These are taken on my android, such a vibrant and beautiful city.
And beauty and the beast
I don’t think I can recover those clipped whites though!
All photos taken on my Samsung phone, in pro mode with exposure compensation of -1. I have the cropped the photos on the photo editor app, and increased the contrast and saturation. This was part of my research for exercise 1.6 Light and Shadows, for Foundations in Photography, with The Open College of the Arts.
Make a series of photographic studies of light and shadow. Use your spot meter to expose the highlights correctly, but make the shadows dark. Use the edges and corners of your frame to create dramatic compositions. You’ll need to shoot many exposures for this project, perhaps more than you’re accustomed to taking. Be observant and go out specifically with taking pictures in mind. Notice: Sunday streaming in through windows, the way trees cast their shadows, patches of light cast through trees and shrubs, angular shadows cast across city streets.
I have been exploring white point and white balance by taking a series of images of the sky from my flat window. The images are not inspiring at all, but it doesn’t matter. The process has got me to explore what I think white point and white balance are.
My initial thoughts were
The brightest part of the image was the white point.
When developing photos you can’t recover clipped highlights because when part of an image is maximum white 255, 255, 255 then there cannot be detail.
White balance is the colour shift in the scene based upon the tone of the white in the image.
I had no understanding of light and weather conditions affecting white balance.
I did know that I liked being outside just after it had been raining because everything was more vibrant.
I did know that overhead bright sunshine made everything duller and lose vibrancy.
Learning:- light is not the same. Cloudy conditions – diffused lighting.
Light has a colour temperature in relation to blackbody radiation. (Newton, Kirchhoff, Plank, Wien, Einstein) Manjit Kumar; 2008; Quantum – Einstein, Bour and the Great Debate About the Nature of Reality; Icon Books; London; p14 and Chapter 1.
Cooler temperatures have a longer wave length so light is redshifted, hotter temperatures have a shorter wavelength so light is blue shifted.
Bright over head sunshine – hotter temperature (of light in kelvin (5500), bluer light with less vibrancy.
Cooler sunset – red shifted light (3500 – 4000k) yellow to orange.
Cooler sunrise – redshifted light (3000 – 3500k)- red to yellow.
Slightly cloudy – (6500 – 8000k) greener
Cloudy – overcast – deep shade (9000-10000k) http://www.cambridgeincolour.com/tutorials/white-balance.htm (accessed on 28/06/2017)
As light changes then colour tone of light changes so colour tone of scene has more or less red, green, blue.
White balance is also affected by the green/magenta shift especially with artificial light.
Manjit Kumar; 2008; Quantum – Einstein, Bour and the Great Debate About the Nature of Reality; Icon Books; London; p14 and Chapter 1.
I have been watching Once Upon a Time in Punchbowl on ALJAZEERA (produced by Northern Pictures). The documentary explores the issues surrounding the discrimination and racial violence faced by the Lebanese/Arab/Muslim Australians, and how commities have grown and developed together.
As well as the excellent documentation, the cinematography has been superb. There has been a variety of different apertures and focus changes and good use of street signs and buildings to play film Reportage. My favourite image was of a bridges reflection on the side of a high rise building. The detail of the bridge and building were so crisp. My android has issues with white balance and exposure (even in pro mode) so please excuse the quality of the images.
This was a poorly exposed photo, and I have probably gone a little too far in Lightroom, but I like the end result.
Most of the changes that I made came from the use of the graduated filter which I brought down from the top using the shift, click and drag method. I altered the exposure to -0.5 and increased the shadows and decreased the highlights using the same grad filter. I then right clicked and duplicated the process so that my changes were gradual. a I also increased the temperature of the overall photo to 5500 and increased the saturation to 17. I went through a few other processes with clarity, vibrancy and the tone curve.
I have continued with my exploration of framing in photography (images at the bottom of the page), and I stumbled upon the thought “Why do humans like frames?”. Initially I considered that we live in a physically constructed world, and the boundaries of physicality – whether in architechture, fields, gardens, cars etc – means that we have to have frames. There is a truth to be had in that. But before I could sit down, have a cheese sandwhich, cup of tea and relax for the night, I began to explore our mental and emotional construction of frames, and why frames are so important to us.
An internal framework, belief system, ideology – gives us a defined (and changing) relationship to and with the world around us. Its how we make sense of, belong to or are excluded from elements of life. An individual frame of reference is rarely truly individual. I live in a world, a continent, a country, a county, a town, a neghbourhood, a street and a home. I may identify as being part of a larger collective culture, a subculture or a group, or many of these. My beliefs shape the group and the group shapes my beliefs, as an ever changing interacting relationship between subject, object or group. How we see ourself and the world creates a continuous and flowing frame, that we call “my life”. All of these interactions are frames.
My husband, my wife – a complimentary frame; My religion your religion – an oppositional frame; My field of wheat – a boundary frame; My neighbourhood – a collective frame; My green curtains, purple sofa, and lilac cushions – a contrasting and complimentary frame; My business in partnership with your business – a collaborative frame; My country has invaded your country – a conflictive frame; I say potato you say pot-ato – an oppositional/attractive frame.
Keywords:- opposition, attraction, collective, contrasting, conflicting, together, jointly, hostile, peaceful, calming, ours, yours, flowing, edgy, boundary, leader, assertive, passive, in relation to, coordinated, space, open, closed, restrictive, dialectic, large, distant, small, fore, middle, back, windows, beliefs, viewpoint, personal, impersonal, light, shadow.
Frame within frames
Lavendar – foreground – soft framing providing some relief from the stark linear boundaries.
Sculpture – silver and blue – from foreground (right) to midground left – provides depth, shape and colour.
Sign – divided into three frames – context, information, division, left, right.
Windows and concrete – background – context, boundary, internal, external.
Contact sheet of other frame related images.
Having read through part of my course handbook today, I found the subject of how we frame images within the photographs that we make. As I was wandering around on my way to the bus I took different images that could represent frames within a frame. These are not meant to be quality photo’s, just an exploration of framing. I didnt have my macro set up with me, so the photos of rain on the window are a bit wasted here, but to me they represent that with the right equipment you can frame an image within a drop of water.
I have used transitional spaces, windows, window display, fences, street lights and shelves in supermarkets for my initial exploration.
I hadn’t made a contact sheet in lightroom before today, so this was my first exploration. The contact sheet saved as a PDF, but I wanted the sheet to show here rather than have a link to it, so I opened the sheet in Photoshop and then saved it as a JPEG.