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Assignment No. 10

Final Portfolio.

I.

1/320, f-32, ISO 1600

A vineyard.  Maximum depth of field.  The rows of vines look almost like they go on forever.  I think the colours in this photograph are pretty.  I did take a photograph without the tree limb at the top of the frame (and displayed the rule of thirds)  but I chose the photo with it in as it was more interesting and added another line/horizon/layer – foreground grass, leaves, horizon, clouds, branch etc.

II.

1/50, f-5.6, ISO 400

Dissected strawberry.  I hadn’t tried a black velvet background in any of my photographs so far, so off to Hancock Fabrics I went.  I love strawberries, they taste good and they look good.  I took a photograph of a kiwi slice also but only wanted to show one photo with a black background.  Nice symmetry in the way the veins attach to the seeds on the strawberry’s exterior.

III.

1/100, f-5.6, ISO 400

Brrrr!  This bramble, down in a creek, looks almost sugar-coated rather than covered in ice crystals.  I love the shallow depth of field – the grasses in the background add an abstract pattern.  The red-twig of the blackberry was more vivid in one of my other photographs but the leaves were unfortunately slightly out of focus.  Nature is so interesting and photogenic.

IV.

Triptych.  The Napa River.  Bird-watching with a difference:  the birds watch the motor-sailer cruise out of the scene.  Man and beast enjoy a lazy Sunday on the water.  I wish I could have gotten a little closer to the water birds, they seemed to be having so much fun preening their feathers that I would have loved to get a picture of them performing their ablutions.  I chose B&W in an attempt to relate these three photographs to each other more closely, prefering to see the form of the river bank, for instance, instead of the colour of the mud.

V.

1/1250, f-5.6, ISO 200

Through the looking-grass.  I sometimes can’t believe that the California sky can be so blue.  It was relatively easy to get an in-focus photograph with this subject matter.  I wish I had tried more photographs of buildings.

VI.

1/60, f-16, ISO 200

A plant.  I love the different lighting in this photograph, the brightness of the fuzzy-covered leaves that are facing the sun and the darker surfaces of the leaves that are in the middle of the plant and shadowed by the adjacent leaves.

VII.

Diptych.  Shallow depth of field and maximum depth of field.  Another vineyard landscape – and the padlock  that keeps me from doing anything more than sticking my camera lens through the gap between the two sections of gate.

VIII.

1/60, f-8, ISO 200

Chrome.  A shiny Harley Davidson engine. I like the contrast between the gleaming chrome and the dark shadows that the black and white photograph emphasises.

IX.

1/50, f-5.3, ISO 200

Rule of thirds.  A simple rose hip.  There was one last rose blooming on this rose plant, but the rose hip was just somehow more interesting.  I like the soft, subdued colours in this photograph.

X.

1/80, f-25, ISO 400

Anyone for tennis?  Just for fun.  My husband is a tennis fanatic and I’m not.  I managed to slow him down a little by laying on my belly for a few minutes whilst I took this photograph.  I actually think the shallow depth of field worked quite well – if you like a photograph that  looks like it should be in a tennis magazine.

Thoughts and Observations.

For this, the final assignment of Photo 120, I tried to take photographs that would allow me to use the techniques that we had been shown in class.  I seriously could have taken all 10 photographs as diptychs or triptychs (I really enjoyed Assignment No. 9). I took a series of photographs of fountains, freezing the water mid-drip, and frosted grapevine leaves on trellising wires, but in the end I limited my final selections  to two.  I did not attempt a portrait or a self portrait.  I only took a few B&W photographs as I still think overall I prefer colour. 

Working with shutter speed and aperture speed once again proved to be a learning experience and I began to experiment with different ISO values and how I could achieve more favourable shutter speeds in low light conditions with a higher ISO.  I did a little experimentation also with the White Balance settings, but generally found that the Auto setting worked well in most circumstances.  (Photographs I and II had a cloudy WB setting, and V and VI were set on the fine weather setting.)  This was an enjoyable and, for the most part, a low-stress assignment.

I am sad that the semester is almost at an end.  This was a very enjoyable class and feel I have learned quite a bit about photography.  Thanks Ms. Watkins!

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Assignment No. 9

Diptychs and Triptychs.

Triptych I.

