The aim of this assignment is to learn to ‘see like my
camera’, with particular focus on high dynamic range scenes. I think it is safe
to say that I would normally shy away from scenes with high dynamic range for
fear of having parts of the final image with areas of over or under exposure.
So this assignment has been great for pushing my personal photographic
boundaries.
I have been reading Freeman’s Perfect Exposure book prior
to and during completing this assignment, which has helped me to be in the mode
of thinking more about exposure ranges and ‘types’ of scenes according to their
exposure range and distribution.
Part 1:
For the first part of this assignment, four scene types
are chosen, with three images taken for each scene type.
Images:
My selected, unprocessed images are detailed below.
Photo 1
IMG_3202
Internal scene lit only by window #1
17-35mm f/2.8 lens, Canon 30D, f/16, 17mm, 1sec, ISO
100
IMG_3202 Internal scene lit only by window #1 |
·
Windows: f/2.8, 1/2000sec
·
Shadows: f/2.8, 1 sec
·
Bed Quilt (dark fabric): f/2.8, 1/20
·
Average reading (wall and surrounds): f/2.8,
1/60sec
·
Image displayed above: +2EV
When viewing the scene myself, I can see the detail throughout the room (including the texture of the carpet under the bed, in deep shadow) and also see the road and plants outside. I expected the camera to have difficulty representing the entire range, and in particular expected the highlights outside to be blown out. The resulting image has highlights clipped at all the windows, but no shadow clipping as I would have expected.
Photo 2
IMG_3283
Internal scene lit only by window #2
24-70mm f/2.8 lens, Canon 30D, f/4, 46mm, 1/2000sec,
ISO 100
IMG_3283. Internal scene lit only by window #2
|
The technical
challenge in this scene is the large different in brightness between the white hat
and deep shadows. This was overcome by deciding to let the shadows drop out to
almost black (a creative decision). I saw detail in the shadow areas (texture
of the carpet). There is barely any detail represented in the shadow areas by
the camera, as I have expected. In fact, the shadows are even deeper than I
would have thought when viewed on the computer monitor. According to Lightroom,
interestingly, there is actually no shadow clipping. However, this is the
‘look’ that I wanted to achieve – bright vibrant colours of my subject, with
the light and shadows giving some interest to the background. Small specular
highlights (the only highlight clipping in the image) have been ignored. This
shows me that shadows can seem very deep and dark and yet still retain
information.
Photo 3
IMG_3713
Internal scene lit only by window #3
24-70mm f/2.8 lens, Canon 30D, f/5.6, 43mm,
1/125sec, ISO 200
IMG_3713. Internal scene lit only by window #3 |
I have used manual
metering and chosen a mid-tone to get my starting exposure point and then altered
from there slightly. I thought that the bright sky would blow out in this
image, and although it is clipped, this does not detract much from the actual
image. This has resulted in quite a high dynamic range, with some highlight
clipping in the sky and shadow clipping in the blacks of the columns. I could
choose not to include so much sky, but I quite like the symmetry between the
tall narrow columns and tall city buildings in the distance. The main challenge
is the different lighting levels between the inside and outside of the gallery.
Visually it was possibly to see the colour and texture in the sky and on the
artwork at the same time, but the camera has difficulty with this large dynamic
range. In addition, in some of the images I took of this scene, there was some
coloured fringing between the bright (overexposed) sky and the vertical lines
of the artwork which may not be easily resolved in a jpeg without some
complicated post-processing.
Photo 4
IMG_3534
Outdoor scene with strong incident dappled light #1
24-70mm f/2.8 lens, Canon 30D, f/4, 30mm, 1/60sec,
ISO 100
IMG_3534. Outdoor scene with strong incident dappled light #1 |
I saw this scene as
moderately high dynamic range, with some highlights but few dark shadows. I
thought the camera would replicate the scene quite well, but has actually blown
out in a few areas, which I recognised whilst shooting, partly influencing me
to crop in slightly tighter on the sign and tree and remove the highlights top
left which are overblown. According to Lightroom there are some highlights
clipped in the background and also on some reflective leaves. This was the main
technical challenge in the scene, and was partly overcome by changing the
composition slightly. The resultant highlights do not dominate the scene,
though it would be preferable to remove them in any post-processing.
