Garden shots with the tripod - research for theme 2

I have been in the garden with the Canon Eos 5D and 24-105mm lens.  My preparation had been to ensure full battery, clean flash card and set the tripod up to its top height position, then wander round the garden holding the camera looking for more interesting compositions. On finding them  I would carry the tripod over to that composition, mount the camera and set up focus.   I have read that doing this would show you more options of composition than trying to go straight to one subject and set up the tripod and focus immediately.

I caught sight of 2 wood pigeons in a tree and so moved the tripod near but not too near and quickly tried to focus and start shooting at the more visible one.  After running off a few shots, thinking the birds had got used to me being there and the clicking noise, I moved the tripod a little closer, took a few more, then closer still...   These are some of the shots:

 

                                 shutter 1/50 aperture f22 iso 400 focal L 105mm Time 12.15

I thought the bird in action rather than just sitting there still would be more interesting and show more of its angles, colours and habits.
This is a crop of the original (a zoomed in look) where I wanted to capture the bird in a wash tangle showing all its colours and feather layers in the midst of the blossom tree. I wanted to frame the bird with the blossom, so was careful to crop to include flowers all around the edges. I like the shape and angle of its head tucked right into its middle part of body here, together with the way the bird itself is tucked in tight to the fork of the tree branch.   I chose an iso of 400 because though it was a bright sunny day, the pigeon was in the middle of a tree housed in blossom.  I used my longest focal length of the lens to get in as close as I could and for this same reason of focus, I selected the aperture.  I already had the camera on Al servo setting ready for any movement.

I have been studying and was inspired by John Shaw's book:  CloseUps In Nature:

Wherein I have learned that it is most important to use a tripod when doing close up photography.  The rule of thumb for acceptable sharpness is to never hand hold a camera at a shutter speed slower than the focal length of the lens being used.
ie. If using a 50mm lens the slowest speed to safely use is 1/60 sec, and for a 105mm it is 1/125 sec, for a 200mm it is 1/250, this is for infinity focus....so you could hand hold a 50mm photo of a mountain at 1/60 sec, but you wouldn't get a sharp picture with hand held at this speed for a close up.
When takinging close ups I need to remember that as I magnify the image, this also magnifies any problems, like any movement.  Therefore hand held restricts you to fast apertures, fast films and a very short focal length lens.  However these are counter productive for close up photography because wide open apertures have little depth of field, fast films cannot record the fine details of small
objects and short lenses do not have working distance.
All in all, a tripod is essential.

                                                                taken by John Shaw

This is a delightful picture from the book and where he caught an opossum's detail in a tree. The file information was Kodachrome 64, 200mm lens, 1/60 sec at f4.0.  Obviously a longer lens was used than in my image and he did say it wasn't a problem getting in close to the subject so these would both mean much more detail of the animal is given.  We used a similar shutter speed but the lighting was different: Mine was shot at midday so I enjoyed good light shining on the bird's feathers and the blossom, thereby I could use a narrow aperture to focus in more. I chose the film speed  His was shot early in the morning with low light so had to shoot wide open to gain all the speed he could.  The overall comparison is that of nature being shot in a tree. The animal's head is tucked into the fork of the tree branch as my bird as a whole is in mine.  My image is a lot busier and his has a more simple and so more striking composition, again this is determined in part by the closeness he could get and the longer lens.  I could crop in closer for a more simple composition but it would not hold the clarity of John Shaw's image, in part because of the different equipment used but mostly because of his skill and experience being that much more advanced than my own.
I love the brightness of the face and ears of the opposum, the clarity and depth of eyes and the ways its claws show out as they cling around the branch, their colour matching its nose.  The scene shows the awareness of the animal within its habitat...this is also the case  in my image below, where the pigeon is keeping its eye on what I am doing, momentarily between  continuing what he is doing.

This is a snap shot of a  'zoom in' of the original and I say zoom in because I have not actually cropped it finally, as I was undecided how much of the blossom and twigs to leave in.   I like the way here I have included the shape of the wavy tree branch here,  from the left foreground reaching up through the picture to frame the pigeon.  Though the pigeon eye is not exactly clear in the snap shot, it is clearer in the original. I like the way this shot shows the expense of the bird's tail feathers.

 I have noticed that snap shots are not always as clear as the original jpeg file when featured on here, but I tend to feature more snap shots because they load quicker.  This makes me wonder if I should be changing my file size when wanting to include them on this blog, but this too would take time.

 I wanted to show an underneath view of the bird's colourful feathers. I love how it is sat among the blossom, the white of that matching the white of its neck.  I am not sure about the brick red background, but it does add a different colour to the scene.

In this shot I enjoyed the way the bird's puffing out of its feathers shows their texture against that of the tree branch, and again snapped shot zoom was used to a point where I framed the subject in part with blossom. The tree's branch arching throughout the scene from forefront up, back and over to distance darkness and beyond also influenced this take.