1/40, f-7.1 ~ 1/50, f-7.1 ~ 1/80, f-7.1

Ice cream and the passage of time.  Not really, I’m not that patient – I used a hairdryer to melt the ice cream.  I had a few other photographs, slightly more in focus, that I could have used for the third photograph in this triptych, but I liked that a drip of melting ice cream had been frozen on its way down to the mess on the table top.  The sun actually did come out by the time I got to the melting ice cream picture which I think makes it a little more believable.

Triptych II.

1/80, f-7.1 ~ 1/10, f-5 ~ 1/50, f-5.6 

Cork.  A few different incarnations of cork; the cork oak tree trunk, the making of the wine-cork, and the left-overs.  I wanted to show something that is natural, that is manufactured into something useful, and is recyclable.  The first photograph was taken outdoors, the second in a poorly lit commercial kitchen, and the last on a tabletop bathed in sunlight.  I was able to experiment a little with the White Balance setting for each photograph.  Surprisingly, I found that the photograph of the used corks, in full sun, looked best when the WB was set to the cloudy setting.  Although I am quite pleased with the end results, it looks more like something out of an industry magazine than a fun photography class assignment.

Diptych.

1/400, f-8 ~ 1/200, f-20

Fish scales.  One set of scales are man-made, the other Mother Nature-made.  I love the sculpture of the large mouth bass at the corner of Third and Main at Veteran’s Park.  My photograph of real fish scales is however Atlantic salmon (and is destined to be Saturday night’s dinner.)  The camera picked up quite a bit of the iridescent finish on the fins of the fish sculpture. But my camera lens could not pick up the rainbow of colours, in each individual scale of the real fish skin, that I could see with my naked eye.  Picnik.com also resized my photographs in a way that did not do the sculpture picture justice.  I am however happy with the overall results.

Thoughts and Observations.

I quite liked this assignment, it made me think.  Actually getting the individual components together for the photographs proved to be a little bothersome, but they all came together in the end. 

Metering and bracketing proved to be invaluable for this assignment, (as it has been for the others also), as my photographic subjects kept switching from outdoors to indoors.  I found that changing the shutter speed alone, and keeping the f-stop the same for most of the photographs, worked best for this assignment (especially in the ice cream pics.)  However, that is not truly reflected in my final choice of photographs as my selections were ultimately chosen for other factors such as lighting, colour saturation, and freezing motion.  I did quite a bit of experimenting with different WB and ISO settings and found that the permutations are endless.

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Assignment No. 8

Self Portrait.

I.

1/15, f-32

Girl’s best friend.  I think of myself first and foremost as a dogmum.  Nothing is more fun than wrestling with a wriggling little dog.  I wanted to capture the movement of my furry little friend in this photograph, so I chose a very slow shutter speed.  It was however very sunny, so I had to close the aperture down to almost as small as my camera would allow.

II.

1/40, f-8

“And when it rains on your parade, look up rather than down”.  I decided to liven up a boring, rainy day with some complementary reds and greens (the weather may be grey, but I don’t have to be.).  I was wet and covered in leaves by the time I was finished, so much for my polka dot umbrella, but thank goodness for the remote control shutter release for my camera.

III.

1/15, f-14

A spot of tea in the vineyard.  There is nothing wrong with taking a quick tea and biscuit break whilst prepping the vineyard for harvest.  It was hard to judge the light on this day, it was quite dismal and I was shaded by the height of the vines so I may have over-exposed this photograph a tad.

IV.

1/400, f-5.6

Autumn:  “Season of mists and mellow fruitfulness”…and lots of leaves to clean up.  Might as well have some fun with them first.  I decided on a fast shutter speed to freeze the leaves as I threw them up into the air.

V.

1/125, f-5.6

True Brit.  I had to try at least one formal, traditional-ish portrait.  I thought I’d try the Avedon white background!  Of course, I am looking down at the Union Jack and not squarely into the camera…and neither do I have the benefit of marvelous studio lighting (and I’m sans the Avedon mane).  I’m not in the least bit comfortable modelling!

Thoughts and Observations.

This was a very difficult assignment, and I can’t say I particularly like the results.  Trying to come up with novel and inventive ideas that would perhaps say something about me personally was quite distracting.  So was running back and forth to the camera whilst using the self-timer, and trying to keep my hand, and the remote control that was in it, out of my photographs.  With all that going on, I had little time to think about the techniques and rules of composition that I have been shown in class, and I think the photographs suffered.  But, even if I had mastered all the technical stuff, I still don’t think I could ever feel comfortable taking photographs of myself.  This was my least favourite assignment thus far.

