Magical Light

Light comes from different sources and affects our mood and mental well-being. We depend on natural light from the sun and also have learned to create it in artificial form. Light may be soft and soothing, harsh, flat or contrasting. Sometimes it may even seem magical – illuminating a stunning view beyond anything we might expect.

Light is critical to a photographer because the word photography literally means painting (or drawing) with light. Instead of a brush we use a camera, capturing an image on film or digitally, then producing it to achieve a desired result. This blog discusses the mindset of a photographer in dealing with light: the mental processes we go through in pursuit of excellence. These personal views are accompanied by sample images to illustrate relevant points of intentionality in the creative process, in the hope of helping other artists or stimulating discussion to share ideas.

When researching locations, a landscape photographer may crave sufficient quietness and tranquillity to be at one with the subject matter. After all, the finished image must arouse emotions in the viewer, to faithfully share the experience of being there. Or at least the image should raise curiosity about the location: the viewer wanting to know more and resolve any curiosity about the subject.

As someone who hates chaos in a picture and generally would prefer minimalism, a craving for magical light might seem to be a dichotomy. Yet there it is! With extreme light sometimes creating mental turmoil and a potential meltdown in artistic confidence.

I called this image out of darkness because of the dramatic light near dusk. There is a potential conflict in the mind of the viewer because of the extreme contrast. I decided to embrace this in the image.

In landscapes, composition is key. The mind seeking order and balance, even attempting to create this from nature's apparent chaos. The apparent lack of light must not deter us: fog or mist offers the chance of creating an atmospheric scene. We may often crave a balanced scene bathed in a soft warm evening glow, which to many of us seems like heaven in painting a picture of tranquillity. Yet there are times when nature offers a wow factor through magical light that we must capture and produce to share with the viewer.

Living near the coast at the time of creating this image, I woke to find a heavy mist. Having heard of these wrecks on the River Wyre, opportunity knocked. I called the image ghost ships.

In spite of flat evening light, the colourful buildings surrounding Staithes Harbour offer a fascinating subject, My intention was to create a tranquil evening scene through the use of composition and colour.

Descending from Rydal Caves, my good friend was the first to spot the amber glow of sunset reflecting on Rydal Water. We created a series of images from above the lake, using a telephoto lens. This was magical light and the opportunity was not to be missed.

Most important, to me, is the intention to share the sheer joy of being in a location: the mental calmness; the completeness offered by being at one with the environment and the sheer privilege of sharing this feeling in art form.

The work of David McCulloch can be found at his Website: photodave.org

Making Time for Monochrome

Making Time for Monochrome

1 Introduction

The pursuit of instant gratification from Likes on social media leads many photographers to produce images for impact, often without consideration of the technical quality that would stand the test of printing the image as a large photograph. The sheer volume of colourful photos on social media may also have a desensitising influence. Some images, however, require reflection and concentration to appreciate their value; they often consist of subtle tones tones from an understated production that expresses the intent of the artist and brings pleasure to anyone immersing themselves in the image. Over-production shouts for attention, whereas subtlety invites us to look at an image more carefully and appreciate the atmosphere created by its texture and composition, to ultimately feel part of the scene or close to the subject. But what about black and white photography? Does the lack of colour render it obsolete? Or is it relevant to those who will switch their brain to appreciate tones, texture and mood?

As a photographer brought up on monochrome film, and learning the art of printing, I deliberately make time for monochrome, and encourage others to do the same. This Blog explains some of my reasoning when creating mono images using a digital camera. The logic also holds true for film; but when using a digital camera most of us will capture the image in colour then convert it to mono in post-production.

2 The monochrome mindset

We see the world in colour. Hence colour images are the norm, with our phones or cameras are set to take pictures in colour as the default. Indeed, it is common to do a double-take when seeing a monochrome photograph. If making the effort to create a photograph in monochrome, what makes a good subject? When considering composition, imagine the scene after colour is stripped away. What about the tone, texture and lighting? Ideally, such  criteria should be considered before capturing the photograph, but it is not too late to experiment in post-production. There are different styles of monochrome image: high key; low key; high contrast; or low contrast. Each style has its place, and this article gives examples of differing types of image and subject, along with some of the artistic considerations in making a picture.

