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    Hello, and welcome to my website! I'm Derek Gale, photography trainer and Fine Art photographer.

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It was a moving experience

Last week I led my final 2019 photography holiday for HF Holidays.  It was up in the Lake District at their Monk Coniston house near Coniston Water.  (It’s a curious anomaly that only one body of water in the Lake District is called something Lake, or Lake something – Google it).  The holiday was all about capturing movement; that’s camera movement or subject movement (or both!).  Our first exercise was all about moving the camera.

It’s handy that the Monk Coniston house is in the middle of an arboretum.  Trees are a great subject for moving the camera.  With so many to choose from it was worth seeking out a group of four trees with a good arrangement.  Setting my Olympus E-M10 camera to my default 1/5th second shutter speed gave just the right amount of movement blur.  The sky highlights give a great contrast to the green of the foliage.

One thing I talk about when I am doing tuition on camera movement, is the fact that information at right angles to the direction of movement gets spread out and becomes far less prominent.  This metal fence is a perfect example of that.  I panned from right to left to accentuate the horizontal structure of the fence.  The vertical support posts, and even a small tree, have pretty well disappeared, leaving the horizontal bars hovering unsupported.

Moving water, which the Lake District is well provided with, is a great subject for moving subject photography.  Skelwith Force, a waterfall near Ambleside, has a big drop, and the shape as the water rolls over the lip of the falls is very attractive.  I popped my Huawei Mate 10 Pro mobile phone on a tripod and set it to “Silky Water” mode.  I tried various shutter speeds and found that not much changed once it was past 8 seconds.  The dark and wet rocks make a great contrast to the lightness of the water, and the autumn leaves give a seasonal context.  Having a phone that does long exposure work without needing a 10-stop ND filter is a useful teaching aid.

Looking forward to next year’s holidays.

Our eyes don’t see in rectangles

I don’t know about you, but my eyes don’t see things framed by rectangles.  Cameras, on the other hand, do see in rectangles and we have to take that into account when we take a photograph.  Having forced the view of the world into the rectangle defined by our camera sensor, you can use the edges and corners as strong compositional elements.

This rather wonderful building in the Hauser and Wirth garden near Bruton, Somerset, had a large square aperture.  By taking it at an angle I have turned it into a trapezium.  One of the corners of the trapezium is in the corner of the frame, and the other corners of the the trapezium are on the frame’s edges.  It’s divided the image into triangles and polygons.  The black and white treatment makes it simpler.

The story of this path is a simple one; it runs from bottom left to top right.  The little bit of the curve in the top right makes the shape more interesting.  This needs to be in colour, as the difference in colour between the fields and the path line is important.

In this image I have use three frame corners as line origins.  It wasn’t quite like this in “real life”, (whatever that is!), so I used Perspective Crop in Photoshop to make it fit into the corners.  It’s a blend of the polygons in the first image and the curves in the second image.

Those camera sensor rectangles are forced upon us, so use them to make your images better!

Pattern pictures or Patton pictures?

I recently went to a dinner to raise money for Normandy veterans.  As well as the veterans there were some World War 2 re-enactors.  One in particular stood out as he was the absolute spit of controversial WW2 General George S Patton.  The level of detail he had gone to to replicate Patton’s equipment was extraordinary.  I made it a project to capture how he looked without getting his whole body in.  My mobile phone made it easier.

Here’s Patton’s three-star general helmet and “swagger” stick/riding stick.  The stick is a nod to his pre-war days in the cavalry.  It was hard to avoid getting me in the helmet reflections.

He was famous for wearing a Colt single action army pattern revolver with initialled ivory grips in a holster on his right hip.  He sometimes wore a 357 Magnum on the other hip.  The quality of the costume was amazing.  If you look hard at the shiny little button on the holster you can see me in a dinner suit!

Also as a reference to his cavalry days were his brown leather riding boots.  They went well with the wood of the floor.  The passing leg was a happy accident.

The sequence of images runs from top to toe, and you can assemble them into a sort of whole body shot (if you use your imagination), so it’s a portrait without the person’s face.

 

One or two or three?

Last week I was leading a photography holiday in Cornwall.  On one day I had a chance to go for a walk between St Ives and Lelant, via Carbis Bay.  It was fabulous weather with bright sunshine and a good breeze. Near to Carbis Bay the view from the cliffs was stunning.  There were just a few people on the beach and there were gulls circling.   I got out my TZ-100 camera and took a group of three people on the beach.  I waited till a gull was in shot to give some balance.

This is the original image with three people and a gull.

I tried a simple edit in Photoshop to remove the third person.  I think it’s changed the story to be more about the relationship of couple and their romantic walk on the beach.

Losing the couple and keeping the single person gave yet another story.  Now it’s more about solitude, or perhaps loneliness.

I put those three images up on Facebook and asked which one people preferred.  More people preferred the one with the three people, but there was a unanimous wish that the gull was gone, as they thought it was a distraction.  This final image has no gull!  I think I agree with them as it’s now about the three people and their relationship to the sea.

Moral?  The only good gull is one that’s not there.

Crossing the Rubicon.

Well, it’s actually the River Severn between England and Wales, but the point is the same.  This river has one of the largest tidal ranges in the world, so crossing it has always been a bit challenging.  It has fast currents, and from time to time a tidal bore, which is well worth seeking out.  One of the 20th-Century crossing routes for cars was via Aust, and it ran until 1966.  There are still traces of it to be found close to the M48 Severn Bridge which opened in 1966.

Reeds have taken over the slipway and it’s getting hard to imagine that a regular car ferry service ever operated there.  The original gates, derelict toilet block and pedestrian turnstile are still there but may be demolished soon.  Here I dropped down to a low level to get a silhouette of the gate against the sky.  It was the type of sky that looked best in black and white, so I used a Black & White Art filter on my Panasonic Lumix Tz-100 compact camera.  It’s the same for all these images.

The Second Severn Crossing (SSC) is not too far from the Aust Ferry gate.  It’s a cable-stayed bridge, unlike the original Severn Bridge which is a suspension bridge, and was opened in 1996.  There were some fabulous rain clouds about which gave great interest to the sky.  The showers from this one missed me but those from another one didn’t!  I carefully composed to get the bridge centre section in the bottom right-hand corner.

Later in the day, when the light had changed, I moved closer to the SSC to get the late afternoon sunlight on the edge of the road deck.  It was at the extreme of my camera’s zoom range, which can be little soft, but the contrasty light makes it look sharp enough. I’ve lowered the shadows to give a good dark feel to the image.

The moral is to take time to visit the land around bridges sometimes, rather than always crossing them as soon as you can.