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Thomas Patrick John Anson was born in 1939, the son of Viscount Anson and his wife Anne Bowes-Lyon.  He inherited the title of 5th Earl of Lichfield upon his grandfather’s death in 1960.  As a second cousin of Queen Elizabeth II, the Earl of Lichfield was breaking with centuries of tradition by wanting to become a photographer.  One of his relatives described his career choice at the time as being “far worse than an interior decorator, and only marginally better than hairdressing.”  The Earl’s aristocratic upbringing dictated that he follow a certain life-course and being a photographer was not part of the big picture.  Educated at Harrow, he attended Sandhurst Military Academy and went on to join the Grenadier Guards (his father’s old army regiment.)

The Earl at his ancestral home, Shugborough Hall

An avid photographer even in his school days, he would charge nine pence to school leavers for taking their portraits with a very basic Kodak camera.  Whilst in the Grenadier Guards he set up his first darkroom in his London flat.  On leaving the Grenadier Guards in 1962 he found employment as a photographic assistant to two photographers, Dmitri Kasterine and Michael Wallis, who encouraged the young Earl, whilst in their employ, to venture out and find photography assignments for himself.

Red-twigged lime, Shugborough Hall

The English capital, dubbed ‘Swinging London’ by Time magazine in 1966, was a city in the midst of a great social revolution.  However, photography was hardly a profession for the great, unwashed masses; since its inception as an art form, photography had been restricted to those who belonged to a wealthier class – Diane Arbus, Cecil Beaton, and Henri Cartier-Bresson.  But now there existed working-class-photography-heroes such as David Bailey, Terence Donovan, and Terry O’Neill.  The Earl’s decision to work under the name of Patrick Lichfield was a small act of class disobedience and a calculated attempt to defy class boundaries and put himself more in tune with the new counter-culture of which, amongst others, The Beatles and The Rolling Stones were the principal players.

Bailey, Donovan & Lichfield

Lichfield himself said that his privileged background “probably closed as many doors as it opened.  It’s usually a disadvantage to be a peer if you have a profession.  People don’t take you seriously.”  Even his friend and fellow photographer O’Neill believed that Lichfield’s “posh background could have worked against him because he was friends with all the salt-of-the-earth photographers…but didn’t have the same accent.”  In reality, being of the aristocracy proved not to be the handicap Lichfield believed it would be, as his society connections gave him unprecedented access to the well-heeled like no other photographer before him.

Lichfield in Swinging London

In a career that spanned five decades, Lichfield became famous for his work for Vogue magazine, as a photographic-chronicler of the swinging sixties, as a royal photographer, and as the creative force behind the glossy and exotic Unipart calendar for 17 successive years.  As well as editorial photography, he worked on advertising commissions for the fashion and pharmaceutical industries.  Perhaps the height of his creativity though, was in documenting the places and faces of swinging London and high society, capturing for posterity specific moments in history, a cultural archive to be enjoyed by all.

Lichfield's iconic photograph of Marsha Hunt

Personally, I think it is in his portrait work that the Earl of Lichfield excelled.  Lichfield’s expertise at relaxing his photographic subjects and capturing them at their most attractive is well documented.  Actress Joanne Lumley described sitting for Lichfield as “easy-peasy, quickly over, fun and games.”  And Baroness Thatcher, of who Lichfield took a series of photographs for her 80th birthday said,  “Patrick was not only one of the most talented and professional of photographers, he was also an absolute delight to sit for.  Always courteous and considerate, he had a rare skill which is sadly gone.”  In his book, Lichfield on Photography he recounts that once , to put his subjects at ease, he went as far as “sacrificing his dignity” by feigning falling off his chair.  The caper had its desired effect:  it elicited a candid reaction, whilst photographing the Duke and Duchess of Windsor, when Lichfield thought the entire shoot was all but lost.

The Windsors.

It was Lichfield’s great skill at setting up a situation and creating a genial atmosphere for his subjects that made the art of portraiture appear so seamless.  Lichfield stressed that a good portrait photographer understood composition, the importance of controlling light and shade, and how to manage the model warning that it took more than just technique to capture the perfect moment.  “Remember that the person you are photographing is 50% of the portrait and you are the other 50%.”  He also could not stress enough the importance of reconnoitering the location of a sitting, or ‘recce’ as he liked to call it, to assess the conditions pertaining to the surroundings, ambience and the available light.  In mastering your technique he believed you were able to be at your most creative.