3 Influences and inspiration

Many of us are moved by great work; and the earliest great photography - produced in monochrome – stands the test of time. The early work of Ansel Adams incorporates the full range of tones. His striking images of the American West are legendary amongst photographers. More recently, Michael Kenna is another photographer using a wide tonal range. Kenna produces unusual landscapes featuring ethereal light, often minimal in subject content yet immersive to the viewer. Conversely, many portrait and fashion photographers produce at least some of their work in high key. This technique may also be appropriate to still-life images and even landscapes, by portraying a lighter mood. Not all images must be contain the entire tonal range: from dark black to extreme white with all shades of grey in between. The objective of the mono artist is to create appropriate mood and atmosphere, which requires a thoughtful approach and a difference in production styles, depending on the subject.

Landscapes

The intuitive feeling of many people is that good landscape scenes depend on colour. After all, a vibrant colour palette attracts us to a scene. We also see nature in colour and are attracted by it. Floral colours and autumn hues are typical examples. How then, can a landscape devoid of colour appeal to our emotions? Monochrome landscapes depend on lighting, tones and textures. Separation of tones and contrasting light are two real-life considerations that influence appeal. Photographic tones can be changed by filtration. Adding coloured filters (such as a yellow or a red filter to darken a blue sky) will change the tones captured on black and white film. Alternatively, such filters may added or simulated through software in digital post-production. Such filtration enhances the tone separation in the finished monochrome image.

Lines, composition, tones and texture make this image work in monochrome

The difference in tones between the dominant foreground tree and the snow-capped peak in the background add interest

High Key

High key images are predominantly bright, with little or no shadow - tending to suggest optimism or softness through their brightness and low contrast. The subject of the next image - the old pier at St Annes on Sea - is physically separated from the new pier through a history of fire damage. Most of the original pier had to be demolished after the fire, and a shorter pier was subsequently built, leaving the old pier standing as a separate entity but rewarding the photographer with an interesting subject.

Foreground and background appear seamless when rendered in high key because of the sand blowing in a strong breeze, and thus suppressing detail

 

The graphic lines of the composition and the texture of sand complement this high key rendition. A warming filter has been added to match the subject

High Contrast

A monochrome image is commonly described as “black and white,” implying the use of a full tonal range. Such high contrast creates initial impact and is appropriate to many subjects. Here is an example featuring water.

The high contrast and the full tonal range add to the dramatic viewpoint - above the weir

Long Exposure

Long exposures are particularly useful in adding ambience to a landscape scene. Moving water is 'flattened' or smoothed by use of a long exposure. Conversely, skies can be made more dramatic, as cloud movement leaves trails, or lines, as the shutter is left open. Exposure time can be lengthened by use of a low ISO setting; a higher f stop (giving a smaller lens aperture) or the addition of a neutral density filter. A combination of all three will further lengthen the exposure. The use of long exposure photography allows the camera to record more than the eye can see, since it is capturing more than a brief moment in time and a pattern that our brain cannot record in real time. The use of an ultra-long exposure can add an ethereal quality to a photograph and perhaps the most famous exponent of this form of photography is Michael Kenna.

Here a 30 second exposure has captured movement in the clouds and flattened the water, adding to the mood of an overcast Lakeland day, with light rain falling 

In this instance a 4 second exposure created an unusual pattern of the fast-flowing tide. The wave occupying the dark area at the top of the picture suggests the force of the ocean bearing down on the sea defences

The ethereal effect was created by a 252 second exposure after the set and disappeared below the horizon. It was surprising to discover what the camera had recorded after the shutter was open for more than 4 minutes with fast-moving cloud.