Photo 5
IMG_3566
Outdoor scene with strong incident dappled light #2
24-70mm f/2.8 lens, Canon 30D, f/4, 34mm, 1/250sec,
ISO 100
IMG_3566. Outdoor scene with strong incident dappled light #2 |
I saw this scene as
darker than average, but with a few bright spots to be aware of. I chose to
keep the scene relatively dark, and in Lightroom there are some small areas of
highlight clipping on the tree trunks, and a bit of shadow clipping in the
foreground. I don’t feel that these detract from the image, though in post
processing I would choose to bring back some of the highlight clipped areas as
they are slightly distracting. I have kept the scene dark to help emphasise the
brilliant blue sky reflected in the water, and the green leaves across the
river. The mangroves are a dark place so it fits in with the ‘feel’ of the
scene.
Photo 6
IMG_3549
Outdoor scene with strong incident dappled light #3
24-70mm f/2.8 lens, Canon 30D, f/2.8, 45mm,
1/250sec, ISO 100
IMG_3549. Outdoor scene with strong incident dappled light #3 |
Technically, the
challenge was balancing the dark and bright spots of the highly reflective
leaves, and choosing the composition carefully to avoid bright spots in the
background. I saw the bright highlights in the scene, but the camera rendered
these even brighter, which led me to choose a slightly faster shutter speed to
decrease the bright highlights. Despite this, Lightroom still sees some clipped
highlights on the leaves. There are some small areas of shadow clipping
fringing the leaves also.
Photo 7
IMG_3316
Photographing people in the shade while the background
is sunny #1
24-70mm f/2.8 lens, Canon 30D, f/2.8, 70mm, 1/125sec,
ISO 100
IMG_3316. Photographing people in the shade while the background is sunny #1 |
The scene was
clearly going to have high dynamic range, with the main technical issue being
the bright sky. I used a large aperture to create a shallow DOF which I thought
would give nice bokeh in the trees in the background, so while framing the face
I tried to include as much tree in the background as possible. I was
constrained by a large highly reflective roof on the left of the scene which I
wanted to avoid as it would look very bright and also quite unnatural in the
background.
I saw the scene as having quite bright vibrant colours in the background (blue sky and green grass and trees). These are not at all rendered by the camera (I thought they might be a bit brighter), this of course because they are quite blown out and overexposed, which tends to dull colours. There is no shadow clipping, as expected, and the sky is all clipped as it is very bright.
Photo 8
IMG_3610
Photographing people in the shade while the background
is sunny #2
24-70mm f/2.8 lens, Canon 30D, f/4, 70mm, 1/125sec,
ISO 400
IMG_3610. Photographing people in the shade while the background is sunny #2 |
In this image I have
photographed a stall-holder at the Organic Markets serving some food. She is
located in the shade of a tent and the background is in mixed sunny and dappled
light. I have used ‘sunny’ WB and upped the ISO to 400 to avoid camera shake in
the fairly fast paced environment (no tripod used). I have chosen to photograph
her in the shade of the tent, but there is still some incident light on the
side of her face which is closer to the camera. Ideally, more of her face would
have been lit as it is a little dark for my liking.
I used manual
metering mode and metered off a neutral shaded piece of ground nearby and then
adjusted. I also looked at what was in the background and tried to include some
of the other tents and a tree to give some variety and to prevent too much
overexposure. Nonetheless, there are highlights clipped in the background and
also some clipping on the reflections on the pot, which I did not expect when I
took the photograph. There are also some highly reflective surfaces in the
background which are somewhat distracting.
Photo 9
054A0262
Photographing people in the shade while the background
is sunny #3
24-70mm f/2.8 lens, Canon 5Dm3, f/3.5, 57mm, 1/250sec,
ISO 1000
054A0262. Photographing people in the shade while the background is sunny #3 |
This photo was taken
at the annual BOGI (Brisbane Organic Growers Association) fair. I have captured
a stall-holder selling some produce to a customer. The stalls were located
under a concrete overpass and in total shade (quite dark, which has led to a
very high ISO setting) and the sun was very bright in the background. I angled
myself such that there was the least amount of sunny background present in the
image by changing my position. This also enabled me to capture the interaction
between the people better. I like the way the arms link across the image. There
is quite a lot of highlight clipping in the bright background. This is not
ideal, however, when events such as these only occur annually, there is no
choice to come back later. Options for increasing the light in the foreground
would be limited to flash as a reflector wouldn’t work in this situation I
don’t think. Fortunately the high ISO has not resulted in much noise in this
image due to it being taken on my new camera which has considerably better
noise reduction.
