blue sky almost black, which was far from natural but looked pretty damn good, and I think Ansel agonised over this for many years. His famous Half Dome was the first time he went to the 'dark side' with a red filter and a black sky, but he repeated the black sky 'interpretation' with his Moonrise, Hernandez, New Mexico. These are probably his two most famous photographs, so what does that say?
My message: Photography can be as interpretive or as 'straight' as you want it to be, just let other photographers do what they want and don't worry about it! And photographers who do enjoy the dark side, keep this little piece of photo trivia up your sleeve. Even the great Ansel Adams expects our photographs to have some 'emotional amplification'.