Architecture

Dynamic lines, shapes, tones and texture may be effectively expressed through a monochrome image. These characteristics, along with prevailing light and shade, ensure that architectural photography works extremely well in monochrome. Different renditions (high contrast, high key, low key, etc) work equally well, depending on the subject. It is usually desirable to create clean lines with sharp focus, although in some cases differential focus can add interest and intrigue.

The dynamic lines of the brutalist architecture of Preston Bus Station leading to a nearby hotel record different architectural styles as a fine art image

This footbridge photographed at night, appearing to span dark water, creates a dramatic image by eliminating distractions seen during the daytime.

A mild telephoto effect suggests a congested skyline perhaps reminiscent of the older pictures of New York. This is a view of Media City, Salford Quays, Manchester

Abstraction.

The eye of many artists is honed to identify subjects in isolation and to identify an interesting part of the whole. Abstraction also works well in architectural photography, by concentrating on a section of a building to emphasise a pattern or strong dynamic lines. Graphic lines or macro topics from nature also make interesting abstracts. Trees and plants (including macro images) may be interpreted in mono because their strong graphic lines or texture. 

This dramatic perspective, looking up at the unique roof-line of the Imperial War Museum, North, makes a case for abstract architectural photography 

An abstract macro view of wild garlic in its natural woodland setting shows the attraction of monochrome photography in nature

Conclusion

Other forms of photography work well in monochrome, from portraiture to nature photography. Possibilities are limited only by a lack of imagination. If you are interested in photography and have not explored the potential of monochrome, I urge you to give it a go. Not only will it add another dimension to your work, you will be contributing to the survival of mono art. Long may it live and thrive!

You can see more of David McCulloch's photography on his Website PhotoDave.org

Moving Water

Technically, photographing water is largely about shutter speed. But let's not jump too far ahead. As with all pictures, it's best to know what you want to achieve before you press the shutter, rather than leaving it to chance and hoping to get that magic grab-shot. Listen to the water, be aware of the environment and the mood of the weather and lighting, then frame a picture that matches your interpretation of the moment.

THE SEA

As we are all aware, winds and tides alter the intensity of the ocean. The ocean is always moving and you can judge its intensity both by sight and sound. Here are a few examples of images of the sea, along with a description of both the conditions and the mood I have tried to convey. They graduate from a scene of tranquillity to one of immense power.

This next image conveys tranquillity. It's all about the lines of the pier, with the water  flattened out to the state of a duck-pond, using a filter to slow down the shutter speed. The tide was coming in and lapping around my feet next to Saltburn Pier. By slowing the shutter speed to around half-a-minute reflections of the pier were accumulated in the shallower water.

Focal length 11mm; f22 at 30 seconds; 100 ISO

Next, another long exposure with a faster tide beating around the rocks and groynes, with the intention of creating an ethereal mist from the splashing tide. This shot was taken at Cleveleys.

Focal length 109mm; f16 at 15 seconds; 100 ISO

This next image shows a gently pulsating tide at sunset. The water was making the most pleasant sound – gently lapping against the shore in the quiet of the evening. The intention was to capture its soothing motion, rather than the raw power of the tide, as a foreground to the sun which was reflecting up from just below the horizon.

Focal length 33mm; f16 at 1 second; 100 ISO

Next, gentle rolling waves by the shore at Cleveleys, surrounding the sculpture of Mary's Golden Shell. Here attention was given to the pattern of the waves, with a shutter speed that did not freeze the movement of the water but rather left a slight blurring of the waves, suggesting a gentle motion.

Focal length 92mm; f8 at 1/160 second; 100 ISO

My final shot of the sea depicts its power. Personal safety was not at risk, as this image was shot from Blackpool promenade, timed to capture the height of the splash. Using such a shutter speed, the water is not entirely frozen; even though individual droplets are visible there is still a sense of movement to add to the drama.

Focal length 54mm; f11 at 1/160 second; 100 ISO

STREAMS

Streams suggest different things to each of us: Inevitably the flow of water, at different speeds, in different terrain; the pattern of the flow; obstacles and obstructions breaking the flow; contours and undulations from the shape and pattern of the surrounding land. All of these features add to the beauty and tranquillity of a stream. The challenge is to decide what influences your emotion when framing the shot and convey this to the viewer. Apart from the choice of shutter speed, there is a question of how much context to include. Do you capture just the water itself? Or how much of the surroundings do you include?