I saw this scene as
having a bright background but it is quite a bit brighter on the screen/camera
than is clear when photographing, though I am getting a much better feel for
this as I progress through this assignment. By changing my position I have decreased
the area of overexposure, and this has improved the image. By keeping the
aperture large the background is mostly out of focus which helps to make it
less prominent. I used manual exposure as I find it easier to control and more
predictable than aperture or shutter priority in situations such as these.
Photo 10
IMG_3373
Street scene in the middle of a clear, sunny day #1
24-70mm f/2.8 lens, Canon 30D, f/6.7, 24mm, 1/250sec,
ISO 100
IMG_3373. Street scene in the middle of a clear, sunny day #1 |
Another typical high contrast
scene is found amongst tall buildings on a sunny day. This image of the
Queensland Conservatorium at Southbank is a good example, with strong midday sun
striking the top part of the building and the lower part being in fairly deep
shade. I have used manual mode for this image, metering off the bright part of
the building and then exposing to keep it brighter than mid-tone. A few test
shots resulted in good colour saturation in the red walls and blue sky.
Unfortunately due to using a fairly wide angle lens (24mm), there are some
problems with slight tilt on the verticals, which would ideally be corrected in
post-processing (for example using the crop tool as shown below). Next time I
would step back and zoom in to more like 35 to 50mm which would decrease the
bend on the verticals.
There is a small amount of
shadow clipping in this image. I thought that there might be more; the shadow
areas are actually quite well imaged by the camera. There is no highlight
clipping in this image – perhaps if the man had been wearing a bright white
shirt instead of black then his shirt (reflecting the sunlight) would have been
clipped. The exposure is probably slightly darker than ‘ideal’, but this gives
good colour saturation, and if I was post-processing then I could lift some of
the bright areas to make them a bit lighter.
Street scene in the middle of a clear, sunny day #1 (Verticals corrected using crop tool) |
Photo 11
IMG_3684
Street scene in the middle of a clear, sunny day #2
24-70mm f/2.8 lens, Canon 30D, f/6.7, 40mm, 1/125sec,
ISO 100
IMG_3684. Street scene in the middle of a clear, sunny day #2 |
This image was taken
on a bright sunny day and is of the Brisbane Museum with skylight below to the
Art Gallery of Queensland. I have used a polarising filter to darken the sky slightly
in this image. There are some very white whites on the wall in the sunshine,
and deep shadows in the shade, but there is actually no clipping of either the
highlights or shadows in this image, though the white wall gets close. I am
surprised that there is no clipping in this image – perhaps there is some light
reflected off the concrete back into the eating area which makes it a little
less dark.
I like the geometry
of this image – interesting and varied shapes and lines. The ladder looks like I
might be going into a swimming pool, the skylight (akin to the Louvre!) is triangular
and strongly geometric, and the MUSEUM sign at the top finishes off the image.
I did capture some shots with people walking through the frame but didn’t feel
in this case they added to it. This might be an interesting location to return
to at different times of the day (or night).
The main challenges
photographically were (I thought) imaging the dark shadows of the café area
under the roof, and the white areas of the wall not being blown out. As I have
mentioned, this has not actually occurred so doesn’t seem to be a big problem –
the camera and jpeg have coped fine with the variety in light levels across the
image. I actually envisioned that the camera would clip one or both ends of the
spectrum but this has not occurred.
I thought this image might be an
interesting one to analyse by zones, so I have done a simple B&W conversion
simply by removing the colour (using Lightroom).
Desaturated image |
There are good blocks of the
different zones. According to the histogram (below), there is no zone 0 (black
with no details or visible texture).
Histogram from Desaturated image |
Zone I (first change in tone
from black by still no real texture) is seen under the roof top right of image.
Zone II (first shadow details, dark texture visible) is seen under the stairs
(middle lower left). Zone III (dark areas with good texture) is seen in the café
area (middle lower right). Zone IV (dark elements such as foliage and stone) is
seen in the wall and roof area above the café and on the triangular skylight.
Zone V (middle grey) is seen on the blue sky. Zone VI (light shadows and stone)
is seen on the wall below the lowermost ladder. Zone VII (very pale skins,
average snow scene, bright print tones) is seen on the uppermost part of the building.
