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Art & Still Life Art & Still Life OnlineOnline Issue 8 Michael Hall Pimp my Pic Shooting a long-term documentary project Glenn Edwards Johnathan Journalism Report Thompson Food Styling Image of the Blast From Month The Past Jonny Seymour Bryn Create Stunning Black Griffiths and White Portraits Contrived Spontaneity Michelle Whitmore Instagram Featured Photographer WALL PRODUCTS CONTENTS BASICS WITH BRIAN 4 - 10 UNDERSTANDING THE HISTOGRAM IMAGE OF THE MONTH 12 - 14 BLACK AND WHITE PORTRAITS 16 - 21 JONNY SEYMOUR FEATURED PHOTOGRAPHER 24 - 36 MICHELLE WHITMORE WELCOME TO THE BIG PHOTO ACADEMY LIVE CRIT TOP TEN 38 - 50 E-ZINE THE PHOTOGRAPHER ACADEMY This month we’ve decided to let our arty side PIMP MY PIC 52 - 53 out and contemplate the world of Still life and THE SYSTEM 54 - 73 Art photography. Photographer Academy ELINCHROM Master Michelle Whitmore lets us in on what drives her to keep experimenting, and Michael SHOOTING A LONG-TERM 74 - 90 DOCUMENTARY PROJECT Hall shares his passion and techniques that MICHAEL HALL have been the core of his long-term climate 92 - 93 change project. We also have the usual great BLAST FROM THE PAST selection of hints, tips and insights to help you POSING THE BRIDE take your photography to that next level. WHY YOU SHOULD PRINT YOUR 96 - 100 The Big Photo is, as ever, designed as a PHOTOGRAPHS LISA BEANEY celebration of photography, so expect the usual array of great images and useful tips ANTICIPATION OF COMPOSITION 102 - 103 on how you can improve you own images MARK SEYMOUR across a range of photographic subjects. CONTRIVED SPONTANEITY 104 - 108 And if you’re looking for something we BRYN GRIFFTHS Razor-sharp focus on your photography haven’t covered here, don’t forget that The Photographer Academy has a huge FEATURED STUDIO 110 - 121 Create high resolution wall art with metal or acrylic catalogue of films covering all sorts of CHRYSALIS photography. So, look for the links to click and make your photography the centre of attention. FOOD PHOTOGRAPHY STYLING through to The Photographer Academy 122 - 131 JONATHAN THOMPSON and our partners, for more great content. Remember we also want The Big Photo E-zine IT LOOKS OK, BUT 132 - 133 • Choice of print finishes to be what you want it to be, so feel free to VICTOR ABERDEEN let us know what content you’d like to see THE STORY IN THE IMAGE 134 - 137 • Sizes 8x8” to 60x40” covered and feel free to share each issue with GLENN EDWARDS • Clusters and Splits available all your photo friends. INSTAGRAM GALLERY 138 -139 • Creative framed options So, what are you waiting for, get out there and get shooting. TETHER TIPS • Produced in five working days 140 - 141 TOM PITTS Sam & The Photographer Academy Team Discover more...Visit loxleycolour.com or call 0123 686 2720 WHATS COMING UP 142 - 145 ss sio sio ion ofe ion fes na fes na ess al P Pr al ro l A ro l F f r The information within this publication is for information purposes only. PhotoTraining4u Ltd assumes no liability or responsibility t L P l P r ro o s a b a P d t t m e b s u s t u m c for any inaccurate, delayed or incomplete information, nor for any actions taken in reliance thereon. The information contained B e e e s t B e B s B about each individual or organization has been provided by such individual, or organization without verification by us. T T T T h h h h 6 6 6 6 1 1 1 1 e e e e 0 0 0 0 S S S S 2016 The opinion expressed in each article is the opinion of its author and does not necessarily reflect the opinion of 2 2 2 2 o o o o s s s s c c c c d d d d i i i i e e e e r r r r t t t t a a a a i i i i e e e e w w w w s s s s A A A A BEST PhotoTraining4u Ltd. Therefore, PhotoTraining4u Ltd. carries no responsibility for the opinion expressed therein. PROCESSING LAB Any form of reproduction of any content in this publication without the written permission of the publisher is strictly prohibited. All images reproduced with permission of copyright holders who retain all original rights. © 2017 PhotoTraining4u Ltd. All rights reserved. BASICS WITH BRIAN UNDERSTANDING THE HISTOGRAM BRIAN WORLEY A histogram is a graphical representation of the balance of tones from dark to light in an image. Histograms are powerful ways to help you understand exposure after the image is captured and in some instances, before too. The darkest tones are on the left of the chart, the brightest on the right, in the centre are the mid-tones, about 18% grey. For most kinds of pictures the aim is to get a picture