a photo study: tone

toneweb
Nikon D750   f/4.5   1/320s   85mm   100 ISO

This week’s photo study is inspired by my initial reading of Bruce Percy’s ebook, “The Art of Tonal Adjustment.”  Thus far into this photo study project, the majority of discussions about composition generally concentrate on the basics of photography; such as, the rule-of-thirds, rule of odds, leading lines, the color red, and so on.  Tone, on the other hand, doesn’t seem to be a popular subject and one that has a variance of definitions. For example:

Hue is the color. Saturation is the purity/intensity of the color. Tone is the degree of lightness and darkness.

blossom32web
Nikon D750     f/4.5    1/160   85mm   100 ISO

Tone is probably the most intangible element of composition. Tone may consist of shadings from white-to-gray-to-black, or it may consist of darks against lights with little or no grays. The use of dark areas against light areas is a common method of adding the feeling of a third dimension to a two-dimensional black-and-white picture. The interaction of light against dark shades in varying degrees helps to set the mood of a composition. 

blossom3desatweb
Nikon D750     f/4.5    1/160   85mm   100 ISO

A picture consisting of dark or somber shades conveys mystery, intrigue, or sadness. When the tones are mostly light and airy, the picture portrays lightness, joy, or airiness.

“Tonal range” is another way of saying what the difference is between the darkest and the lightest parts of a picture.

waterabstract-15webbnw
Nikon D750    f/4.5   1/4,000    85mm   800 ISO

“Tonal contrast” is created when light tones and dark tones lie alongside each other. In any photograph it is natural for the eye to go straight to the highlights and then move about the image, taking in the details. 

tone-1web
Nikon D750   f/4.5   1/320s   85mm   100 ISO

Tonal contrast is the basis of many successful black and white images. If you need help to see the tones in your color photos an easy way to do so is to reduce the color saturation to zero. It is easier to see tonal contrast in black and white images because there is no color to distract your eye from the brightness values within the photo. It is important to note that reducing the color saturation to zero is usually not the best way to convert a color image to monochrome.

tone-2web
Nikon D750   f/4.5   1/320s   85mm   100 ISO

Throughout my inital research, I found Bruce Percey’s articles about tone to be an invaluable read.  Hope you enjoy.  

https://www.brucepercy.co.uk/blog/?category=Tonal+Relationships

How do you understand and demonstrate tone within your photographs? 

photo study: shutter speed

This week’s photo study is an exploration of shutter speed.  Shutter speed, a basic photographic component, is defined as the amount of time your camera allows light to enter your camera.  The variables of a scene being photographed together with the size of aperture and the shutter speed have the potential to create unique images.

A fast shutter speed will freeze moving objects.

prayerflagsweb
Nikon D750     f/5.6   1/2,500  300mm   100 ISO

While fast shutter speeds create crisp and sharp images, slow shutter speeds — open for half a second or longer – extends the length of time light is entering your camera.  This light is continuously  being influenced by the motion within the scene and thus creating blurry, foggy, silky, or milky elements within an image.

shutterspeed-3web
Nikon D750    f/22    1s    35mm    100 ISO
longexposurehorsetoothweb
Nikon D750    f/8   241s   24mm   100 ISO

The shutter speed in panning photography can be as low as 1/20 or as fast as 1/125.  The trick is to match the speed of the subject with your speed of panning.  The inclusion of motion blur within street photography is often created with a high aperture setting, a low as possible ISO, and a low shutter speed.

shutterspeedweb
Nikon D750   f/29   1/6s  75mm  100 ISO
tourdefatweb
Nikon D750   f/9    1/20s     85mm     320 ISO

The images below are examples of various shutter speeds with the same aperture and ISO settings.

shutterspeed-2web
Nikon D750     f/7.1    1/60s   35mm    100 ISO
shutterspeed-7web
Nikon D750     f/7.1    1/30s    35mm    100 ISO
shutterspeed-6web
Nikon D750     f/7.1   1/20s    35mm    100 ISO

Thank you for taking the time to visit.  I hope you enjoy Ted Forbes’ discussion of shutter speed and his nighttime images.  Would love to hear your thoughts and see your creative work.

a photo study: the photographer

During this week a memory came to mind a number of times in which a classmate, who was doing an internship in an adolescent treatment program, shared her understanding of the process of reflective listening within a therapeutic session. She ended her narrative with the teen’s response, “duh.”

