New posts on the way!

Hey guys,

Posts have been a little slow lately due to me being away a few times, but will have a few more up and running this week.  Hopefully a review and another lesson or two.

Spent a few days in London with a friend and meeting my photography class for a few gallery and exhibition visits, which was really nice to take some time to do!

Some old cameras on display at the V&A Gallery, London

The weather in London was great on Thursday too, which made a nice change compared to what we are getting in Northern Ireland at the minute.

Will be posting tomorrow, so will be putting a few updates out when that happens,
Have a great day!

I'm off to a photo shoot today, which I might just document to help explain lighting techniques at a later date.......so keep an eye out :)

Suzi

LESSON 5: Depth of Field

I hope the last lesson about shutter speed, apertures and ISO's helped you understand how to use your camera more effectively!

For this lesson, it's time for Depth of Field - Even if you have never heard of this term before, chances are, if you have an SLR camera and a lens with a manual setting, you have most likely experienced what depth of field is about.

Here's a nice diagram to explain - squirrels, I'm not sure why, but it gets to the point!

Depth of field relates to the distance between objects in front of you.
For example, as my eyes are focused on the screen whilst typing this, my hands and keyboard are blurred and out of focus in my vision.
When looking at the keyboard, the screen then drops out of focus.  Same applies to the coffee cup sitting between the keyboard and screen.  As I move my eyes to it, both screen and keyboard are out of focus.

It really is that simple!

To purposely pinpoint a subject of interest in your images, you will use depth of feild to ensure that it is in focus, no matter where on the image it is located.  Center, top, left, or right.


To use depth of field to it's potential, aperture plays a part.  Here's a quick diagram....

How light effects your focus point

The smaller the F stop, the more light you are letting in; therefor, the more depth you will have to your image.  Your subject will be sharper, and you background, more blurred.

The larger the F stop, the less light is let in.  Giving you a flatter image and a lot more of the background in focus (as well as your chosen topic)


There are two categories within depth of field:

• Short depth of field 
• Long depth of field

Here's an example of short and long DOF (depth of field) I took last week when in France.  I used a 50mm Nikon lens with manual focus.  It has an aperture of 1.4 - which lets tons of light in.

Short Depth of Field - the ski is in focus and the background remains blurred.

Long Depth of Field - The ski is out of focus whilst the tree is now sharp and more background can be seen.

DOF is used in every photograph created!  So now you know, there is a term for what your point of focus is.
There is also a huge amount of numbers behind it.  Formulas, diagrams & mathematics - none of which I'm sure you will want to think about when you are out taking your shots.

It is an interesting read if you really want too, but you can certainly get out there and start applying depth of field more specifically without all the science!

DOF is a handy thing to consider when you are choosing a lens for a certain style of image.  I use the Nikon 50mm Manual focus.  This is great on non-moving objects, anything involving that you can take time to focus on works a treat with this lens.  Otherwise, an auto-focus is a bonus when capturing people and portraits in a busy, fast paced situation.
So have a think when you are expanding your gear as to what sort of images you want to create or what jobs you may end up taking on in the future.

Here's a few more examples from the snowboarding trip of Depth of Field! 

Ski poles in focus, soft background and foreground.

Long DOF - Fur toys in focus, background visible, but not sharp.

Very short DOF - Crystal clear subject up close, no focus on background at all

Depth of field in action again.

You can see the nice blur effect around the edges with this tighter shot.

Not too long and not too short, just enough to capture the subject without eliminating it's environment

'Yamaha' branding is the main focus point here

The Nikon 50mm is a great lens, pin sharp and lets in lots of light

That's all for the meantime on depth of field.  I may going more into the topic later on on another, more advanced lesson!  But for now, a short introduction is enough to understand the term and how it is applied.
I will have a lessons on lenses and how they work soon, this will also help with the more intense understanding of depth of feild.

Now get out there and give it a go! 

Out of action....and into action!

Just a quick apology post for those avidly following!

Had been away in France snowboarding (aka: falling down a mountain) and had hoped to get an internet connection during my time there as I had a few articles written ahead of time.
From the week of silence, I'm sure you are well aware this didn't happen.

Quick self portrait goggle refection - created a natural fisheye effect!

Never the less, there's a few articles lined up and good too go, some featuring some photography from Les Menuires & the mountain range we were all staying in.

