Tuesday 27 January 2015

Wex Mondays: Week 4

This week's entry was taken on a trip to Kelling Heath.

© Katherine Broadbent
 
 
I'm really please with how the depth of field works to create a contrast between the hard edges of the plant and the soft bokeh.
 
I'm still feeling really uninspired an off my game but I am moderately please with this shot.
 
I think it is important to keep going even if you find yourself in a slump.
 
Don't let your creative muscle waste away!
 
 
Claire Willians won this week with a lovely macro shot of one of those fruits that no one knows how to pronounce the name properly. You can see Claire's image and the rest of the leader board over on the Wex Blog.

Sunday 25 January 2015

iPhone Apps: TinType by Hipstamatic

Cost: £0.79
Developers Website:
http://hipstamatic.com the TinType page is here.
Available from: App Store on iPhone.
 
I joined the iPhone party quite late. Just this month in fact! I made a considered choice that I would find it the most useful and good quality smartphone for photography. 

 
I'm really enjoying exploring all the apps and wanted to share my TinType experience with you all!

 
Now you may already familiar with Hipstamatic but TinType's interface is a little different. 

 
On opening the app you go straight to the shooting mode/view finder. The area included in the cropped frame is indicated clearly and you tap the screen to shoot. As with most apps you can switch between rear and front facing camera with the dedicated button on the bottom right of the screen.

 
You can also use a photo from your library.  Just tap the link to your photo reel in the bottom left of the screen. This is one big advantage TinType has over Hipstamatic where you can't apply effects post photo.

 
Once you have the photo you want to use, you have three different choices of filter. Black and white, sepia and colour all three emulate TinType also known as Wet Plate Collidion processing (a very early type of photography). You can choose to have a boarder or not. There is either square or cropped frame.

 
Film grain intensity can be added or removed using a slider.

 
Then you can also change the highlight intensity for the eyes. The app sometimes finds it hard to pick up the eyes. When this happens there is a little slash through the eye symbol.

 
You can change the "depth of field", with a slider. Basically this slider just makes the top and bottom of the frame more or less blurry. So not actually changing the DOF.

What I liked most about this app:
When I got my new phone I sat down to have a look at the apps. I thought I'd have a go with TinType to see how good it was. Now I lined up my first shot, really not expecting it to be very flattering. I'd been home from work for a few hours, scraped my hair back, put on my sloppy clothes and didn't have any make up on and my skin is quite blotchy in places. This is what I got:

 
© Katherine Broadbent

 

 
Three words: NEW FAVOURITE APP.

 
Haha. Vanity aside it's an amazingly cool effect and I've never seen shots from a smart phone like it before.

 
If I can get shots like that making no effort what can I do putting a little thought in?

Here are a few shots I've gotten recently.

© Katherine Broadbent
 
© Katherine Broadbent
 
© Katherine Broadbent
 
© Katherine Broadbent
 
 
Same picture with showing the three different filters available.
 
© Katherine Broadbent
Colour.
 
© Katherine Broadbent
Black & White
 
© Katherine Broadbent
Sepia
 
 
Pros: 
  • Really unique filters.
  • Fast and Easy to Navigate.
  • Can apply filters to existing photos in your library.
  
Cons: 
  • Not so good if you have a heavy fringe or are an animal (app can't pick up your eyes)
  • Can't edit anything such as contrast/brightness/ect. But most things can be easily tweaked in another app before being transferred into TinType. If you're that bothered.
  • Only three filter choices come as standard with no upgrade available at the moment. Quite a limited choice for a paid app.
  • Apple only.
Overall: Bravo! I love it. I am officially hooked on the Hipstamatic universe!

Review: David Lynch: The Factory Photographs

June last year I came across an advert for Prestel Publishing. Who have quickly become one of my favorite publishers.

The first book that caught my eye was David Lynch The Factory Photographs. My first thought was 'David Lynch does photographs?!' But on reflection, it's not that odd for a cinematographer, especially such an auteur* to also be a photographer.

* A term used in film theory. The French word for 'author'. Used in reference to a film maker who's personal artistic vision is portrayed throughout their body of work.