Zone VIII (lightest tone with texture still visible, white objects in sun) is
seen on the concrete foreground. Zone IX (lightest printable tone but no real
texture present) is seen on the white wall facing the sun with the ladder on
it. Zone X (white with no details or visible texture) is not actually present
in this image. (Description of zones taken from DI magazine 01 2010)
This is an interesting way of
analysing the image (and much easier without the colour component).
Photo 12
IMG_3728
Street scene in the middle of a clear, sunny day #3
24-70mm f/2.8 lens, Canon 30D, f/3.5, 64mm, 1/350sec,
ISO 100
IMG_3728. Street scene in the middle of a clear, sunny day #3 |
Taken in the Brisbane mall on a
bright day, I have kept the buildings somewhat dark and let the sun pick out
some people as the subject of the image (as in the style of Trent Parke whose
work I reviewed recently). This results in a fairly dark image but with the
bright light on a couple of people, with minor shadow clipping and highlight clipping
on the white shirt.
I used manual mode and metered
off a part of the ground that I wanted to be mid-tone-grey. I then adjusted as
I felt necessary using the histogram and clipping displays on the camera. I
then focussed on the group of people I wanted to concentrate on and waited for
people to walk past in what I thought might be attractive compositions. I saw
this scene as having quite deep shadows, but actually the camera has captured
them quite well. This scene I thought was too dark when I took it (and viewed
on the camera) but on reflection at home, it is dark but quite well exposed in
my opinion. This shows me that I need to keep an open mind when I’m out
shooting with what may ‘work’ and it’s not always what looks right on the
camera that makes for a dynamic and interesting image.
Part 2:
For the second part of this assignment, one of the
previously photographed scene types is chosen, with the three images taken for
each, this time alternative conditions were chosen to attempt to decrease the
dynamic range of the image. I have chosen to rephotograph those images taken
inside with natural window light.
Images:
My selected, unprocessed images are detailed below.
Photo 1
IMG_3202
Internal scene lit only by window #1 Sunny Day
17-35mm f/2.8 lens, Canon 30D, f/16, 17mm, 1sec, ISO
100
IMG_3202. Internal scene lit only by window #1 Sunny Day
|
Histogram
from IMG_3202
|
The original image (above, IMG_3202),
shows highlight clipping through the windows, and the chest of drawers is quite
dark, though could possibly be lightened in post-processing. There is not quite
enough balance in the lighting in the photograph. So I decided to try shooting
on an overcast day.
IMG_3503
Internal scene lit only by window #1 Cloudy Day
17-35mm f/2.8 lens, Canon 30D, f/5.6, 17mm, 1/8sec,
ISO 100
IMG_3503. Internal scene lit only by window #1 Cloudy Day
|
Histogram
from IMG_3503
|
This image has
similar problems to the sunny day image, the light is more diffuse, but still
results in highlight clipping through the windows, and the shadow areas and
chest of drawers are too dark. So I thought to balance the scene I would add in
a graduated neutral density filter to the scene.
IMG_3480
Internal scene lit only by window #1 Cloudy Day,
Graduated Neutral Density Filter
17-35mm f/2.8 lens, Canon 30D, f/5.6, 17mm, 1/8sec,
ISO 100
IMG_3480. Internal scene lit only by window #1 Cloudy Day, Graduated Neutral Density Filter
|
Histogram
from IMG_3480
|
This image is more
balanced than the previous image. There is still some highlight clipping
through the windows, but the chest of drawers and floor space in front of it is
better lit and has more detail. I thought I could do better though, and decided
to light the interior with some fill flash.
IMG_3498
Internal scene lit only by window #1 Cloudy Day,
Graduated Neutral Density Filter and Fill Flash
17-35mm f/2.8 lens, Canon 30D, f/5.6, 17mm, 1/30sec,
ISO 100
IMG_3498. Internal scene lit only by window #1 Cloudy Day, Graduated Neutral Density Filter and Fill Flash
|
Histogram
from IMG_3498
|
I needed to play a
bit with the settings. First I tried using the flash with a -2stop EV, but
found the windows still too bright, so I decreased it to -1stop EV and then
used exposure compensation on the camera (-2stops) to balance the scene. The
flash (580EX) is off the camera held up above and slightly offset from the
camera and I am using a small softbox to soften the light slightly. I also
changed to Flash WB. Essentially here I have exposed for the windows and then
lit the room with flash.
This is a far
superior image. There is detail through the windows to the street and garden
beyond, and there is good detail and colour in the foreground, including under
the bed. There is a small shadow on the ceiling from the fan which is not
ideal, and also the softbox can be seen reflected in the window. Practice with
placing the flash may help with these problems, or perhaps the use of multiple
flash heads.