where there is no significant overexposure – histogram pushed to the right, and no underexposure – histogram pushed to the left. The bell-shaped curve is sometimes shown as an example of a correct histogram. The histogram shape depends entirely on the picture content. Pictures of polar bears in the snow will have a histogram biased to the right, and black cats in coal cellars will be biased to the left. The histogram for the car photo is predominantly central, but the bright sky, and its reflection in the car windscreen, creates the tall peak on the extreme right side. A histogram displayed with the image. Most cameras can display histograms BASICS WITH BRIAN HISTOGRAMS IN PHOTOSHOP AND LIGHTROOM A histogram display from Lightroom with separate colour channels and the luminosity displayed This image contains many areas with dark tones, this gives the peak on the left side of the histogram. There is also a spread of lighter tones, that creates the flat wide section of the histogram on the right. The picture is not under or overexposed. A histogram that looks like a comb is your visual clue A histogram display from Photoshop with the that the image has been overworked luminosity/brightness displayed Most common photo editing programs be clear bands in the print. include a histogram display, there may be Ideally your histogram should be contained several options for colour and different within the range that your camera can channels to be displayed. Right click on the capture, if there is a big peak at the left histogram, or look in the software settings side then your shadows are too dark, and to change the histogram display. if there is a peak at the right side then the When editing images in Photoshop it is highlights are blown out. When shooting good to keep a watch on the histogram, if it with a mirrorless camera, or using Live starts to look like a comb, then you have an View on a DSLR you can usually display a image with gaps in the tonality, a good sign live histogram. This can be helpful to guide that the image has been worked too much. your exposure settings. For DSLR cameras, Images with such discontinuous tones are check the histogram after you have taken a not suited to printing since there will likely test picture. Shot on a white background these bottles of colourful liqueur have a good range of tones from shadows to highlights BASICS WITH BRIAN EXPOSE TO THE RIGHT & HIGH DYNAMIC RANGE By combining three separate pictures, the range of tones in this image is greater than the camera sensor can capture. It is still possible to be within the range displayed on the histogram. Exposing to the right has pushed the histogram almost completely to the right-hand edge, but not over it. Often you will find heated detail and tone. It works for many online debate on the topic of, images. how to optimise your exposure For some images the range of by reviewing the histogram. bright and dark tones exceeds the One common approach that capabilities of the image sensor. is discussed is “expose to the At this point you may need to right”. Expose to the right means use exposure bracketing to take changing your camera exposure a series of images at different settings so that the histogram exposure values and then combine has highlights pushed close to them in post processing to make the extreme right side, but not a high dynamic range image. touching it. This approach uses Many cameras have a built in HDR the knowledge that cameras have capability, though you can often a greater number of steps in the achieve better results doing the highlight section of images than processing on a computer. in the shadows. You can reduce the exposure and bring back The histogram shows the distribution of light and dark tones in an image. This photo has a mixture of bright sky on the left, giving the peak on the right of the histogram. There are many dark areas on the right of the picture that give the peak on the left of the histogram, there are comparatively few mid-tones. BRIAN WORLEY WWW.P4PICTURES.COM FUTHER LEARNING 1. Shoot a scene with a high 2. Shoot a range of scenes and 3. Keep the histogram on your contrast range, such as a black compare the histograms. Are display the next few times you object on a white background. they all very similar or is there go out shooting, does having Does the histogram look a lot of variance depending on it as a reference help you to balanced even when the the content of the image? gauge your exposure.
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