The book collects images taken between between 1986 - 2000 across Europe and America. Interestingly England only providing a handful of opportunities to shoot. Lynch explains how the decline in industrial factories in England meant that a lot of the vacant sites have been demolished and/or rebuilt. I would imagine this is owing to the limited space we have in England, all workable space is precious with our ever expanding society and need to preserve Green Belt areas. I suppose in larger countries and states in Europe and America, respectively, have space that they can allow to 'go to seed' for longer periods. Creating some beautiful derelict and abandoned places. Perhaps it might also have something to land owning and procuring laws.

The book opens with a portrait (taken by Nicky Bonne) and quote from Lynch:

"I just like going into strange worlds. A lot more happens when you open yourself up to the work and let yourself react to it. Every work "talks" to you, and if you listen to it, it will take you to places you never dreamed of." Gilroy-Hirtz, P."David Lynch: The Factory Photographs Germany: Prestel, 2014. 




I suppose this is fitting owing to Lynch himself, as an artist and public figure, being the main selling point for the book. Opposed to the notoriety of the work, however brilliant, itself. The quote also prepares us as readers/viewers on how to contextualize what we are about to see. 

Following this is a short interview between Petra Gilroy-Hirtz and Lynch which further familiarizes us with the world we are about to enter. Lynch remembers some photos were taken just after his film, The Elephant Man. This dates some shots in the collection back to the nineteen eighties. We also learn the subject matter of Lynches great fascination is owing to the great beauty and abstract forms he found in these abandoned places. This certainly comes through in the images. Lynch succeeds in capturing the individual personality of each factory. Personality that is, Lynch laments, lacking in modern factories.

After a longer piece detailing an overview Lynch's career and further exploring his fascination with industrial scenes. Finally a collection of quotes from Lynch. The title "Reading David Lynch" directs us to take note and bear these in mind when looking over the work.

For me all this introduction material was fascinating. It really helped me to understand the meaning of abstract photography. I was also able to contextualize modern photography in terms of photographic history. Gilroy-Hirtz draws parallels between Lynch's work and that of the New Objectivity movement in the nineteen twenties. Even those who have studied photography academically, or otherwise, will find something of interest. 

The Text

Written by curator Gilroy-Hitz is compelling and well presented. Making the reading experience enjoyable.

The Book 

The one thing I love about (and makes me willing to invest in) photography books is that they are often beautiful objects. The Factory Photographs is just that. The cover is a soft textured linen. The 160 prints are spread across good quality paper in a matte finish. It's a medium sized book measuring 30.4 x 26.7 x 2.6 cm.   

The Photographs 

The collection is arranged loosely into untitled sections. My description would be External, Internal, Windows and the final section moving toward abstract landscapes.

A common thread through out the series is Lynch's use of high contrast black and white. This is commonly used in abstract photography, creating flatter images breaking 3D objects down into 2D shapes. As color film was readily available at the time it's worth noting that this was a conscious choice by Lynch to create a certain mood in the project. One he has made in some of his films(IMDB: David Lynch) as well.

Through out the book we certainly get a sense of Lynch's fascination with industrial spaces by variety of shots included. Delving deeper we find the photographs were taken over a period of 14 years. Further showing how much time Lynch has dedicated to the study of his subject. 

David Lynch: The Factory Photographs is available from The Photographer's Gallery & Amazon.co.uk and is published by Prestel

This publication coincided with an exhibition of the work. I was gutted to have missed this as it was held in London at The Photographer's Gallery 17th January - 30 March 2014. 

I have since visited The Photographer's Gallery and it is a fantastic exhibition space spread over three floors. There's also a cracking photography bookshop (shop online here) in the basement. They also, if you have the budget, sell a selection of prints from selected photographers (available online here). Along with a large selection of books and magazines the shop also sells refurbished Polaroids by The Impossible Project and Lomography products. 

Tuesday 20 January 2015

Wex Week 3

© Katherine Broadbent
 
My entry this week even though I wasn't completely happy. But it's quite funny in a sweet way.
 
