Dec 12 2014

You Might Have Missed My Last Post

This morning I published the post What Was Photography Like In 1955? but due to a technical glitch not all the email notifications were sent. So if you missed that post and want to read it you can find it right here: http://www.photographyblackwhite.com/1955_photography/

Sorry for any inconvenience this may have caused but we are looking into and hope to have an improved email notification system in place very soon.

 

Thanks


Dec 12 2014

What was Photography Like in 1955?

2014 10 13 Jetty Depoe Bay Final 11 13 2014 1000 What was Photography Like in 1955?Isolated No. 9

I was dropping off an image to be framed at Lloyd’s Art Center here in Fort Collins when I noticed an old 1955 issue of Popular Photography sitting on the counter. The owner Alan Kinney had a stack of them and let me choose one for myself.  

As I looked through that magazine, I marvelled at how much photography had changed in thee last 60 years.  Let me share a few pages with you:

1955 2 Front Cover SMALL What was Photography Like in 1955?

I chose this February 1955 issue because it had a special feature on Black and White and another on Edward Weston.

1955 2 Camera Ads SMALL What was Photography Like in 1955?

I enjoyed looking at the ads as much as I did reading the articles. Equipment was so cheap by today’s standards, but of course a dollar went MUCH further back then! (I won’t bore you with how much I could buy with a nickle)

What I would give to have a new Exacta VX for $189.50, or an Omega enlarger for $72.95!

1955 2 Camera Ad 2 SMALL What was Photography Like in 1955?

I’ve owned many of these East German cameras and their variations: they were basic, cheap and reliable.

These ads remind me how convenient modern cameras are. I remember the days when every shot required a handheld meter reading, manually setting the shutter and aperture and then manually focusing (often on a moving subject) before you took the  shot.

No auto focus, no auto exposure, no auto white balance…no auto anything.

Modern equipment is so much better and convenient in every respect, except for perhaps one. The old cameras were durable and built to last several generations. I cannot imagine handing down my digital camera from generation to generation. If I get 5 years out of a modern camera, I count myself lucky.

1955 2 The Coming Revolution in Black and White SMALL What was Photography Like in 1955?

This article is about the coming revolution in black and white due to advances in available light photography. A prominent development was the introduction of Tri-X film in 1954. Tri-X was very fast with an ASA of 400 which we often pushed to 1600 and sometimes even 3200, but the grain was terrible at that speed!

Could 1955 photographers ever believe that one day we could shoot at 25,600?

1955 2 Edward Weston Retrospective SMALL5 What was Photography Like in 1955?

In 1955 Edward Weston was 68 years old, was seriously ill with Parkinson’s disease and would leave this world in less than three years. Popular Photography dedicated 12 pages to his images.

1955 2 Pepper SMALL1 What was Photography Like in 1955?

A favorite image of almost everyone is Pepper No. 30, which they oddly identify as Pepper, 1930.

There were a lot of helpful tips and news items in this issue:

Kalart introduced a new flash unit that automatically ejected hot spent flashbulbs.

Coating your Kodachrome glass slide holders with talcum powder will keep them from sticking together.

You can use tungsten film outdoors with the help of a No. 85 filter.

They explained how to adjust contrast when using Kodak Medalist paper by varying exposure and development times.

Instructions were provided on how to convert an ASA film speed index to a Weston speed number.

Tips were given on how to “push film” using D-23, D76 (my developer of choice, diluted 1:1) and Promicrol developers.

I’m sure this is Greek to anyone who is under the age of 50!

1955 2 Kodak Chevron Camera Ad SMALL1 What was Photography Like in 1955?

Kodak really ruled the world back then with many of the articles clearly written to promote their products. Kodak also had several large ads including this one on the back cover.