On this shot the sun was reflecting on the wing tips to match the brightness of the blossom.

This shot shows its bright beak, the fluffiness of its underneath, and depth of its arched wings.  It is also a more simple composition.

In this image the bird closes its eye and if you look closely you can just make out its tongue.
I was quite amazed how these birds bulk out in size when preening themselves.
All these shots were taken with the same camera settings.  I am please with these shots and  wouldn't do a lot differently next time, because I only had seconds to make the decisions and take quickly before the bird had had enough and flew off.

15 Minute Interval Shots

Steve asked me to use my tripod all the time from now on.  He also said try taking one shot then waiting 15 minutes before taking another one and only take 5, before moving on.  I decided to try this experiment in the garden because I thought it would be easier than being out somewhere and having to wait 15 minutes hanging around.  If I was in the garden I could grab a cup of tea in the interval times I thought...  As it happened,  I didn't bother with the tea until the last shot, because I used the time focusing and taking more time to decide on the composition, so I learned something with that.

These are the shots:
I was also to take two shots of each scene, one in focus and then move the tripod as I was releasing the shutter for the second shot.

1)

                                      shutter 1/12 aperture f22 iso 400 Focal L 93mm
                                                            
                                                                           Time 9.08

2)

                                    shutter 1/10 aperture f22 iso 400 Focal L 80mm

                                                                          Time 09.24

Now here I did have to take another as I realised I hadn't metered for the light correctly as I took the shot above, so I had to take  another:-

3)

                                    shutter 1/50 apertue f22 iso 400 Focal L 97mm

                                                                         Time 09.39

In some respects the image where I didn't meter for the light correctly is better because there is no shadow as there is here, in the foreground bush, and also the colours show better in front of that foreground bush in the incorrect one.  It was however over exposed in parts.

4)

                                     shutter 1/20 aperture f22 iso 200 Focal L 88mm

                                                                          Time 09.53

The images above and below are of the same scene but from a lower angle as I wanted to show the full shape of the foreground branches of a plant and bring in a little more colour to the scene with the bottom left foreground yellow (see below).  I noticed this bottom shot whilst I was waiting the 15 minutes after taking the above one... I was looking through the viewfinder and moving the angle of the camera on the tripod down when I saw this next shot quite quickly....so then I made the tea, to come back just before the last 15 minutes to check the composition again before releasing the shutter.

5)

                                    shutter 1/16 aperture f22 iso 200 Focal L 80mm

                                                                        Time 10.08

The 4 images above are quite comlex in composition and I have read that such shots are not always carried off,  but I wanted to have a go at some busy scenes to see how they turned out.

What I learned:

I took 5 images (and their doubles) in 1 hour 15 mins approx and from this exercise I found that I did study what was included and not included in the scene alot more than I would have normally.  I don't think any of the images are anything to shout about, in my opinion now, they do not show the study that went into them:-

  Ie. in image 1) deciding to centre the brightness of the sunlight highlighting  the flower plant,  leaving greenery to the top right and left and brown twigs to the bottom foreground sides, which would balance to the wood branch upper centre stem.

In image 2) deciding the have the flower plant going off to the side (right) with connecting branches coming in to join it from the right and then going from it off to the bottom right.  To show some red flower and left green leaves at the base of the scene to balance it to the centre red flower and same green leaves.

In image 3) deciding to include some stones to contrast to the flower plants and fill the frame with stones, greenery with splodges of red here and there.

In image 4)  deciding to show form of the thicker tree branches against the wooden fence and foreground thinner branches of a plant, with some colour (red) and greenery to balance with scene.  To show sun light reflecting on the leaves in the left of the scene.

In image 5) deciding to just lower that same scene, angle wise, to show the shape of the thinner branhes of the plant, with a little more colour being introduced to the bottom left.

I also learned that there is not that much difference between the clear shot and the moved one,  though I moved the tripod slightly as I released the shutter for each second shot, the movements are not that evident, maybe because a tripod was being used.

I learned that it is good to take more time over the set up,  you see more and there is opportunity closer than you think.

All in all I found it a worthwhile exercise.  I was glad the time lapse had been set to 15 minutes and not any longer, because it would take hours longer to achieve a minimum amount of images.

What I would do differently next time:

I would choose more interesting compositions overall and take from varying angles, as all these were taken seemingly from a similar side view to the subjects. (I did just carry the tripod to the next scene, keeping it much in the same height position, except for the lowering of it slightly for the last 2 shots).

I would increase the iso speeds for the latter 4 shots as they are too dark.

I would not choose such busy compositions within a small area.

I have returned to this blog to add this last comment (at the end of the course):-
   I would not have known at the time of doing this exercise how much it would benefit me... to take my time more for the set up of each composition (which was obviously Steve's intention when he gave me the exercise)....now I do see how my picture compositions improved.