Mick & Bianca Jagger. St. Tropez, 1971

Patrick Lichfield’s camera lens caught on film the moment that his good friend Bianca De Marcias tamed her Rolling Stone by wedding him.  He also documented the fairy tale wedding of a princess to her prince charming.  (Unfortunately, his camera lens was unable to see into the Princess of Wales’s future and her tragic death as she fled the intrusive camera lenses of paparazzi photographers.)

The Princess of Wales with her bridesmaids.

Whilst Lichfield’s aristocratic connections may have helped launch his career, it was his versatility, professionalism, and talent that sustained him in a career lasting more than 40 years.  “I don’t think old photographers retire…they just go out of focus” he once mused.  The 5th Earl of Lichfield died on 11th November 2005.  Fortunately, his extraordinary body of work remains, for us all to enjoy, and it is still very much in focus. 

Cecil Beaton, 1968

Cecil Beaton is captured readying an exhibition of his own work at the National Portrait Gallery in London.  I love the symmetry in this photograph, the composition, the lighting, the shadow the ladder is casting.  Beaton is photographed in black and white, against his own black and white photographs.  This giant of portraiture and fashion photography looks small and almost insignificant against his massive body of work.  The essence of a portrait photographer is captured by a portrait photographer.

 
 

Feliks Topolski, 1969

 

A photographic portrait of the portrait painter: art imitating art.  Topolski is photographed waving a flashlight, Lichfield said the idea was to create a pattern in light that would match the painter’s idiosyncratic brush strokes.  This is a very effective photograph – the simplicity of the artist’s clothes and the minamilistic background and props, there are no distractions.  I can appreciate how still Topolski must  have had to keep his head, whilst waving his arm, for what must have been a relatively long exposure time.  This photograph would not have worked in colour.

To see more photographs by Patrick Lichfield, I would recommend you visit;

http://www.chrisbeetles.com/gallery/exhibition_detail.php?id=1002

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Assignment No. 7

Landscape

I.

1/60, f-22

The Napa River: early morning at the boat launch in Kennedy Park.  I like the warm tones of the dock versus the cool colours of the water and the sky in this photograph, and the reflection of the hill on the other side of the river. 

II.

1/60, f-14

Verboten.  Rather than keep me out, this fence looks like it’s keeping this poor oak tree in!  I took this photograph in black and white because I liked the contrast of the dark foliage of the tree against the grey, foreboding sky.  I think the yellow of the dead grass may have diverted the eye away from the captive tree.

III.

1/80, f-14

Walnut Drive, Oakville.  Besides the city of Napa, Oakville boasts one of the widest parts of the valley floor.  I was hoping I’d find a tree-lined road that ran from Hwy 29 to the base of the Mayacamas, and here one is.  I like the size difference between the mature trees on the right and the young trees on the left.  This road looks like it may go on forever, but the hills will eventually get in the way.

IV.

1/50, f-25

A view through a bridge.  Taking a peek at the landscape through perhaps the largest manmade structure in Napa County.  New Topographics?  Early morning, hazy day: I like the muted tones.

V.

 1/60, f-18

Through the round window: Oakville.  Taking a peek at the landscape…part 2.  My one picture of a vineyard,  taken from indoors, looking east towards the Vaca Mountains.  I walked up to the window and metered on the sky, which made the pink stucco walls of the room that I was in all but disappear.   I like this photograph, the window frame acts almost like a picture frame, but not quite Pictorialism

Thoughts and Observations.

The weather, once more, did not exactly cooperate this week.  But, the haziness that persisted most off the week actually produced some nice muted colours that were pleasant to the eye.  I find that I can’t quite capture, in  a photograph, what I intend to.  Ultimately, I find that the landscape still looks more beautiful with the wide-angle-naked-eye.  Hopefully, practice makes perfect.  It was interesting trying to keep vineyards out of my photographs.  Driving around Napa, I usually take vineyards for granted, but they are everywhere (as are a lot of manmade structures.)

All photographs were taken with auto white balance and no tripod, so my shutter speeds never got too slow for me to have to worry about blur.  I liked that the whole assignment let me further practice maximum depth of field, in pursuit of capturing the big picture.

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Assignment No. 6

B&W vs. Colour. 

Part I.

Portrait.