I wonder how this ad would sell today? Can you imagine Canon marketing a “Man’s Camera?” (I had never heard of the Chevron camera, does anyone remember it?)

~~~

Looking through this issue of Popular Photography was so much fun! The ads reminded me how much things have changed in the last 60 years and the article on Weston reminded me how much remains the same. 

And despite my wonderfully nostalgic feelings for the good old days of 1955 photography, I’d never go back. 

Cole

 


Dec 6 2014

Sandbar and Yoda’s Advice

2014 10 13 Sandbar Final 11 13 2014 1000 Sandbar and Yodas AdviceSometimes the strangest things can catch your eye and make for a nice image.  

I was driving down the Oregon coast when I saw this sandbar. I liked its shape and how it contrasted against the water, and how it provided balance to the land in the background. It was a simple image and I further simplified it by using a long exposure to mute the detail in the clouds.

When I compose an image, I compose simply by how it feels and when it feels right, it is done. I never give a thought to the so-called rules of composition.

painting numbers 4687338 Sandbar and Yodas Advice

Thinking that following rules will produce a great image is like believing that following the instructions and staying within the lines on a paint by number kit will produce a masterpiece.

Mona Lisa Paint by Numbers Comparison Sandbar and Yodas Advice

Following those rules may produce a “competent” image, but not a masterpiece!

I have no doubt that Apple will one day program the rules of composition into an iPhone so that every image we take is a competent image, but it will never create a great image. Great images are created by feeling people whose images cause others to feel.

Remember the wise words of the philosopher Yoda: 

“Feel the force.
A photographers strength flows from the Force.
But beware of the dark side.”

Feel the image and beware of the dark side (rules).

Cole


Nov 29 2014

Oregon – Five Before and After Images

Monolith No 78 BEFORE 1000 Oregon   Five Before and After ImagesMonolith No. 78 – Before

I’ve had a number of people ask if I’d do some more “before and after” shots. So here are five from my recent Oregon trip.

~~~~~

I had my eye on this Monolith by Cape Blanco for several years, but I had never found an easy way to get down to the beach. On this trip I found one.

At the hour I get there (never early!) the monolith is backlit and so it’s a difficult shot. I was fortunate to have these great delicate clouds that streak well with a long exposure and I envisioned them becoming an important part of the image, if I could deal with the backlight.

The sun was in the upper left corner and it was washing out the clouds and giving me a big flare. I used my hand as a sunshade for the 30 second exposure, properly placing it by watching where my hand’s shadow fell on the lens. I knew that later in Photoshop I’d have to even out the sky, because it was bright on the left and darker on the right.

Then there was the debris on the beach from the last few days of big storms and high tides, but I knew that I could deal with that in post processing. 

2014 10 13 Monolith No 78 Final 11 19 2014 AFTER 1000 Oregon   Five Before and After Images
Monolith No. 78 – After

To deal with the debris I cloned out the tree stump and burned down the foreground to remove the rest. I don’t like anything that distracts from the main subject.

For the sky I burned down the upper left corner to bring out detail in the clouds, then I dodged up the right to balance the sky out.  I also used a very small dodging brush to follow the cloud streaks to bring them out more. Adding contrast also helped the clouds stand out against the sky.

The backlighting didn’t hurt me as much as I feared it would. There’s not much shadow detail in the Monolith, but I generally don’t prefer a lot anyway.

Monolith No 77 BEFORE 1000 Oregon   Five Before and After ImagesMonolith No. 77 – Before

This is one of my favorite images from this trip. I envisioned this Monolith framed by the very dark hills on the sides, the rocks below and the clouds above.

This was a pretty simple image and an easy one…I thought…until I got home and found out that my Vari-ND was doing the dark pattern thing on me. It’s one of the quirks of all variable ND filters, sometimes at wide angles and when the sun angle is just right, you get these weird dark patterns across the image. And here’s a heads up: the cheaper the variable ND filter the more it will do this. That’s why I use the Singh-Ray Vari-ND, it happens much less frequently and when it does, there are a couple of workarounds. 

If I had noticed the patterning in the field I could have switched lens and probably have avoided it.  This was shot with my 24-105 at 24 mm, which is where the problem can happen, when you’re shooting at the wide end of your lens. If I had switched to the 16-35 and used 24 mm the pattern probably would have gone away, because 24 mm is mid focal length for that lens. And of course another option would have been to simply switch to a fixed ND filter for this shot.

This image also had some vignetting in the corners and I didn’t like how the clouds were thin on the right side of the image.

You might notice that I underexpose my images, usually by about 1 stop. I do this for a couple of reasons. First, I like the look of a dark image with pronounced highlights.  Second, it makes it easier to deal with the wide dynamic range in these types of scenes where the sky is important to the image.  If I had opened up another stop, that sky would have easily washed out and I’d have lost the cloud detail. Shadow detail is not very important to my images, so underexposing works for me.

2014 10 13 Monolith No 77 Final 11 13 2014 10001 Oregon   Five Before and After Images
Monolith No. 77 – After

I fixed the dark pattern in the sky with vey some careful and slow dodging (it’s easy for a sky to look blotchy if you use a small or hard brush or you work too quickly) I’m typically dodging and burning between 1-3% strength and for skies I’m generally using 1%. I used the clone tool to fix the vignetting and I also cloned in some clouds from the left to the right for a more balanced look.

I also used dodging and burning to bring out the water detail. I call it local contrast enhancement when I go back and forth between burning and dodging to increase the contrast in just one area.

I was happy with how this image turned out, especially after finding out about the dark pattern in the sky.

