This image is one that I captured about 3-1/2 years ago during a walk through the gardens of Gillette Castle in East Haddam, CT, which is a great site to visit year round. My eye was caught by the multitudinousness of the water lilies; to a degree, I found the view of this pond slightly less than tranquil, which gave me the idea of creating this image, where the eye will never rest.
I am curious to find out how you perceive this image… let me know!
Shot with a Canon 5D MkII using a 24-105 L lens. I pushed the shutter speed to about 1/3 second to be able to get the zoom blur at this level. As the camera was handheld, the tricky part was to ensure that something would stay still.
Faerie Loops is a rather whimsical image that allows the concept of faerie folk to dance through our heads! This was inspired by the color of the light and the way it played across the grassy area.
This image is presented here, as an illustration of one of the many ways that abstraction can be achieved through in-camera techniques. I look forward to hearing your thoughts and ideas about this image!
In last week’s post, I touched on some of my motivations that have driven me to start experimenting with my photography: looking to differentiate my photography and provide a creative outlet. In another post, I will explore these more deeply, as there are several other aspects that have led me to evolve a deeper connection to these images.
As a number of photographers have asked me how these images are created, this post will describe some of the techniques that I use. This is by no means an exhaustive treatise on experimental photography, but rather is intended to lay bare some of my basic approaches to a style of photography that has allowed me to reveal some new imagery. If I inspire some people to go out there and play with their cameras and lenses to produce some images that they had not thought about previously, my goal will have been met!
The Equipment – it is pretty basic, but not to be overlooked: a single lens reflex camera with a zoom lens. There are no special requirements of the camera other than that it can be put into a manual mode; most any DSLR will be ideal for experimenting, as you get the opportunity to get a feel for the results on your camera’s LCD panel. As for the lens: a zoom lens with a reasonable medium range of focal lengths works well. Most often, I use a 24-105mm lens for most shots (on a full frame sensor camera). I have tried out some different zoom lenses, such as a 17-40mm and 70-200m, but have not been as pleased with those results.
The Process – in the age of achieving a specific image look in post-processing, we are going back to the days of doing everything in-camera. And, no, we are not going to use some fancy setting of the camera or a high-end software component within the camera. We are going to do the entire capture the old-fashioned way: manually.
First: set your camera to manual mode. It is possible to create the image in another mode, but I have found it easier to work this in manual mode, as shutter speed is eliminated as a variable; in all honesty, I have not tried any captures with shutter priority mode, as I want to make sure that I know what my aperture is beforehand.
Second: take a test shot to get a feel for your composition. The test shot should be taken at one end of the zoom range you are planning to use or the other; more about zoom range in a bit. This shot is to get a feel for how you may want the dominant elements in your image to look, as in the example sequence here: Playing with Fire shows the test shot, which led to Pyrexplosive as the final product; note that the wood in the fire remained in the same location in the second shot. As one gets more adept at visualizing the desired shot ahead of time, it may be possible to skip this step.
Third: decide on the effect that you want to portray in the image and how much you want to emphasize the effect. In early attempts, it may be best to try a couple of different effects, in order to get a better feeling for how each looks. I categorize the effects in the following manner:
Zooming from tight to wide – this creates a look as in the above image Pyrexplosive. Smearing of light in a radially outward direction; note that light trumps dark, so that the light overlays any dark while going outward.
Zooming from wide to tight – this does the inverse of the above method and causes more light to be brought to the center of the image. The radial smearing is similar with the key differentiator being the concentration of light.
Camera rotation around fixed axis – this can be achieve on a tripod (or with steady hand) and causes circular light patterns, such as in the image Portal in the previous blog post.
Camera movement – movement of the camera can be done in several ways. Either treat your camera as a videocamera and write with the points of light that you see or use linear or non-linear motion to create patterns, banding, etc. An example of the former can be seen in the image Connections in the previous post.
Combination – any of the above. Your imagination is your only limitation in what you create here. Pyroplasm 4 is an example of a zoom/rotation combination (mostly zoom with a little rotation).
With each of the above effects, one of the key decisions is how much and how long to expose and use effects. The images in this blog post range in exposure times from 0.5 second (Playing with Fire) to 8 seconds (Pyroplasm 3), with varying degrees of movement.
Fourth: experiment, experiment, experiment! I simply cannot overstate the importance of experimentation in your endeavors and pushing the envelope of experimentation as you become more comfortable with controlling the effects. With enough trial and error, you learn to control the image and ultimately will achieve the images that you visualize.
Yes, there is more to this… As with most of our photographic exploits, there is more than just great technical execution to create an image that speaks to you and, possibly, others. My first forays into this area of photography were driven by an innate desire to experiment with my lens and camera and to see what would come out of it. This helped me work on my technique, so that I have developed a feel for how fast and how much I want to zoom in or out or rotate or move the camera.
As I learned technique, I started exploring emotional content of the image and started pre-visualizing scenes or items in front of me, and how I could morph them into a completely different scene. These explorations have led to my acquiring a sense of deeper content, which may be hidden when viewed from the surface, but is looking for a means of materialization through the morphing process.
In a sequel to this blog post, we will explore the process further and look at what is brought to the surface. That post will be published some next Tuesday.
I hope you enjoyed this post and will be back for more. Of course, if you have any questions, please feel free to ask.
As the title ‘Rose Particle’ suggests, this image centers on the streams of energy emanating from the singularity presented by the dark pink rose. The rose becomes at once the object of beauty, to which our eyes are drawn, and the center of energetic particles radiating outward from the forces contained within it. As each object within the universe holds latent energy, so does the rose, as it demonstrates here. The counter play between beauty and strength is as the yin and yang, the duality that resides within each of us. This duality is held together through the cosmic vibrations, which can be ascertained in moments of great quietude of mind and body, such as achieved during meditation.
Whereas the rose has revealed its cryptic energies through this image, one may find that the image enables the centering of similar energies. If the image is studied while directing focus on the process of breathing, as one does in meditation, the rose may become a guide.
This image was captured at 100 ISO, F/22 at 0.3 second shutter speed. The bright white streams originate from the sun’s reflection on the shiny leaves that surround the rose.