Some spectacular scenery and a wonderful place for landscape photography!

The view from the apartment

Anyway, I'm back in Northern Ireland for the time being so it's back to porridge and of course, photography projects. 

Expect a couple of posts a week :)

Don't forget to join my facebook page to keep connected for easy updates: http://www.facebook.com/pages/Live-At-SERC-MAPA/209785575725755#!/pages/Suzi-Taylor-Photography/129523760461220

EXHIBITION REVIEW: "Contraband" by Taryn Simon

 "Contraband"

Images by Taryn Simon

Where: Belfast Exposed Gallery
When: 28 October to 30 December 2011
Review by Suzi Taylor


I was eager in anticipation for this exhibition to open.  I had read about it on the Belfast Exposed website and was counting the days until I had to opportunity to visit it.
The image used to advertise this selection of work was both a powerful and a curious one.  It certainly intrigued me anyway!

Entitled 'Bird Corpse,' it had a dark essence about it, yet it somehow acted as a somewhat stomach churning bait to invite you in to see this exhibition.

The artist, Taryn Simon is a native New Yorker, born in 1975.  Simon's style of photography has a very forensic / documentary approach to it.  Her work has been exhibited in many institutions throughout the world's major cities.  Some of these include galleries in London, New York, Frankfurt, Berlin and Los Angeles.

Simon has also a list of books published involving both her photography and writings.  These include: Contraband, An American Index of the Hidden Unfamiliar, A living Man Declared Dead and Other Chapters.  (links to the publications found at end of this article)

Upon entering the gallery, the space was clean and open.  I gathered the vital information before taking the first lap.

There were many glass frames protruding from the walls.  Ranging from high up above your line of view, to images around shoulder height.  The images were small, perhaps no more than 6x6 each.  Very cleanly presented.  Easy on the eye, and a nice flowing theme throughout.  A crisp white background with the subject in the center of the photograph.


At first inspection of the first group of images, it frustrated me that the subjects I wanted a closer look at where positioned higher above head height.  Maybe this was intentional.
Another noticeable frustration that I noted was the image sat around 5" behind the glass.  On a few occasions the glass and my nose collided as I tried to get in close to the tiny image to get a better look.

I liked how the images were framed and positioned.  Each long glass frame contained a small collection of images in a horizontal row.

The whole collection of images totals to an astonishing 1075 image, which Simon photographed over a five day stint at John F Kennedy International Airport, NY.
The series 'Contraband' is a documentary approach through photography that's aim was to capture an image of items that had been seized from passengers and mail entering America from abroad.


I took a quick read of the exhibit information and could see a few interesting objects on the list.  Some of these included:

• Animal Corpses
• Animal Skeletons
• Butterflies
• Snails
• Ketamine
• GBL
• Fake clothing (including counterfeit Lacoste, Ralph Lauren, and Ugg)
• Pharmaceuticals (many of these)
• Duck Tongue
• Pirated DVD series's
• Fake Watches
• Fake Gold
• Viagra 
• Diet Pills
• Pistols
• Guinea Pigs

As I continued my way around, I couldn't help but notice how forensic this approach really was, and with some of the subjects involved, it definitely made an interesting image to observe.
I was taken back by the guinea pigs....cooked guinea pigs.  An image almost as shocking as the one used to advertise this body of work.

Counterfeit DVD's didn't make the most interesting photograph, but it did represent the demand that exists for these pirated items, even with the use of the internet to download illegally.  The demand for such items are obviously as high as the drugs and fake clothing that also appears exhibited.


Initially I had thought this exhibition may have had a bit more of a shock factor to it.  I'm not denying that some of the images weren't disturbing to look at, but what I found most intriguing of all, was the vast range of objects individuals were trying to smuggle into the USA.

I walked around the gallery again thinking to myself "why would you try to send these?  What would your reasons be for doing so?  Are some of these objects that sought after?  Who in the right mind would try and bring a burnt guinea pig into the country.  Who would send a dead eagle through the mail?!"

Questions questions questions as I circled the gallery again.  So many images, so many questions.
The works to me, make up a catalog of images along with another catalog of open ended questions about the subjects.