Something I noticed in the image above: there’s a thin highlight separating the sky from the monolith. I went back to the original TIFF and it’s not there, but it appears when I convert it to a JPEG for the web. I’ll have to do some work to figure out what that is and how to fix it.

Lighthouse Cape Blanco BEFORE 1000 Oregon   Five Before and After ImagesCape Blanco – Before

People are naturally drawn to lighthouses, as are photographers. But the lighthouse shot is soooooo overdone that I almost didn’t create this one. But I thought I’d see if I could put my twist on it.  I love to put the subject small in a large frame and then added a long exposure for a bit of movement.  I underexposed and used a polarizer because I wanted black skies.

2014 10 13 Lighthouse Cape Blanco Final 11 13 2014 1000 Oregon   Five Before and After ImagesCape Blanco – After

In the final image, I further isolated the lighthouse by burning down the foreground and the sky.  Looking at this image now, a few weeks after I last worked on it, I think I’ll remove those trees on the far right because I find them distracting.

2014 10 13 Lighthouse Cape Blanco Final 11 29 2014 Oregon   Five Before and After Images

This illustrates how I work to refine an image.  I’ll let it sit for a few weeks and then look at it with fresher eyes.  I’ll then perhaps modify it again and then put it to bed for a few weeks more before I look at it again.

Now that I’ve removed those trees, I’ll come back in a week to see if I want to keep this change or not.

 Isolated No 7 Before 10002 Oregon   Five Before and After ImagesIsolated No. 7 – Before

I was driving on the road to Cape Blanco when this tree just jumped out at me! I love centered images and struggled if I should center the tree where it hits the ground or the upright of the tree.  Centering the upright portion of the tree looked more centered and that’s what I went with.

It was a windy and hazy day which made the shot a little challenging.  I took about 20 long exposures trying to get the clouds just right and ended up using this one. I didn’t underexpose as I usually do, because I didn’t want to lose the tree detail. It was still a processing challenge and I started over 4 times before I got it right.

2014 10 13 Isolated No 7 Final 11 13 2014 1000 Oregon   Five Before and After ImagesIsolated No. 7 – After

Again, I did a lot of dodging and burning on this image. Many people feel that they can do this with a mouse, but I certain cannot! I use a pen and tablet and the control is so much better than with a mouse. I never like to be adamant, but you cannot do what I do with a mouse.  Period.

I got rid of the shadow of the tree, that bothered me for some reason, and left a highlight around the tree.  I darkened the sky and left it bright behind the tree. As I look at the image today, I think that I may go back and open up the trees a bit on the right side.

As I make decisions about my images, it reminds me of how I’ve seen some others make those decisions. They will show the image to someone and say: What do you think I should do to this image? I am very opposed to that approach, I think one should have a Vision and not adulterate it with someone else’s opinion. 

Isolated No 6 BEFORE Oregon   Five Before and After ImagesIsolated No. 6 – After

I was lucky on this trip to have constantly changing weather conditions. Some days it was raining hard, others were sunny and others were constantly changing as on this day. The sun was coming and going and what I was trying to get was the sun hitting the island and the land left and right bits of land in shadow.

I was here for several hours trying to get the clouds and lighting just right. Sometimes the clouds were perfect, but not the foreground. At other times I’d get the shadowing how I wanted it but the clouds were no good.

I didn’t get exactly what I wanted in the shot, but I was confident that I’d be able to create the effect I was looking for in post processing.

2014 10 13 Isolated No 6 Final 11 13 2014 1000 Oregon   Five Before and After ImagesIsolated No. 6 – After