Other options
include HDR, or simply photographing with a couple of different exposures and
using layers in Photoshop to emphasise different parts of the image (e.g. using the 'lighten' blend mode). The flash
could be used to light different parts of the room and then these overlain over
each other and masked in/out to create one image which is more evenly lit. As
this assignment is not meant to include any post-processing techniques I have
not gone down this route.
Photo 2
IMG_3283
Internal scene lit only by window #2
24-70mm f/2.8 lens, Canon 30D, f/4, 46mm, 1/2000sec,
ISO 100
IMG_3283. Internal scene lit only by window #2
|
Histogram from IMG_3283
|
The original image above has very deep shadows (and they are almost clipped according
to the histogram above). I don’t see this as an issue, but the aim of this
assignment is to decrease the dynamic range of an image, so I shall attempt to
do so. I first tried recreating the image on a slightly overcast day. The
results are similar to the image taken on a sunny day.
IMG_3508
Internal scene lit only by window #2, slightly cloudy
day
24-70mm f/2.8 lens, Canon 30D, f/4, 43mm, 1/350sec,
ISO 100
IMG_3508. Internal scene lit only by window #2, slightly cloudy day
|
Histogram from IMG_3508
|
The shadow areas are not as dark as the full
sun image, and this is also seen in the histogram with the shadow areas not
clipped or as close to clipped as they were in the sunny day image. The only
highlight clipping is in the areas of specular highlight. I thought I would try
placing the subject (truck) in an area not lit directly by the light coming through
the windows.
IMG_3511
Internal scene lit only by window #2, slightly cloudy
day, object not in direct sunlight
24-70mm f/2.8 lens, Canon 30D, f/4, 42mm, 1/45sec,
ISO 100
IMG_3511. Internal scene lit only by window #2, slightly cloudy day, object not in direct sunlight
|
Histogram from
IMG_3511
|
This image has a
considerably lower dynamic range, but is also less interesting. There is no
clipping of highlights or shadows, but there is not the same dramatic feel
which is caused by the deep shadows on the previous images. However, the image
doesn’t have any technical problems caused by high dynamic range. I next tried
placing the truck back in the direct light and using a reflector pointing
towards the shadow area to make the shadows less dark. Looking visually at the
scene the shadows appeared lighter to my eye.
IMG_3517
Internal scene lit only by window #2, slightly cloudy
day, reflector on shadow area
24-70mm f/2.8 lens, Canon 30D, f/4, 70mm, 1/500sec,
ISO 100
IMG_3517. Internal scene lit only by window #2, slightly cloudy day, reflector on shadow area
|
Histogram
from IMG_3517
|
This image is not
significantly different from not using the reflector, and this is probably
because it is difficult to position the reflector so it only adds light to the
shadow area and not to the truck too, thus altering the exposure across the
whole image. Finally I tried using some fill flash.
IMG_3523
Internal scene lit only by window #2, slightly cloudy
day, fill flash
24-70mm f/2.8 lens, Canon 30D, f/13, 70mm, 1/250sec,
ISO 100
IMG_3523. Internal scene lit only by window #2, slightly cloudy day, fill flash
|
Histogram
from IMG_3523
|
In this image the shadow
areas are not anywhere near clipped, and there are almost no specular
highlights. The flash has balanced the image nicely, though I feel it is less
dynamic and interesting than the previous images as a result.
I’m surprised at the
little difference between the histograms shown above. I expected a larger
difference, although there is more breadth in the peak in the shadow area which
indicates more information spread down the dark end of the spectrum but perhaps
with fewer pixels near total black. The specular highlights don’t show up at
all on the histogram. The differences in this example are interesting, but I
think I still prefer my first image taken in the strong sunlight with deep
shadows for interest.
Photo 3
IMG_3713
Internal scene lit only by window #3
24-70mm f/2.8 lens, Canon 30D, f/5.6, 43mm, 1/125sec,
ISO 200
IMG_3713. Internal scene lit only by window #3
|
Histogram
from IMG_3713
|
In this scene there
is highlight clipping in the bright sky, and shadow clipping (not much of a
problem) in the artwork itself. I visited the GOMA on an overcast day and took
the following image.