I really liked this display of Taryn Simon's work and was keen to find out more.
I found out that Source Photographic Review journal had featured one of her previous exhibitions in an article.  I found this in my college library and was pleasantly surprised to find that her last exhibition -  "A Living Man Declared Dead and Other Chapters" was presented in much the same  way.


This to me, is a very dedicated way to work.  Personally as a photographer, I think I would go mad photographing subjects in the same style for each one of my projects.  That said, her projects are detailed, comprehensive and well researched.  Time is taken to do things right, diving deep to document her topics correctly.
With the use of both photography and supporting writings, Simon's work opens up the project/s to a level must more than just photographs.

Her processes at times seem painstaking and laborious; for that, I personally really like her strict approach to documentation through a lens.



If you like the look of "Contraband' I strongly suggest you check out a few articles or exhibitions from Taryn Simon if you can.

In the meantime, here are a few links that you might enjoy and find an interesting look and read...
Taryn Simon's Official Website 
Wired - 2008 review
http://www.gagosian.com - Something a bit more recent

LESSON 4: What do all the numbers mean?

This is a tutorial to eplain what all those numbers on your camera mean, what they do and how you can use them to your advantage. 
Hopefully by the end of this lesson they won't scare you and you will begin to use other settings other than the green auto option on your camera!


In this lesson I am going to teach you about 3 different elements.

1. Aperture
2. Shutter speed
3. ISO

Once you know what these are all about, it is a matter of trail and error before getting to know how to apply them to what you are doing.
I'm going to use my Nikon digital SLR for the camera to help show you what it's all about.

Why not turn your dial on top of your SLR to 'M' - Manual.  This gives you complete control over what your camera is doing.

Your camera is now an extension of you and what you want!  Rather than it controlling how your images turn out, you are the one to make all the decisions.

So with that, here we go!

PART 1: Aperuture
If you look at the screen on your SLR, there are usually two main sets of numbers.

Screen on my Nikon when using Manual settings

Your aperture number is the one labeled : F
As you can see, my aperture is set to: F5

Now, look at the circle diagram on the left of the screen.  The bit in the centre of it is in relation to your F number.

The diagram is showing me how wide the aperture ring is set too.  In this case, it is fully open, therefore, letting lots of light into your camera.

I changed the aperture by four stops.  Stops are what the F number can also be known as.  Your 'F Stop'
As you can see, changing to F stop from F5 to F8, the aperture ring has become smaller, letting less light in.

Aperture F8

Then again, I have gone to Fstop F22, and you can see by the diagram on the left of the screen, the hole is tiny, therefore, a very low amount of light is going to get through the lens.

F22

Understanding any of this?  I hope so, as once you get it, you will apply it all the time!

Another way to sum this up is to compare your cameras apeture to the pupil of your eye.

Think of the white circle in the center as the pupil of your eye

In a dark room or low light, your pupil will be big, as it needs to open up to let as much light into your eye to enable you to see.
 On a bright summers day, you pupil will be small to only let a small amount of light in as it is not that difficult to see in well lit situations.

So that's you aperture, it's your cameras pupil! You are now in control of it!

Here's a quick diagram with images to show how it effects your photographs.....

You can apply your changes depending on your lighting situation.  Night time, indoors, outdoors, gigs, low lighting situations etc. 
The darker it is, the wider your aperture should be.
The lighter the situation, the smaller it should be.

Simple as that!

Time for the next part.......


PART 2: Shutter speed

Here's the same image you saw earlier.....
Recognise you F stop? ;)

I hope you do!  Because it is now time to learn about that other scary number on the screen.  Your shutter speed.

Shutter speed here is 1/100 as seen on the screen

The number that looks like a fraction is what is known as your Shutter Speed.
This determins how long your shutter stays open for when you push the button to take a photograph.

Click!  You hardly think it matters, but shutter speed is part of the key to help you catch atmosphere and movement to your images.

Time to break it down, here we go.....

The longer your shutter is left open, the more information you will capture.
The quicker your shutter snaps, the less information you will capture.

Shutter speed can also be referred to as an 'exposure.'

• The term long exposure = shutter being left open a while
• The term short exposure = shutter opening and closing quickly

It's not that scary, trust me!
Example: Traffic at night - always a great example to explain this.

Here is a classic, 'long exposure' shot:

Long exposure to give you a light trail from the cars

Doesn't it look cool!?
It's easy to create if you know what your numbers are about.