The winner this week was by Ed Bookless a great star scape with a bit or architecture for good measure. You can see Ed's image and the rest of the leader board over on the Wex Blog.

Sunday 18 January 2015

Sunday Outing: 18th January 2015 at Blakney

Today we went out to Blakeney. The pressure was on. I had planned to go out on Friday to shoot but low mood and lower temperatures caused me to stay at home watching movies...with my cat. Oh dear. The possibility of failing my goal of entering every Wex Monday was playing on my mind.

Pressure can sometimes work to your advantage. Personally it just got in the way for me.

The day was dull . I was feeling uninspired. I also felt very restricted as there were signs requesting we stick to the path to preserve newly sewn grass. Despite having my 24-120 I wasn't able to explore the smaller details in the foliage I had hoped to.

I learnt an important lesson. Don't leave things to the last minute. The more you shoot the more chance there is you get a shot that excites you. 


Here's my selection. Not sure which I will enter tomorrow.

I'm not particularly happy with any of them.
 
Here's why:


© Katherine Broadbent
The best creatively is very noisy - I'm not sure why... Poor exposure teamed with pushing the editing too far perhaps... I might go back and retake this shot. When the light is more favourable and I can set up my spot with a tripod and wait for the right moment.
 
© Katherine Broadbent
 
Monster From The Deep
© Katherine Broadbent
The best technically is a bit gimmicky.

For Wex Mondays I think I will have to go with the shot that is technically the best.

I've been feeling low and performing under par this week. Let's hope it doesn't continue.

For those interested I'm going to be working on a post exploring how mood can influence your creativity and work. If any one has any comments or relevant experience feel free to leave a comment below. Or tweet me @broad_ologie.

Wednesday 14 January 2015

Wex Mondays: Week 2

So week 2 of Wex Monday and here is my entry:

© Katherine Broadbent
 
 
This is an intentionally abstract shot. I liked the subject it because it looks like old wrinkled skin, maybe an elephant?
 
I took this at Wells-Next-The-Sea. As the town is liable to flooding there are a lot of sea defences. If you're not familiar to the area you have to walk alongside a long tidal channel to get to the beach. While walking down I spotted what I thought was some thick gloopy mud where the dinghies are tied up. Turned out to be concrete poured over the rocks to stop erosion.
 
I took a few shots experimenting with framing and different sections. I thought this one was the most intriguing because the central shape looks like it could be a shoulder or other joint. I used high contrast to add to the abstract nature and also to convey the texture. As I mentioned I initially thought it was mud but was so surprised to touch solid concrete! I wanted to get the juxtaposition between the soft fold and the hard material.
 
I didn't place this week, there's a lot of good photographers involved! You can see the current leader board and this weeks winners the Wex Blog. I particularly liked the second place image, by Greg Whitton (last weeks winner)  a minimalist landscape. The winning shot by Chris Grimmer was sensational! A beautiful nebula shot, I love anything to do with space and stars at the moment!

Friday 9 January 2015

Friday Adventures: 9th January 2015 at Wells-Next-The-Sea

Today I drove out to Fakenham for an appointment. Since I was feeling under the weather yesterday I decided while I was there I would pop over to Wells for a walk in the fresh air.

Of course, I brought a couple of cameras along for the ride! Namely my main camera a Nikon D300s and the Cannon ML35mm.

First thing was first. I checked the "3 C's"(as Nick dubbed them) were present and correct.

Camera, Cake & Coffee!
 


For the 35mm film I decided to do this time was take a quick snap with my phone to show what might come out on the film. I used the Willow filter on Instagram to emulate B&W film:

© Katherine Broadbent
 
© Katherine Broadbent
  
© Katherine Broadbent
 
© Katherine Broadbent
 
© Katherine Broadbent
 
© Katherine Broadbent
 
 
I'll do a comparison post once the film is developed.
 
These are the digital shots I was most happy with from today, edited:
 
 © Katherine Broadbent
 
 © Katherine Broadbent
Not 100% happy with this one. Will go back to it and see what I can do editing with fresh eyes.
 