In this first shot, I wished to feature the autumn leaves, caked in frost. The stream helps to link the foreground to the distant woodland landscape. The stream became a contextual feature of the shot rather than the main subject.

Focal length 15mm; f14 at 1.3 seconds; 100 ISO

The backlit tree branch adds colour and light to the next picture. A moderate shutter speed also adds a sense of movement in the water, forming interesting patterns around the large boulder.

Focal length 55mm; f11 at 1/6 second; 100 ISO

A shutter speed of between a quarter and a full second is generally suitable for waterfalls, as is the case for this weir. It also gives a sense of movement in the surrounding water. The dark space in the foreground leads the eye to the large obstruction, with the pattern of water in the right hand corner adding interest. Pleasing movement is shown in the water surrounding the giant boulder.

Focal length 43mm; f11 at 1/2 second; 100 ISO

A vantage point above the stream makes this shot more about the swirling water than that falling from the weir. The differing levels also add interest to the pattern of the stream. The shutter speed (being slightly faster than ideal waterfall speed) separates the strands of water falling from the weir.

Focal length 54mm; f11 at 1/160 second; 100 ISO

The final shot of a stream features an abstract view of a section of flowing water, with the edge of the riverbed in the foreground to add context. The intention was to let the flowing water form a milky shape, using a long shutter speed. My objective was to depict the shape of water.  

Focal length 51mm; f8 at 60 seconds; 100 ISO

WATERFALLS

The noise of a waterfall is one of the sensory indicators of its force which cannot be portrayed by a still photograph. It is also difficult to perceive a sense of scale without a comparator, such as a figure or a building alongside it. This is advantageous in some instances, as a micro landscape may be produced at the same image size as a large scene and this adds an element of the unknown for the viewer. The choices of composition are similar to those of streams - including how much of the surrounding context to include. Do you get a sense of majesty or surrounding beauty? How does the surrounding landscape contribute to it? What are the emotional responses you wish to convey to the viewer?

The force of the water is less obvious in this next shot, as it is shielded by the striking landscape. The water appears as a milky curtain, yet a sense of movement is retained. Its slightly more solid appearance balances the colours and form of the surrounding landscape.

Focal length 28mm; f8 at 1/2 second; 100 ISO

In the next image, the autumn colours of the surrounding landscape complement the majesty of Stock Ghyll Force. A sense of scale is not obvious but the composition is about balancing the beautiful lines and form of the waterfall with the surrounding countryside.

Focal length 22mm; f16 at 1/3 second; 100 ISO

My next shot features Thornton Force – a striking and dominant waterfall set in the limestone rock face at Ingleton. The intention was to capture the flow of the water, by including some of the downstream detail, and the colours of the flora in the rock face.

Focal length 21mm; f22 at 1/3 second; 100 ISO

Snow and ice around this next waterfall, coupled with a slow shutter speed to capture the moving water, successfully suggest a frozen environment.

Focal length 18mm; f20 at 1/4 second; 100 ISO

This last image is actually a micro landscape, featuring the gentle flow of water down a steep slope. There is no sense of scale and it could be seen as a waterfall. I was attracted by the colours and lines.

Focal length 28mm; f8 at 0.6 seconds; 100 ISO

Feel free to comment on the blog page or contact me by e-mail at dmcphotogallery@gmail.com with any comments or questions.

Making the most of the light

I had seen some great shots of the picturesque harbour at Staithes, and decided to call after visiting family in the north east. The light had been flat and uninteresting all day, but after making a journey of over two and a half hours, plus traffic jams, I decided to make the most of it.