Impressionism - for theme 1

Impressionist art is a style where the artist captures an image of an object as if someone had just took a quick glimpse of it.  Painters like to capture mostly outdoor scenes, without detail but with more use of colours.  Therefore their pictures can be bright and vibrant.  I decided to look at this when Steve thought some of my research was leaning this way, ie the blur painting sort of look.

Here are some of the great impressionist artists of the past, with details of the subjects they loved to photograph:-

Edouard Manet influenced the development of impressionism - he loved to paint everyday objects.

Claude Monet - was interested in subtle changes in the atmosphere.

Camille Pissaro and Alfred Sisley - painted the French countryside and river scenes.

Peirre Auguste Renoir - loved to show the effect of sunlight on flowers and figures.

Edgar Degas - enjoyed painting ballet dancers and horse racing.

Berthe Morisot - painted women doing everyday things.

                                                                  Sunrise by Claude Monet

Monet displayed this famous painting at a Paris Art show leading a critic to label the whole show 'impressionist' because of its patchy texture.  This led to the name being given to  the movement.

I like the  pastel tones in the picture and the sun's reflection in similar sky colours.
To me it does display that dream quality, though not in the same blur way as I have previously looked at.  The focus point is on the people in the boat passing through, maybe on their way to work, as the background looks to be industrial.

I have  looked at some Renoir images too (see below)  because  I had heard of him and because  he loved the effect of sunlight on his subjects, which is what I am interested in.

                                                                           panting by Renoir

                                               shutter 1/100 aperture f4.0 iso 800 Focal L 82mm

I took this image of an entrance that was looking vibrant from the sunlight beyond.  I compare it to the above in way of colours  and because the the most active part of the scene is grouped to the right: sun light reflects on the branches in the right foreground brightly as  it does in the foreground right flowers of the painting.  Other bits of colour are introduced to his painting ( reds and blues) as are in my scene, but to a lesser amount. The tip left corner of my image shows a small section of blue sky as does the painting and then the predominate colours in both are shades of green. The form of people figures in the painting is replaced by the form of branches in my scene, and my drive path seems to be going in the same direction of that of an imagined path in the painting.

                                                                         painting by Renoir

                                                  shutter 1/32 aperture 7.1 iso 200 Focal L 105mm

I compare these images to the impressionistic look of the paintings above and below for their vibrance and similar colours. The pictures have a jolly yet relaxed feel to them just as in the paintings. I took both images at Calke grounds when I visited before using a Canon Eos 5D hand held.  I was pleased to get the birds in flight, though they were not clear, because I used a slow shutter and hand held the camera, though they do not need to be clear here to give an impression,  which is what I want.

                                            shutter 1/64 aperture f7.1 iso 200 Focal L 67mm

painting by Renoir

These images are very vibrant and have an overall calming feel to them.  In  Renoir's images the people look relaxed going about their hobbies.   Their presence is important and is the focus of each scene...that tells a story of where they have been, going or have arrived at.  I like the blend and mix of colours used, giving a bright and happy outlook,  giving the impression it is a sunny day with its reflections on the water, field and grasses.

shutter 1/12 aperture f7.1 iso 200 Focal L 70mm

There are no people in my images but they are relaxed and have some vibrance. Each of the Renoir's paintings here have gold colours in them and trees, so I compare my above images in the same way.

shutter 0.3 aperture f22 iso 320 Focal L 105mm

This two images are a bit impressionistic to me. The top one is blurry as the tree was blowing in the wind as I took the shot in the garden, I also moved the camera to the side slightly when releasing the shutter.  I think the lines are unusual and it  shows pattern and colour.

I like the bottom image for its bold colours and to me it looks like the two springs may be ornamentally hanging from a wall. Again the shot was taken in the garden with the Canon Eos 5D, hand held.

shutter 1/50 aperture f4.0 iso 200 Focal L 99mm

Sally Apfelbaum (for theme 1)

The colours in the above images are bold and stand out more than the details.

I like these prairie scenes that look slightly impressionistic.
  

The above images show more work by Sally Apfelbaum and I  wonder at this stage whether she and Linda Hackett were influenced in part by impressionist art, because some of their work can have a look of a painting.... they use colours more than focussing on the details. 

Practising the Dreamy

shutter 1/6 aperture f22 iso 200 focal L 82mm

Steve had suggested I try moving the camera slightly on slow shutter speeds and experiment with different shutter speeds so this is what I was attempting with these shots.