 1/10, f4

One man and his dog.  I don’t think I know anyone who would actually pose for a portrait for me.  This photo is somewhat candid, as I sat on the floor and pretended to be messing around with my camera whilst my husband took a quick peek at the Niners/Raiders game.  Wanting to see why her humans were relaxing, Tilly Mint wandered over and climbed up on her dad’s lap.  Dogs aren’t allowed on furniture in our house, but in this instance I did not protest as I wanted to take a photograph.   A floor lamp, to my husband’s left,  lends a nice warm glow to his face and is reflected on the white ceiling.  In black and white, the scene is cold and changed – I much prefer this photograph in colour.  I like the quasi-leading line as you follow the dog’s neck upwards until the two noses meet.

Landscape.

 

1/60, f2

The valley floor.  Perched atop a dry-stone wall, I am looking down at the Screaming Eagle vineyard in Oakville.  I wanted to get elevated as much as I could to try to capture the topography of this particular part of the valley.  The Bradford pear trees, that circle the vineyard pond, are just beginning to show their autumn colours.  Taken at about 5.30 pm the sun is low, over the Mayacamas to my right, and is casting a yellowish glow over the grapevines that are going through senescence.  The entire photograph is filled with colour, even the smokey blue-greys of the hills in the distance.   In contrast, the black and white version of the same scene draws the eye to the rows of grapevines and the lines and patterns they form in the landscape.

Object or Objects.

1/15. f5.3

Red and green bell peppers.  Unloading my groceries, I remembered that red and green are complementary colours.  In colour, these peppers are so bright, the red bell pepper is almost vibrating with red-ness!.  In black and white, the reflection from the window in front of the peppers and the soft curvature and form of the shoulders of the vegetables is what I notice more.

 My Choice 1.

1/13, f5.6

Rain, rain, go away… actually, don’t!   Every cloud has a silver lining – for me, my now highly reflective wet deck proved to be a good subject matter for the first photograph I took for this weeks assignment.  In colour, the eye is drawn to the very pink ball and the multi-coloured, striped fabric of the deck chair.  In black and white, the eye is drawn to the horizontal and vertical lines the deck and the reflected railings create on the wet surface.

My Choice 2.

1/30, f6.3

The last of this years tomatoes.  In colour, very vivid reds, oranges and yellows, and the contrasting green of the stalks.  In black and white the form of the tomatoes is more apparent, and the water drops on the flesh from being washed are more noticeable because they are reflecting light.  Also, because the brilliant colours do not totally distract the grain of the table becomes a little more obvious.

Part II.

My Choice 1.

1/50, f5

Caberenet sauvignon grapes hanging on the vine look like one great mass of blue velvet.  However, in black and white the roundness of each little orb of grapey-goodness is accentuated.

My Choice 2.

1/60, f5.6

Quercus suber – the Cork Oak.  On the grounds of the Napa State Hospital there are several examples of this particular species of oak tree from which the bark is harvested for cork.  In colour, the outer bark of this tree is grey and weathered, the inner bark is the yellowy-tannish colour of, let’s say, a wine cork.  In colour there is much more depth of field, as your eye travels from the outer cork to the inner cork.  In black and white, some of the texture of the cork is lost, and only grey patterns are observed.

My Choice 3.

1/60, f5.3

Barbed wire is not very colourful at the best of times, sometimes it can be rusty.  In black and white it becomes more abstract and menacing…or am I being overly anthropomorphic?  I find this image a little unsettling – it seems the wire is going around, and around, and…

My Choice 4.

1/60, f16

Logs.  We are used to looking at wood as, well, wood coloured.  Without those often soft, brown and tan hues of unstained wood, the eye is drawn to the texture of the bark and the grain and splits in the exposed surfaces of this hewn wood.

My Choice 5.

1/125. f22

I just had to use my peacock feather one more time!  Usually, the vivid peacock-blue and other colours of this feather define it’s very being.  In black and white my eye is drawn more to the form of the feather, and the patterns the colours have created, rather than the colours themselves.  It really does look like an oversized eye now, that  a peacock would spread wide in his tail to intimidate an enemy.

Thoughts and Observations.

I thought this was the most difficult assignment thus far.  Again, subject matter proved to be quite a challenge.  Also, the weather did not cooperate this week,  instead of observing shadow and light, I found myself looking instead at colours and contrast.  Rain, fog and cloud – nothing was throwing shadows this week, or if it was, I missed it because I was at work.  I discovered that I’m not as big a fan of black and white photography that I thought I was:  I like colour.  Some things, whilst acceptable in B&W, just work better in colour…we see in colour and I think our brains are hard-wired to appreciate bright, colourful objects that are pleasing to the eye.