It's important to do your homework, otherwise you may walk around an unfamiliar place looking for the ideal viewpoint and still miss the best shots. Personally, I make good use of Google Earth and maps. After looking at photographs of Staithes harbour and searching for car parks, I found that the ideal parking spot was on the top of the nearby cliffs, a short walk from a vantage point above the harbour.

Before heading to the harbour I walked to the edge of the cliffs and was mesmerised by the coastline looking north. Although the light was relatively flat, the sky would have 'burned out', being around 5 stops brighter than the cliffs below. I wanted to create a fine art image highlighting the lines of the cliffs, with a long exposure to capture some movement in the insipid clouds and thus create some detail in the top part of the picture. A 'big stopper' and two graduated ND filters were needed to achieve balance and give the required detail throughout the picture.

I'm pleased with this picture because it portrays the muted fine art effect that I wanted to create, after taking some time to set up the equipment in uninspiring light while crouching on the cliff top.

Having picked my spot and composed my picture, it was a relief to see some texture in the evening sky. A straight shot with a graduated ND filter, to balance the sky and bring out the texture of the sky, captured this stunning picturesque scene.

Staithes and much of the North Yorkshire coast are well worth a visit.

Blackpool illuminations and night photography

When you have an attraction on your doorstep, you either take it for granted or take the opportunity to photograph it. My usual inclination is towards the latter – not least because of my love of photography and a drive to continually improve and master new techniques.

Blackpool Illuminations is an annual festival that started in 1879. The event costs over £2 million to stage and the mountain of equipment is valued over £10 million. The Lights usually attract more than 3 million visitors to Blackpool, so missing the opportunity of an annual photography visit would be inexcusable.

I chose two bleak and cold nights to photograph the Illuminations this year: the first night with friends, while carrying a backpack of gear; the second alone and travelling light with a compact camera and tripod.

It's true that you can get an acceptable picture with a modern mobile phone or with a simple camera set to full automatic; so why carry all the extra clobber? Quite simply, it's because a keen photographer strives for an exceptional picture rather than just an acceptable one.

I've chosen the next picture as my signature shot from this year's lights because I was intent on showing movement by incorporating motion blur. This requires a fairly long exposure with the camera secured on a tripod.

This shot used a 1 second exposure to show movement: of the tram passing closely by on the right, and from the oncoming car headlights approaching on the left. There is detail in the static illuminations because the camera was mounted on a tripod. The reflections in the water on the roadside add atmosphere and interest. (For photographers, the exposure details are: 1 second at f8; 100 ISO; and a focal length of 26mm)

Many purists argue that night photography works best just after lighting-up time, while there is residual light in the sky, yet here the black canvas of the sky focuses attention on the illuminations and makes the Lights stand out. In short, there is no such thing as bad light: just different light. There would be no picture on this page had I stayed indoors and left my camera idle.

You can always find something different if you look. After taking a number of typical shots of the suspended illuminations, and an occasional one of silhouetted figures walking along, I found a light show running in a booth. After watching the pattern of the show, I took an abstract shot timed at a sixth of a second to capture its essence, then applied creative effects post production to produce this final image.

Challenging Light

A hardy landscape photographer will tell you that there is no such thing as bad light ... just different light. Here are two examples of heavy cloud and threatening rain conspiring to create ideal conditions for two subjects, when processed in monochrome.

[1] I've called this picture Rural Power. The subject is Steven's Croft Power Station, which is the largest wood-fired biomass power station in the UK. (Quite a wood-burning stove, by any stretch of the imagination.) The camera was positioned at the back of site, looking across surrounding fields. The site (near Lockerbie, close to the M74) was chosen for its proximity to forested areas. Lighting was tricky: on an overcast and windy day, with fast-moving and moody clouds. I find the mono rendition ideally suited to these conditions.

[2] Continuing my journey home - further south and in failing light – I positioned my camera above a sweeping bend on the M6 then used a slow shutter speed to leave a series of blurred lines, created by the headlights of passing vehicles. The intention was to create a mood of hastening home through the mist. The distant Howgills, under heavy cloud and surrounded by mist, create a suitable backdrop to the curving motorway in this mono image. The position is just south of Junction 38 of the M6.