They do  look more dreamy to me.  Again I went out in the garden experimenting with a Canon Eos 5D camera, with 24-105mm Lens,  hand held on a windy day, so there was some movement in the branches/plants but I also moved the camera more as I took the shots.  I started to focus using a centre focussing meter then as I release the shutter I moved the camera up or down at varying degrees until I discovered that moving the camera to the right or left just a little way on release of the shutter proved better results.  I also used a slower shutter than  the last time I tried this exercise, and I think the results are better.  In the above image I like the cut off line with the blue and white sky running diagonally.  

shutter 1.0 aperture f22 iso 250 focal L 97mm

This one lacks lustre but it is all blurred, by moving the camera slightly to the right as I released the shutter.

                                                  shutter 1.0 aperture f22 iso 320 focal L 105mm

The above  looks more painting like I think: a ghost sweeping through the conifers.  I had moved the camera left and right as I released the shutter.

He had also suggested I take one clear shot and one blur one...  The second image below is where I tried moving the camera up and down:

                                        
                                               shutter 1/5 aperture f22 iso 320 focal L 105mm

On viewing,  I decided I preferred the effects of  moving the camera sideways.

Sally Apfelbaum ( for theme 2)

 These are close up images taken by Sally Apfelbaum.  The first one is quite busy it shows the rule of thirds in the positioning of the red flowers and also shows the contrasts of the blur with the focus.  Details are there where it is in focus and the blurry stems lead the eye up to these focussed features, top left of the scene. The perpective is intresting as it appears to be looking down on as well as looking through to the flowers. It shows perspective, shape, lines and colour.

                                                             taken by Sally Apfelbaum

I compare my image above to that of Sally Apfelbaum's in a compositional way and of showing the contrasts of the soft  flowers to the hard sharp stems and the way we have both used the rule of thirds in a similar way. I chose to blur some of the flower heads but not all of them showing some clarity like she has the focus on the left middle pink flower.  Her top left background thin stalk is very aparent, as is that of my bottom right fore front thin stalk.

                                                             taken by Sally Apfelbaum

This black and white shot shows textures, hard and soft looking and shows form of the flowers as they are well focussed, that of the spikes, leaving only the background to fade into blur.   She uses the rule of thirds in an horizontal way, and a similar perspective is produced ie. it looks like the camera looks down on the bottom flower, and fro  the side of the top flower, because of its size,  so this image highlights scale, form and shape.  I do not have an image that would justify black and white yet.

I took this image in my garden at dusk  and compare this one with Sally Afelbaum's top image: - as flowers go off the frame to the left and you can look down on some flower heads whilst others are viewed from the side.  There are the  main colours of white petals with inner  yellow centres together with  green stems,  comparative to the pink petals with inner lilac centres together with green stems.  I also show texture of the leaf, being sharp against the softness of the blurred flowers as in Sally Apelbaum's.   I set focus on the centre leaves to show their clarity, throwing the flowers out of focus, though they are not as blurred as in Sally's top picture.  I have used the rule of thirds however in a similar way, with the separation of the flower heads.  I am pleased with the colours, composition and details showing and the way a hint of pink can be seen in the broken flower shown in the left rule of thirds vertical line.

I took this images at dusk with a Cannon Eos 5D camera hand held on a centre focussing meter.  Using the sun to backlight the petals in the top image, I laid down in the street where I live to angle at the flower eye level, and focussed for only the front flower to be clear. I had been driving home from work when I noticed how the light was catching the flowers on approach to my drive and quickly went in doors to grab the camera.  I did get muck on the sleeves of my uniform jacket lying in the soil parts, but it didn't matter  if the shots worked.   The above shows the scale of the fore front flower  to the size they looked taken a little distance away, as in the background two which I decided to throw out of focus.  I like the way the sunlight catches the inner centre yellow core and the details showing contrasts of curly and rounded edged petals.   If you zoom into the flower you see detailed core arms.  I am pleased with both these shots.

Throughout Sally's images in this blog and the previous one her theme seems to be using contrasting  hard/sharpe objects with the softness of blur.

Here are more images I took:

I am showing different colours and shapes of the open/closed petals here contrasting to the straight lines of the stalks.  There is more depth showing too.

I am showing scale here with the sizes of the flowers growing at different heights and the tips of the stems grown at their height top.

I like this one the way the stems curl round and over and capturing 2 different  two tone colour heads at opposite angles with the curly stems between.  There is also some space in the background of this one so compare that aspect to  Sally Apflebaum's.

I like the bright whiteness of this one and the contrasting petal shapes to the more plainer green background.

I like this one for the inclusion of the soil bits and the draping grasses bending in various directions that somehow seem organised, so I tried to set the middle flower in the centre of this organisation. On  later inspection  I was pleased to see I had unknowingly included a ladybird on a right back stem.  This composition is about lines of the grasses, pattern of the grasses, flowers and soil clumps, shapes of the flowers, grasses and stones and colour.  It is also about contrast between the hard (soil clumps and stones) to the softness of the flowers.  This also relates my comparison to Sally Apfelbaum's images of hard and soft contrasts.