  
Criss Cross  © Katherine Broadbent
 
  
 © Katherine Broadbent
 
 
I also met this lil guy who'd been washed up, alone, from Blakeney.
 
 

 
Initially I was quite concerned. After speaking to the coast guard they reassured me that he was probably just resting. As long as he wasn't injured he'd pop back into the sea and swim off. Which he did :)
 
One image I haven't included is one that I am thinking of submitting to Wex Monday - you'll have to wait till Monday to see that one(unless I shoot something else in the mean time)!
 

Tuesday 6 January 2015

Wex Mondays: Week 1

Here's my first image submitted to Wex Mondays:



© Katherine Broadbent

Taken at Holkham Dunes on Sunday 4th January 2015.
F6.3 1/60 ISO200 105mm 


This image was intended as an abstract botanical study. I wanted to capture the delicate detail. To emphasize the frost I underexposed slightly to increase the contract between the shadows and highlights. I was in two minds to submit this or not as I had cropped it square. On the back of the camera I had liked the composition but getting it up on the computer I found the left side of the image took attention away from the main subject. I had wanted to isolate the leaf so I chose a low F-Stop to get a shallow depth of field, the high contrasted helped too. 

I didn't place this time round but a lot of people liked my image and I got a few new followers. It's always nice to have a twitter conversation with fellow enthusiasts.

This weeks winner was Greg Whitton, you can check out his winnign image and the runners up on the Wex Blog

Sunday 4 January 2015

Sunday Outing: 4th January 2015 at Holkham

I needed a shot for Wex Mondays weekly competition, So Sunday we decided to go out to the North Norfolk Coast. I'd wanted to visit Holkham for a while so we picked there. There's Holkham Hall and the beach is boardered by march land and forest. So a great variety of potential subject matter.

I packed my Nikon D300s with 25-120mm Lens along with my Lomo LC-A.+.

Here's a selection of my edited digital images:





To be honest I am most excited about the double exposure I experimented with using the LC-A+. There is an amazing range of textures available at Holkham. So I hope to develop them soon to show you!

Friday 2 January 2015

New Years Day: Great Yarmouth

Starting as I mean to go on, me and Nick decided to have an analogue day! While I have a 35mm SLR I really wanted to have a go with these two:



The Lomo LC-A+ was a Christmas gift from Nick and The Cannon AF35ML was a bargain I picked up on Ebay. The thing I love about the LC-A+ is that multiple exposures are a breeze! All you do is take your first image, flick a switch and your shutter is primed and ready to go for round 2!

The Cannon AF35ML is a reliable little shooter with the convenience of a built in flash.

Both cameras allow you to set the ISO (which I can't on my 35mm SLR). This is an advantage if you want to shoot with ISO variable film or experiment with over/under exposure when your metering is automatic. I have a roll of Lomo Chrome Purple to experiment with later in the year which features ISO variable from 100 - 400. The higher the ISO the more intense the colour shift! 

New Years Day was spent walking up and down the seafront. But I don't have any photos to share yet since I shot on film! Here's one I took on Instagram to tide you over!



Sadly the Winter Garden has been closed for some time and fallen into disrepair. But this along with the overcast sky made for some atmospheric shots. I'd love to be able to go inside and shoot one day!

Where would you love to shoot? Is it local to you? Or do you have jet setting dreams?

 I got a few shots from outside, it's a lovely Victorian structure.

As it's off season we were able to park for free which was a bonus. It also made us walk further (and find more shots) because the free parking it quite far up the promenade. I finished off one roll, and got half way through two others. I think I will take the LC-A to the industrial estate where I work and finish off the current roll there.

Industrial buildings really inspire me! As you might have spotted in my previous post I have David Lynch's Factory Photograph's. I love this photo book because it made me realise that I am allowed to photograph whatever inspires me. It doesn't matter if it's traditionally beautiful or not. 

All that matters is that; whatever you photograph mean something to you.

If you're interested in David Lynch's photography, stay tuned, Factory Photograph's will be my first review later this month.