The fractions simply relate to what fraction of a second your shutter will remain open for.

At the top  of this scale is 1/1000 of a second, which you can imagine, that is a fast shutter speed.

1/125 is a 125th of a second, which is a bit slower than the 1/1000 but still fast enough to capture and freeze an image without any blur.

1/2 is half a second. Doesn't sound like much, but if you try and take a picture whilst hand holding your camera, the shutter will be open long enough to capture you shaking!  You will end up with a blurry image of nothing very much.

Tripods are perhaps the most important tool for creating long exposures.

Imagine trying to hold your camera in the one place without even quivering during a 2 second shutter speed! It's not going to be easy or possible for that matter.

Take a quick look at this before I explain further:
http://webdesignledger.com/inspiration/30-stunning-examples-of-long-exposure-photography

Notice how the stationary objects in these photographs aren't moving.  If you were to hold the camera freehand, you would be moving, therefore, the buildings would appear to be moving too.
The images on this link would have been created using a tripod and long exposure times.

Here's my own test to show you this :) Try it out if you get the chance

What you will need:
Camera
Tripod
A Wall
A laser pen

Set your camera up facing the wall.  Stand behind your camera and tripod with a laser pen.  Choose your shutter speed, hit your trigger and start writing!

Shutter speed: 1 second.  Aperture: F11

 Choose a word and attempt to write it when your shutter goes off.
Above I tried to write 'hi' but didn't get very far in one second, so changed it to a longer exposure......

Shutter speed: 4 seconds.  Aperture: F16

As you can see, using a 4 second shutter speed gave me enough time to write 'hi' onto the blind.

Notice how the F stop is different in each image?  This is because you have to remember that shutter speed effects how much light gets in too!
The longer it is, the more time light has to get in and vice versa.  So, you have to compensate by changing your aperture accordingling.

Here you can see how shutter speed can effect the amount of light in you image.

Because I had the shutter open for 4 seconds, I though I would close the aperture ring to balance out the light.

You can try a few things other than words, even give swirls a go......see how far you can get

Shutter speed: 1 second.  Aperture: F10

Shutter speed: 4 seconds.  Aperture F16

It's never a rule set in stone as to what F stop to use depending on your shuttter speed as every situation is different.
The only thing you can do is set something like this up yourself and have some fun with it!

 

 Here's a quick one with a longer exposure, you can see I have changed to F22 for it!

Shutter speed: 13 seconds.  Aperture: F22

So, hopefully from those two steps on aperture and shutter speed will help you understand what those numbers are all about and how you can apply them to your photography.

Last but not least, and usually the easiest to understand......


PART 3: ISO
ISO doesn't stand for anything in photography terms, it is short for International Organization for Standardization.  Nothing to do with photography, just a way to keep everything the same and to stop confusion.


Time for the famous image again...... Perhaps a bit blurry due to the webcam, but if you look at the right hand side of the screen you can see the number 100.  (under the lightbuld and above the AF-A)

It says ISO 100.  I happened to be set to 100 for this image as I was in the studio last night when using my camera and ISO 100 is a useful setting there.

Nikon screen - ISO 100

The best way to explain ISO is in terms of film.  When you buy a film for an old camera, they are more commonly available in ISO 200 or ISO 400.


This number is all about how sensitive your film is to light.  How fast it acts.  In digital cameras, it isn't film, it is a sensor, but the same ISO term is applied to keep things relevant.

ISO can range from: 100 - 200 - 400 - 800 - 1600 - 3200 - 6400

The further up the scale you go, the lower the image quality gets, but don't let this stop you from changing it if it's the only way to capture that image you want.

ISO 100: Lower sensitivity to light, meaning we usually have to expose for longer but we keep a higher quality image.

ISO 6400: Higher sensitivity to light, meaning we can use shorted exposure speeds to freeze movement in an image, but losing some quality at the same time.

Here's a quick example of ISO's I have taken to help explain.  Please excuse the silly cat toy as the subject, was close to hand at the time!

ISO Examples

The shutter speed and aperture remained the same throughout.

Shutter speed: 1/40

F5

ISO 100

ISO 200

ISO 400

ISO 800

ISO 1600

ISO 3200

You can see how much more light sensitive the ISO 3200 is in comparison to ISO 100.  3200 just soaks the light up whilst 100 acts a bit slower of the mark when absorbing the light.

