Light trails on Baildon Moor

I’ve just been looking back through some old pictures from earlier in the year and this one caught my eye. Greg and I went to Baildon Moor in the fading light of a cold February evening to get some images of light trails on the road.

The moor is a great place for light trails, as the road is well used but not too busy and the open space gives chance for some good long shots or shots with vast amounts of sky.

Getting the white balance right can be a challenge in post processing, but there is a large scope for creativity. The  sky is full of the orange reflections of the sodium vapour lamps of Leeds and Bradford, as well as the natural fading daylight. The car headlights are different again, and this gives a broad range of light to play with. On the image above I went with a natural-looking sky, which has given an otherworldly look to the grass at the side of the road, and an orange cast to the oncoming headlights. I went with something different on this image of Orion, where I chose a white balance adjusted for the car headlight, leaving the sky an orange purple colour.

This is one of my favourite images of the year so far, of one of my favourite places, and one of my favourite photographic techniques.

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I received a Flickr Mail on Sunday saying that one of my images has been selected to be part of the exhibition, The Best of Leeds, Vol 1, as part of Leeds Photo Week run by ExposureLeeds. The image was titled A Cold Crossing 1, and I took it on 17 January 2009 on a shopping trip to Leeds to collect my wedding suit which was being altered.

I’d never heard of ExposureLeeds or Leeds Photo Week before, nor of the exhibition, and I still know precious little. However, the image that you see above will be part of the exhibition at  the 42 New Briggate Gallery, Leeds, between 1 and 7 September. It will either be in printed form, or projected along with other images.

It is exciting to have some work selected to be part of an ego-boosting-titled exhibition, but I am kept in reality with two thoughts. How many images have been selected? I imagine the selection will be vast, and my image will be just a tiny part. And why pick this photo? I don’t think this is a particularly strong image, for the reasons below. I have many images of Leeds that I think are better.

It conveys some movement on the freezing cold street, but the composition, with the fence to the right and the chopped off roofs, could have been so much better. The movement in the left part of the image is blurred and confused. This was my intention, but at two seconds, I think the exposure was too long to have any real impact. I like the colouring of the image, but I was going through a ‘contrasty’ phase which has given it an unpleasant overall darkness.

I sound like I now hate the image, compared to my comments on the original (“I love this image”) which suggest that at the time I was more than happy with it. It shows how tastes evolve and the eye changes.

Regardless, I am proud to be part of the exhibition, no matter how small a part I play, and I will pop down between 1 and 7 September to see if I can spot my photo in amongst the probably countless others.

White Light

This is a close up of a lit energy saving lightbulb taken through 60mm of extension tubes with my 50mm lens on the end. The glass of the lens was about 3cm from the lightbulb.

I love the softness of this image. The front element’s glass looks shiny (and a little dusty) and smooth, lending a lovely soft edge. The rear two elements are lost in the incredibly shallow depth of field offered by the lens and extension tubes. The rotated angle makes it seem less formal than if it was straight up. I think the it looks almost organic – it could pass for a flower. It reminds me of the photo of the lilly I took under similar conditions earlier in the year.

I have not processed this image very much. The rotation was done in Aperture. I altered the levels a little to add a tiny bit of contrast down the glass reflections. I altered the white balance to make the light as white as possible. The image did look good with the white balance set differently so that it came out a rich, warm, yellow colour, but it was pure white that I was after on this occasion.

The one thing I learned through this exercise was not to look at the bulb through the viewfinder while the light was on. Switch the light off while setting up the shot or you will be blinded temporarily in your viewfinder eye.

Spinning

Childhood: Spinning 16 August 2010

I don’t know why, but I have been reminiscing about childhood a lot recently. About how long six weeks felt during the summer school holidays. About lazy days in the sun. Days spent watching clouds, or burning paper through a magnifying glass. Daring friends to touch nettles and bombing around the streets on our BMX bikes, wearing out tyres pulling skids. About hiding in trees, and about walking the dog along miles of baking disused railway lines. About always being covered in dirt and scabs and about Mam (hmm, my spell checker is obviously not from the North East) shouting us in for tea.