Dark Satanic Mills

Setting the Challenge

I was recently inspired by a lecture from a leading British landscape photographer, who described the process of photography as far more than recording a picture. Photography is an art form that requires total immersion in the subject: emotional, physical and technical. If you just rock up and shoot a picture, at best you will usually end up with a record shot. Luck can obviously play a part and timing is hugely important. That said, in order to convey a meaningful message through a picture, it is necessary to understand the subject, or the location, and to be at one with it. This often means waiting for the right light, sometimes after carrying equipment for a few miles, and going back if you are out of luck. If at first you don't succeed, you have at least benefited from gaining knowledge of the subject and the location and this will assist in making the ultimate picture.

The Blog

I have some experience of mills: having been brought up in a small mill town and worked in a mill during my youth. William Blake even said that Jerusalem was built amongst them – in spite of the mills be “dark” and “Satanic.” My purpose, therefore, is to convey a profound attachment through pictures that expresses their importance in our heritage. Life moves on and things change, but there is much that we can learn from our past. The history of mills is perhaps chequered: starting with the use of slave labour, then evolving through the industrial revolution when some philanthropic owners demonstrated a responsibility and care for their workforce that seems unparalleled. Now, in the modern era of globalisation, we have moved production abroad to chase the cheapest labour, often to countries that use older production methods, which pollute the planet. We then buy goods made from components that have been shipped around the globe – yet again increasing pollution. This culminates in fewer jobs at home, and an unemployed workforce being paid state benefits. Some of them are even accused of scrounging and are expected to find work that no longer exists.

Rather a lot, then, to express in pictures, and here are some of my attempts:

The first two pictures feature the New Lanark Mills – now a world heritage site in Lanarkshire, Scotland. New Lanark was founded as a cotton spinning village in the late eighteenth century. David Dale built them and provided housing for the workers, Richard Arkwright applied his knowledge to harness the water power of the River Clyde, then Dale's son-in-law, Robert Owen, greatly improved facilities and services for the workers and their families: including a progressive education, factory reform, and more humane working practices and garden cities.

This shows the fine buildings (comprising factories and housing) in their beautiful location and the scene exudes the humanity and progressive socialism of Robert Owen.

The second picture of an antique water turbine – now standing at the rear of the mills – is rather darker and more earthy, consistent with the heat of the mills and physical labour.

For the next series of pictures I have returned to Lancashire, close to the former mill town of Burnley. Regrettably this is not a world heritage site and the buildings are not so grand. One has been renovated, with another to follow.

These pictures feature three mills by the canal in Brierfield, the former home of Smith and Nephew textiles. The first picture shows mill units by the Leeds and Liverpool Canal. The units are occupied by various small businesses and most of the picture shows the surrounding area and the canal that passes the mills and is now used for leisure craft. There is 'convergence' in this picture, suggesting a leaning chimney because of the proximity of the shooting position and a hole near the bottom of the chimney is also noticeable. The tonal shades of the picture and the reflection of clouds in the canal suggest passing by ... paying scant regard to our industrial heritage while relaxing on the canal.

Next we move to a picture that suggests dark satanic mills, despite the pleasing lines of the passing canal and its tow-path and the overhanging trees.

All is not lost. There are ambitious plans for development of the mills and one of the units has been converted to flats. I have called this next picture Renovation, in an attempt to show this.

The final picture portrays the Industrial Landscape, with the mills, under a cloudy sky, taking up most of the image; a pleasure barge on the passing canal; and the frame of the nearby gas holder on the horizon.

Pictures can evoke emotions and a reasoned response. There is Blake's aspiration of not ceasing from mental fight until we have built Jerusalem; our ingenuity, shown in the ability to move on and rebuild, by sympathetically adapting the architecture of ancient mills to modern needs; and the conflicting merits of free-market economics, where greed often trumps any humane values in what we sometimes laughingly call civilisation. I have tried to convey these responses in art form.

You can view my picture galleries by visiting my Website