So again, you have another option to help control your lighting.
ISO doesn't usually change as much as your shutter of aperture would in a situation.

For example, here is what I would find myself using depending on the job....

ISO 100 - In the studio using lighting to control my set up, helps create nice black backgrounds when needed as it is slow to responding to the light around the subject.

ISO 100 - used in studio

 ISO 200 - I find myself using this during bar/club event photography.  I use a flash and it is enough to light the peoples faces, yet 200 doesn't soak up much light on the background, so keep the image low on distracting objects or things going on behind the subject.

ISO 200 - Used with a flash and fisheye lens

ISO 400 - Everyday use.  It's in the middle and good for just snapping away when out and about during the day. (Please excuse these two lovely examples in this photograph, Ruth and Mel! - Both keen Lomographers, more on that in another post)

ISO 400 - Even, day to day lighting

ISO 800 - Used for gigs or photographing people in low lighting situations that I am too far away from to my flash to hit.  Usually the stage is well lit and ISO 800 responds well without loosing quality.

ISO 800 - used at live gigs or shows

ISO 1600 - Used for the gigs and very low lit situations that I have no other options to work around.  Working with camera hand-held means I can only keep the shutter open so long to let the most light possible in until it starts to go blurry and I shake!  This is when the 1600 or the 3200 ISO would be used, but I personally try to avoid it due to the image appearing grainy and restricting how big you can have your image printed without it lacking sharpness and quality.

ISO 1600 - A low lit set up, you can see that quality in lines and definition are low

So!  With that, I think that this lesson will keep you all busy for a while and get you out there with your camera and trying some new techniques :)


Any questions you may have, feel free to ask.  More lessons up soon, until then, check out my Facebook Photography page, all blog updates will be posted there......

http://www.facebook.com/home.php?ref=hp#!/pages/Suzi-Taylor-Photography/129523760461220 

Happy snapping!

Lomography - Why I love it

First things first.  A lot of you are probably sitting thinking 'what the hell is Lomography?!'
Let me explain with this equation.....

(Analogue photography + film format + Russian roots + plastic fantastic cameras) - (All the rules of photography) + (Fun x Freedom) + (Communities / global) = Lomography & their Lomographic society 

Ok, with that let me also link you to Lomography's OWN rules on photography.  Forget your rule of thirds and composition and open you mind to these......
http://www.lomography.com/about/the-ten-golden-rules

I was first introduced to Lomography in 2008, and I honestly can't remember how, who or where it happened, but as a photographer, Lomo is to me is like the great escape.
I don't have to think, there is no planning ahead.  It is spontaneous, free and exciting.  Not to forget the suspense and surprise element of what you have created with a camera that represents that of a toy!

I have a few cameras now from the Lomography range and I absolutely love them.
I was also shocked to find out a few friends where into it too and with that, we had our own small, but mighty Lomo group!

Based in Bangor, a small town in Northern Ireland, finding people who are into photography is tricky enough, but to stumble into a group through friendship, only to find out we all had the same interests and a range of Lomography cameras between us, we embarked on our own crazy, experimental and individual approach towards photography.

My first Lomo camera I bought in 2008.  It was the Diana F+ with a flash unit.
It arrived in the post and I was gutted to see that the lens had snapped off it during it's journey it it's new home.

My Diana F+ 120mm Lomo Camera

I took it out of the box as I was curious anyway.  When I saw the simple build quality and the stripped down, straightforward construction of it, I went to find the superglue.
A quick look around the box and I could find nothing else that had broken, so I glued the lens in place and left it to dry as I read through the instruction manual and some of the short stories from a book that also came with the pack.

The Diana F+ uses 120mm film, which is a bit tricky to get your hands on and also comes at a price.  I used this camera a few times with color 120mm rolls.  Each roll of film cost me around £4.00.  With that I can get either 12 or or 16 exposures depending on size / quality I want them at.
Developing also comes at a cost with my local Jessops in Belfast City being the nearest place to process this old format, 120mm film in color.  This also cost me £4.00.

In total, it costs around £10 every medium format film I used with the Diana F+.