I burned the land down on the left and right to put the focus on the island. Then I dodged up the island to make it brighter. Then I went to work on the clouds, lightening the upper ones and darkening the smaller ones just above the island. Then I darkened the foreground to hide the detail and to bring the eye to the island.

~~~~~

So after seeing these “before and after” shots, I hope that you’ll not conclude that you need to learn more about Photoshop. It is not my intent to focus on post processing as the key to an image because that is exactly what I don’t believe.

Instead my approach is to have a Vision of the image and then let that drive the processing. When you have Vision, your processing then has purpose: to bring the image into compliance with your Vision.

And armed with that Vision, you don’t need to ask others what to do with your image, you already know how it’s going to look in your head!

Cole


Nov 21 2014

Which is the Best Camera, Lens and Paper?

2014 10 13 Isolated No 7 Final 11 13 2014 1000 Which is the Best Camera, Lens and Paper?

I’m often asked: what’s the best camera, lens or paper?

My answer is always the same: there is no “best.” Most cameras are excellent, almost all lenses are better than their masters and choosing a paper is simply about personal preference.

It’s easy to buy into the notion that the right equipment: camera, lens, accessories, plug-ins, printers or paper will transform our ordinary work into extraordinary images. However from my perspective great images are rarely great because they are technically perfect or printed on the right paper. 

Or put more bluntly: I don’t think it really matters which equipment or paper you choose because they are not the critical component in a great image!

If you find yourself spending a lot of time researching the “best” (fill in the blank)…let me suggest another approach to improve your images.

Focus on the Image

Focus on your Vision

Focus on Composition

I believe a great image is created mostly from Vision and composition, and that technical skills plays a much smaller supporting role. 

75 25 Vision Technical Skills Which is the Best Camera, Lens and Paper?

Which do you spend most of your time on? 

But some will say: can’t I seek both a great composition and technical perfection?

Yes, of course you can. But what I found in myself (and what I often see in others) was a tendency to spend the majority of my efforts on equipment, processes and technical issues, and very little time was spent working on my Vision or improving my composition.

I think the primary reason I did this was because I was insecure about my creative abilities, and I thought that I could compensate by excelling at the technical. And also let’s be honest, playing with equipment and learning new processes is just plain fun!

But Vision and composition is where the action is, and it’s how great images are created.

Cole

 

 


Nov 14 2014

Newsletter: 23 Images from Oregon

2014 10 13 Monolith No 82 Final 11 13 2014 1000 Newsletter: 23 Images from OregonMy newsletter is out and I’m introducing 23 new images from the Oregon Coast.

http://www.colethompsonphotography.com/Newsletters/2014-11-14Newsletter.htm

 


Nov 7 2014

Why I Create

2004 11 5 Bent Grass Against Barn Final 4 4 2011 750 Why I CreateBent Grass

 

When I was 14 and discovered photography, I created images for just one reason: for the pure joy of creating and personal satisfaction.

But over time I found that my motivations changed and I started to create for others and for praise.

Then I found myself creating to build a resume. I thought that I needed to prove, by the length of my resume, that I was a good photographer.

Then came the desire for fame. I created because I wanted to become famous and to be known as a great photographer.

Now at age 60 I have come full circle and it’s like I’m 14 years old again.

Once again I am creating simply for the joy of creating and for the satisfaction that comes when I craft an image that I love.

How ironic that a 46 year journey would take me to the same place where I started from.

I am so glad that I found my way back.

Cole

P.S. The above image was created a couple of years ago and it has always been a favorite of mine, but only today while writing this blog post did I understand why. It reminds me of what it was like to be 14 years old again, when I created for myself and didn’t care what anyone else thought.


Oct 31 2014

Extraordinary Vision Magazine – “How I Found My Vision” by Cole Thompson

image1 Extraordinary Vision Magazine   How I Found My Vision by Cole Thompson

I’m so happy to learn there’s a new magazine out about Vision! It’s great that more and more people are focusing on Vision and less and less about equipment.

I know about this publication because they asked to publish my blog post on “How I Found My Vision.” They did a wonderful job with the article and even gave me a full page ad!

It’s a free publication and here’s where you can find it for Apple and Android:

Apple

Android

 

Also, here is another new image from my Oregon Coast trip, one I created just for fun:

2014 10 13 See No Evil Hear No Evil Speak No Evil and Photograph No Evil d Extraordinary Vision Magazine   How I Found My Vision by Cole ThompsonSee No Evil, Hear No Evil, Speak No Evil…and Photograph No Evil


Oct 26 2014

Why Black and White? Presentation on Tuesday October 28th, 2014

2014 10 13 Isolated No 8i Why Black and White? Presentation on Tuesday October 28th, 2014Isolated No. 8

Please join me this Tuesday at The Center for Fine Art Photography where I’ll be presenting “Why Black and White?”

The presentation is 90 minutes long and in this time I’ll be talking about why you might consider black and white, offering my photographic philosophies, discussing my views on Vision, giving some b&w tips and illustrating all of this through my favorite portfolios.  In addition, at the end of the presentation I’ll be giving away these three prints . 

Three Prints for Giveaway Why Black and White? Presentation on Tuesday October 28th, 2014

 

When:         Tuesday October 28th, 2014 at 7 pm   

Where:       400 North College Ave., Fort Collins, Colorado

Why:           Because you love black and white…or you’d like to.

There is no cost for the presentation and I hope to see you there!

Cole

P.S.  The image above was created last week during my annual Oregon Coast trip and is a part of my developing portfolio entitled “Isolated.”

 

 


Oct 23 2014

Dunes of Nude No. 10

2011 9 10 Dune Detail No 10 Final 2 3 2012 750 Dunes of Nude No. 10