The photographer, the basic third element in photography who stands on one side of the camera, looking through the view finder, seeing and focusing.  Her personality as a photographer — motivation, interest, patience, attitude, etc. all require attention and adjusting…”duh,” Brenda.

This moment of enlightenment that shed awareness on the fact that I am mostly ignorant about one important aspect of photography, me. Thus far, my photography journey has included an investment in learning about various components of the camera as well as exploring basic elements of composition. Beyond a moment or two about how to manage anxiety within street photography or the motivation to get out of a warm bed at predawn to photograph the golden light not much attention has been given to…me, the photographer.

I have to give credit to Ted Forbes’ video, Three Tips to Improve Your Photography for this “duh” moment as he described improving one’s photography.

  1. Narrow the focus – a) Determine what it is that you want to get better at. b) What kind of styles of photography interest you – still life, portraiture, improvisation, head shots, street photography, landscapes? c) Study those photographers that inspire and challenge you.
  2. Shoot less, Think more or Think more, Shoot Less. a) Strive for quality over quantity. b) be less involved in the viewfinder and open yourself to the environment. c) Ask yourself if is this the right time…golden hour, decisive moment, what would happen if….
  3. Understand improvisation. a) Photographing in the moment relies on the foundation of: understanding theory, past experiences, knowing what will work…an accumulation of what happened before. b) Gift yourself with experience by going out and photographing.  c) Accept making mistakes…practice…to create something that is happening in the moment – the decisive moment – is sum of all one’s past photographs. d) Understand what you don’t like and apply what you do like.

So this week, my photo study assignment was to explore

  1. Identify one photographer that inspires and study their work.
  2. Explore my history – where have I’ve been?
  3. Find one element to photography during the week to build upon.
  4. Remember that it is not the camera I own or the camera’s settings, it is transcending the moment and taking it beyond.

Identifying Photographers that inspire (street photographers, minimalist, long exposure)

When exposures last hours rather than fractions of a second, there is much time for watching.  Sometimes it is a basic concern for security but at others it is a more meditational activity. I watch the sky and imagine what patterns the clouds and stars will make on my film. I watch the water, the leaves on the trees, passing cars, changing shadows, smoke from chimneys, whatever is around. Wind, rain, mist, etc., all have effects on the eventual image. …Nothing is the same twice and every moment in time is unique. ~Michael Kenna (Photo Review interview, January 2003 with Carole Glauber)

Michael Kenna’s work can been seen at Supervision

Studying his images as suggested by Howard Becker:

Take some genuinely good picture… Using a watch with a second hand, look at the photograph intently for two minutes. Don’t stare and thus stop looking; look actively. It will be hard to do, and you’ll find it useful to take up the time by naming everything in the picture to yourself: this is a man, this is his arm, this is the finger on his hand, this is the shadow his hand makes, this is the cloth of his sleeve , and so on. Once you have done this for two minutes, build it up to five, following the naming of things with a period of fantasy, telling yourself a story about the people and things in the picture. The story needn’t be true; it’s just a device for externalizing and making clear to yourself the emotion and mood the picture has evoked, both part of its statement

When you have done this exercise many times, a more careful way of looking will become habitual. Two things result. You will realize that ordinarily you have not consciously seen most of what is in an image even though you have been responding to it You will also find that you can now remember the photographs you have studied much as you can remember a book you have taken careful notes on. They become part of a mental collection available for further work. (When you do this exercise a number of times you will acquire new habits of seeing and won’t have to spend as much time looking at a new print).

Photographer’s past journey As I reviewed this week’s photo study, I realized that I’m a photographer who enjoys being engaged by spontaneous moments.   The images below are a review of past images that I chose to “re-see” as part of my study of Kenna’s work.

Patience…mindfulness…characteristics which are extremely useful and priceless tools for me, the photographer.

One element to develop this week –   This week as I am out and about – walking as prescribed by my doctor – my intention is to scan my environment from right-to-left.  I’ve read that this way of “seeing” will gradually become an intuitive process and I’ll see more than I ever imaged.  Seeing is the gateway.

streetwevthataway
Lumix DMC GX85   f/7.1   1/250   43mm

I would love to hear your thoughts about yourself as the photographer and to see where you have been and one element you are invested in developing.