Just for fun.

The pantry.  WordPress would not let me post my horizontal pictures side by side.  I played around in Picasa to see if I could create a collage of one of my rejected colour vs. black and white subjects, that could be viewed at the same time.  Voila!

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Assignment No. 5

Still Life.

Narrative.

1/15, f-13, ISO 400

The marginalisation of the American Indian.  The once proud, indigenous people of North America have been unfortunately reduced to Halloween tchotchke.  I used an oil painting, Jack American Horse, by Richard Lorenz as my entire background.  The hatchet looking stone object is an original Indian artifact, and I added indian corn as corn would have been a staple of the North American Indian diet.  The Chief Skull, the brightly coloured Halloween Chief’s headdress, and the Rubber Ducky Chief are all modern-day affectations.

This photograph was taken indoors with some side lighting from the afternoon sun, but also a desk lamp pointed at the Halloween kitsch.  I wanted Jack American Horse’s face to seem dark and foreboding, to see  if I could somehow illustrate how he might have felt about the fate of his people.  I used an ISO of 400, but in hindsight I wish I had used a higher one to achieve more noise because I think this photo would have perhaps looked more interesting if it was more painterly and more grain might have achieved that I intended the photograph to be quite warm and yellow to accentuate the gaudy cheapness of the rubber duck and brightly dyed feathers.

Beauty and Aesthetics.

1/125, f-18, ISO 200

A peacock feather.  Once again Mother Nature achieves real beauty, and pure aesthetics.  I took this photograph on a white-painted window sill in the full afternoon sun.  I wanted full sun conditions in order to capture the iridescence and colours of the peacock feather, as it would perhaps look when the peacock was displaying his tail in a courtship ritual.  I like the contrast between all the colour of the lower left, and the whiteness of the negative space in the top right.  I also like the shadows of some of the slender, individual feathers, they add extra texture to what we normally would perceive as just a brightly coloured feather.

Symbolism.

1/40, f-32, ISO 1600

Water into wine.  Symbolic of Jesus Christ’s first miracle at the wedding at Cana.  But, even if you’re not religious, you have to know that wine is mostly composed of water and wine grapes would not grow without it.  Water is important to all of us.

I took this picture indoors with some back-lighting from the afternoon sun, and a flashlight directly shining on JC himself.  I chose to take this photograph in black and white to emphasise that water is clear and pure: no colour to distract the eye.  I experimented with the highest ISO, 1600, that my camera would permit because I wanted the photograph to be somehow other-worldly and perhaps ethereal.  I was inspired to do a photograph with a religious theme as quite a few of past students work had included Catholic symbolism.  The white rosary beads are from my First Holy Communion, in 1971!

My Choice 1.

1/100, f-22, ISO 200

The potting bench.  Late afternoon sun and terracotta, a nice warm composition.  I wanted a traditional type of still life photograph, and just like Imogen Cunningham, I went about my immediate environment in search of something to inspire me.  A pile of unused clay pots and fallen leafs did the trick.  This was perhaps the easiest of the photographs I took because the light outdoors was easy to work with, and so very straight forward.

My Choice 2.

1/80, f-22, ISO 200

A few of my favourite things.  I love anything blue and white, these two colours together are just so pleasing to my eye.  So, I own quite a few blue and white things…these are a few that I just put together quickly, again wanting to try a more traditional still life composition.  The early morning sun lent some interesting shadows to the scene.  I ran over to my neighbours and picked some chicory (my favourite blue weed this time of year), and added it to the photograph.  Unfortunately, the shadows had shifted and I wasn’t happy with the resulting photographs.  So, I chose this simple little picture, with its chicory-less mug, as one of the ‘my choice’ pictures for this weeks assignment.  Clean and crisp.

Thoughts and Observations.

This was quite a difficult assignment, it took a lot of thought and planning to come up with appropriate subjects.  No matter what the subject is however, I find it rather difficult to achieve the results I desire without proper lighting. I often try to deal with low light conditions and the photographs produced are more often than not disappointing.   It is so much easier to take photographs outdoors where the camera lens seems happiest, and I don’t have to wrestle with my brain trying to understand what the lens is asking me to do.  I can see that still life requires a lot of practice, coupled with imagination.  I am determined to learn more about lighting and composition.

Overall I am quite pleased with the results.

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