To help drive down the cost, but boost up the fun of using this camera, I ordered the 35mm back to fit to the camera.  It means you can use 35mm film whilst also having the choice to change back to 120mm for the next roll if you wish.

The 35mm back for the Diana F+

A roll of ISO 400 color 35mm film costs me £1 from the local Poundland store, a complete godsend to those who still enjoy the film format!
The photography lab in Bangor also still processes 35mm color for the cost of £2.50 a roll and if you bring a memory stick, they will just transferred your scanned negatives onto that for you.  It's quick and handy, and of course, cheaper!
It now works out at £3.50 for 24 exposures, so I'm a happy bunny.


The next Lomo camera I decided to try was the Fisheye.  I acquired this in 2009.

My Lomo Fisheye

 It's a simple point and shoot camera.  It's handy to use the flash indoors or on a dull day outside.  In summer, it works great without flash if you are using ISO 400 film.
You have to get real close into your subject with this one because of the lens on these cameras.
The build in flash is really handy on this little camera, and the body is clean cut and simple.

Simple and full of character.  Just like the photographs it creates!

Durable and easy to use - simple functions, all two of them!

This was a really great buy.  Personally, I would recommend this wonderful treat of a camera to those who don't know much about photography or film, but want to have a bit of fun with it.

Since it is purely 35mm committed, it is cheap to run.  The images are cheery and with a fixed lens, aperture and shutter speed, novices have nothing to worry about!

There are a few different models of each Lomo camera out there, I really like this little fisheye, it has a few nice lines on the back of it too......

Fisheye back - You can see i'm using a Kodak 200 film, the flash has been handy with this one!

In 2010 I decided it was time for another medium format Lomo camera and went for the twin lens Lubitel 166.

The bomb-proof Lubitel 166

This camera was an ebay winner for me as I manage to purchase it for around £60.  They retail at around £200-300 new or refurbished.
When I got this camera there were signs of wear and tear on a lot of it.  It is a heavy, metal bodied camera from lomo, which, in comparison to the lightweight, plastic Diana or Fisheye, this camera is a bit of a beast.

It takes 120mm although you could do a few homemade conversions to 35mm if you wish.  (Hope to have a video of the conversion up soon for those who want to try it!)

I really love this camera, but it takes a bit of patience and getting used too.  You have aperture and shutter speed options as well as a lens you can focus with.

The image is seen back to front through the top of the camera

The Lubitel 166 is a far cry from the simple Fisheye.
I love to use it but know the situations that it is best suited for.  Nothing spontaneous, it's a bit too refined for that carry on.
I use Ilford HP5 400 with this film.  Medium format 120 of course.  I always feel the black and white film fits the mood of this camera.  Somehow the idea of using color with this heavy accessory never gelled with me.  Although, that being said, there are some wonderful images in both colour and b&w that have been created with this camera from people all over the globe.

It's difficult not to become attached to these things

Lomography is not just a brand of cameras.  Check out their website here: http://www.lomography.com/

They have an online community, a magazine, a shop and a whole community both online and on the streets keeping analogue photography alive.

Here is my personal profile on their community site:
http://www.lomography.com/homes/suzi_nyc
It's not wonderful at the minute, but thankfully I now have a lot more time to work on the Lomo stuff I have wanted to for the past year!

Get connected if you are on there and start adding friends and following the work that you like.  Even if you haven't got a camera yet, it's a great way to do a bit of research and use as a guide to help you choose your first Lomogoraphy camera.  IT WILL CHANGE YOUR LIFE!

Bangor through a Fisheye - By Suzi Taylor 2010

The (not so busy) Pickie Fun Park, Bangor, Co.Down - By Suzi Taylor 2010 (Diana F+ 120mm)

Double Exposure, Bangor, Co.Down - By Suzi Taylor 2010 (Diana F+ 120mm)

 

Drunken Fisheye Fun! - By Suzi Taylor 2011

Urban Exploring with a few of the Lomo nerds! Mel and her green hair - By Suzi Taylor 2012 (Diana F+ 35mm conversion)

Rosie, autumn 2011 - By Suzi Taylor (Diana F+ 35mm conversion)

The Lomo Diana with flash, taken with the Lomo Fisheye - By Suzi Taylor, Jan 2011

I'll be writing more about Lomography in the future, but hope this has been a helpful insight into what it is and what they are about.