IMG_3664
Internal scene lit only by window #3, cloudy day
24-70mm f/2.8 lens, Canon 30D, f/4, 43mm, 1/60sec,
ISO 640
IMG_3664. Internal scene lit only by window #3, cloudy day
|
Histogram from IMG_3664
|
I have approached this situation
on an overcast day but found the sky to be very bright (similar problem to the
sunny image). So in this case I have looked for a creative solution which does
not include the view out the windows, but instead concentrates more on the
artwork. This image shows no highlight clipping (actually there is one very
small bright highlight which is clipped in the top right of the image) and some
minimal shadow clipping in the blacks of the art work. I feel that this is an
equally successful, though different, image to the previous one.
The white balance is different
to the sunny-day shot, and the image feels different due to the different
perspective. Here the focus is more on the artworks and less on the location.
In many ways this is a stronger image. I was careful to keep the verticals as
close to vertical as I could (by stepping back and keeping the lens zoomed in
and not too wide), though in post-processing this would be checked carefully
and adjusted if necessary. I should have used a tripod as this would have
allowed me to lower my ISO more and thus decrease noise which is evident when
zoomed in, however this could be decreased in post-processing.
Other options include using a
technique such as HDR with a similar viewpoint to the first image. Flash is not
an option in this location (not allowed in art galleries), and it would be hard
to flash the whole area (it is quite large). I think choosing an alternate view
has provided a good solution.
Conclusions:
Overall I have found this assignment very inspiring and educating. I am
feeling much more comfortable shooting in manual mode (previously my default
was aperture priority, and now I feel I better understand manual). I looked
back through my archive of images and was surprised to see that I found many
situations where the dynamic range was high and it resulted in a strong image –
but I had not previously recognised this! I have tended to shy away from such
situations from fear of exposing wrongly, but this assignment has really helped
me to embrace such situations and see them as great creative opportunities. I
am now on the lookout for these opportunities in my shooting, and am setting my
camera to manual and searching for the deep shadows and bright highlights. I
now need to work on my raw processing skills (the next set of exercises should
help with that!) to ensure I get the most out of my images when these
situations arise.
I have tried in this assignment to search out the scenes with high
dynamic range. A couple of images are not clipped at the end members, but they
do show scenes where slightly different lighting conditions would cause them to
be clipped. I have tried not to play it safe and choose easy scenes, but
instead looked for conditions where my camera will have difficulty with the
exposure. This has led me to be more creative and also more accepting of the
nature of the medium (with its inherent flaws).
I found that some of the scenes which I thought would be higher dynamic
range (and thus clipped) are actually not so. This was a surprise to me, and
shows that the camera is quite good at capturing what I see. I am also finding
my eye is improved at looking at a scene and judging what will blow out in
highlights or be lost in the shadows. I found that by altering my viewpoint or
cropping in a little tighter on the scene I could avoid some of the highlights
that are otherwise distracting in an image. Or slightly change my exposure to
fit the scene better. I anticipate that this assignment and learnings will help
me enormously in making ‘good’ captures in the camera, but in addition, to help
me to search out interesting lighting scenarios in my future work.
My review of the zones system has helped me with analysing an image once
I have captured it. The next step is looking for this while I am out capturing
images – while not all images ‘need’ to have all the zones covered, if a
certain look is sought, then it can be useful to have at least a knowledge of
the zone system. I am also interested in looking for images/scenes which only
capture part of the zone system – i.e. low key or high key situations.
The second part of the assignment was to photograph the same scenes a
second time. I found this process interesting – trying out the different
scenarios of graduated neutral density filters, fill flash, different lighting
conditions and changing compositional viewpoints. Seeing how the histogram
changed from shot to shot was interesting but I think the ‘clipping highlight’
option on the camera and also in Lightroom is more useful.
Overall this has been enlightening and a very useful exercise in learning
to ‘see like my camera’. I feel like most of the images are on the whole
successful, and I continue to improve my ability to visualise and create good images.
A couple of the images are not completely successful, and I would make some
different decisions with a couple next time, though some changes would be
possible in raw processing if that was available (WB for example).
References:
Freeman, M. (2009), Perfect
Exposure. East Sussex: Ilex
DI Magazine. (2010), DI
Magazine 01 [online], Available from http://www.di-magazine.com/
[Accessed 9 October 2012]
Wallace, S. (2012), Digital Photographic Practice Blog [online], Available from http://digitalphotographyselina.blogspot.com.au/2012/09/artist-trent-parke.html [Accessed 9 October 2012]
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