I’ll miss a lot of this as Ted grows up since I’ll be the dad who’s always at work, but I will dedicate my weekends to just messing around and being part of his childhood. My parents were always there for me – being teachers, they were off work for the same six weeks as I was off school, and it makes a big difference.

This reminiscence is starting to seep into my photography. At Ted’s barbecue on Saturday, I found myself trying to capture the children just being children. I can’t upload many to Flickr, as I feel that uploading pictures of other people’s children is not right. But I managed to use Charlotte to get a few good childhood shots. This one, Spinning, is the first.

I used to love being held by the arms and spun around. It was fast and exciting. Trying to run afterwards and falling down just made me shout for more, and Charlotte is the same.

I’d seen a shot like this before, only done much, much better. I tried it on Saturday using my Dad. Dad held Charlotte’s hands and I stood behind him with my arms around his waist, holding the camera towards Charlotte.  We then all spun together, with me firing off shots to nothing in the hope that one of them came out usable.

Although I used the shortest focal length available to me, 18mm was still too long. She fills the frame a bit too much and it’s hard to see what’s going on. I think with a wider angle, I would be able to get more context into the shot, and perhaps get her face in shot if she lifted her head.

I do like the movement though. Perhaps a shutter speed of 1/50 rather than 1/25 would have been better, as there is a lot of movement in Charlotte as well as the background.

I toyed with the idea of giving this a vintage colour by desaturating it and adding my customary pink wash. This would have fit with my nostalgic frame of mind. Instead I decided to lift the vibrancy a little bit to make the colours slightly over the top and childlike.

I love how the lines streak around in a circle and how her knees float above the grass. I think it captures the fun of spinning quite well, and is a worthy first entry in my Childhood series. I intend to turn this into a series of five or so shots in an effort to capture the innocence, and the fun, of childhood.

164/365: Floating at the beach

This is one of my favourite photos from our honeymoon in Guernsey last year. I’d wanted to get a good hovering shot for ages but I’d never tried it at that point. This was my first attempt of the thirty that it took to finally get the shot I was happy with.

So much is wrong with this image, that it becomes right again. I love the wonky horizon. The chopped-off head. The landscape orientation rather than portrait. The addition of the washed-out colour effect and the rounded corners really suits it, I think.

A very pregnant Sarah in the background, wandering around the beach while I carry on, tells its own story.

I am now quite good at the floating shot. I still don’t have a remote for my camera, so rely entirely on jumping at the right moment during the camera’s ten-second countdown. I am also training my stepdaughter to float, and she’s getting quite good at it.

Summer’s a good time for floating, as it requires fast shutter speeds to hide the movement. Here’s how to do it:

  1. Set camera on a tripod, rock, bag, or other firm surface.
  2. Use as short focal length as possible to get as much in as possible.
  3. Use a large-ish aperture again to keep shutter speeds as high as possible, but not so large that keeping yourself in focus will become a problem.
  4. Set the lens on manual focus and focus on the ground where you will be floating.
  5. Set the timer going. You now have 10 seconds.
  6. Walk to the position and get ready to float.
  7. You need to jump so that when the shutter fires you are 10cm from the ground – either on the up stroke or the down one.
  8. Jump and keep your arms straight, or folded, or otherwise natural looking. Keep your feet pointing outwards and your legs straight. Try to look serious.
  9. Run back to the camera, realise that you have mis-timed and then repeat steps 5-9 as many times as necessary. My record was 47.
  10. If your camera has an AEB mode (auto exposure bracketing), set this up one stop either side. This will cause your camera to take three shots which gives you more chance to time it right. One will be very slightly underexposed, and one over, but you can easily correct that.

Take a look at my Floating set on Flickr.