Research/Martin Parr

I first discovered the work of Martin Parr some years ago before I took up photography as a hobby.  Some of his photographs appeared in a weekend newspaper magazine  with an article about his work.  I immediately thought here was an entertaining photographer with a sense of humour.  He was using colour, and photographing ordinary everyday things, presenting them in ways that seemed extraordinary.  I could relate to this photography since these were the scenes and events that I was involved in and witnessing.  I was not aware of any other photographer that was working in this way.  Serious photographers were using black & white and if it wasn't news related it seemed to be fashion and glamour photography.  The only other photographers I was aware of at this time was David Baily, I remember his photos of Jean Shrimpton and later Twiggy, and Patrick Lichfield the society photographer.

Martin Parr was born in Epsom Surrey in 1952 and studied photography at Manchester Polytechnic, he was encouraged, early on by his Grandfather who was a keen amateur photographer and has built up an international reputation for his interpretation of social documentary, he became a member of Magnum Photographic Corporation in 1994.

The Barbican Art Gallery and National Media Museum put together a retrospective of his work in 2002 and this toured Europe for five years.  More recently he has become interested in film making, advertising and fashion.  In 2004 he was awarded a Professorship of Photography at the University of Wales, Newport Campus, as well as being appointed Guest Artistic Directore for Rencontres D'Arles.  In 2006 he was awarded the Erich Salomon Prize and in 2008 was guest curator at New York Photo Festival.

Parrworld, an exhibition of his own collections of objects such as postcards, photos and photobooks by international artists and his own photos opened in Munich in 2008 and toured Europe of two years, in the same year he won the Baumer Mercier award at PhotoEspana in recognition of his career and contribution to contemporary photography.  He will be curating the Brighton Photo Biennial in October this year.

Most of the images below are taken from 'The Last Resort' first published in 1986 and 'Think of England' published in 2000.

This is one of my favourite images with seagulls stealing chips, the two seagulls make a very balanced picture almost a reflection of each other, with the background falling out of focus to concentrate on the main subject, the birds.  To reinforce location the flag is included and because of its almost distracting colours, it draws attention and makes the viewer explore all of the picture.



This image is a great use of thirds with the sky taking up a large part and excluding a great deal of distracting information in the foreground.  The small area of detail in the right foreground is instantly recognisable as a deckchair and again places the image in Britain.

The image above could be almost any holiday location but detail in the background, promenade railings, deckchairs, coastline and to some extent the figure in the foreground wrapped up against a cool breeze, give a clue and tell a story of the British seaside.

Lots of detail in focus in this image but the colourful flag draws the eye from a curious seagull in the foreground around the picture and into the background.

A typically British pastime, looking for the ball, a simple image that tells a whole story.  Perhaps Glyndebourne is more obscure, but not to Martin Parr from a middle class background.

At first glance it would appear these pictures are taken in haste and it is true that many are scenes that the photographer has opportunistically taken.  However, they are all well put together, with a striking focal point drawing the viewer into the scene and telling how we like to spend our leisure time, telling a story.

I recently attended a seminar at Burton College with MartinParr as the guest speaker, as I anticipated he is a very amusing and entertaining speaker and he regailed us with his early experiences, reiterating on more than one occasion that he is from a middle class background.  I had to wonder if this was one of the reasons for his success, since he was able to sustain himself independently whilst forging his early career  as well as finding his early subjects of mainly working class people and attitudes interesting.

Most of his photos appear to be taken using a 35mm camera, he told us that in his experience people did not object to being photographed and it often depended on how the subject was approached, if an authorative, friendly and confidant manner was used then problems were not usually encountered.

I have included some of my own photos above, in which I have tried to capture interiors, from a similar era to those taken by Martin Parr, and I think the style of which we will all be familiar with. As social documentary they record the style and tastes of the time.

I have also added more of Martin Parr's work on my Picasa site, please click here to view.

2.1 Discussing Ideas & Test Photos

After looking at the work of  Charlie Waite I decided to go out and try some more test photos.

Venue      -   Axe Edge Moor & Goyt Valley, Peak District, Derbyshire

Equipment -  Panasonic Lumix G1, 14-45mm lens & tripod

We had better weather on this trip, however it did start very grey, blustery and cold.  I used only my 14-45mm lens since I did not want to set up the tripod for every shot and had trouble holding the camera still with the heavier lens.

I feel the compostion of my pictures is improving and I am trying to remember all the elements of good design, the rule of thirds, pattern, tone and colour.  As the day progressed and the wind became stronger, the covering cloud broke up revealing blue sky with more interesting cloud formations, I tried to include these in my pictures.  However, I am still disappointed with the colour and depth in the scene.  I also tried to include diagonal lines, as in many of Charlie Waites photographs.

Steve suggested that I try different settings on the colour balance and try to get out early in the morning or late afternoon when the sun is lower in the sky and adds shadows and warmth to the scene.  We looked at the colour temperatures in the Kelvin scale below to illustrate this point.

He also suggested  I try using a lower viewpoint to get more interest and detail in the foreground and using some device to lead the eye into the picture, such as the line of fence posts in the right foreground, (in the picture above), to give  a feeling of depth.

I also now have an adaptor ring to fit my Cokin filters to my Panasonic camera so will experiment with these next time I am able to get out with my camera.

We are planning a trip to the Welsh coast and I will remember the advice from Steve about time of day and weather conditions as well as different view points.

We have also talked about Health and Safety and I have research the Countryside and Wildlife Act so that I am aware of access rights and damage to flora and fauna. 

1.2 Photographic Research/Charlie Waite

Charlie Waite was born in 1949 and first worked in British theatre for 10 years becoming fascinated by lighting and design, before gradually being drawn to photography and landscapes and the way they can be revealed to us by light and shade.
He has practised photography for 25 years and shown work in the National Theatre and OXO Gallery as well as solo exhibitions all over the world.
With 27 book published, he is one of the most celebrated international landscape photographers.

He also has a tour comany 'Light and Land' with specialist photographers who run workshops all over the world, dedicated to bettering photography.  He says he is passionate in his desire for people to revisit the camera and see it as it should be seen -" a hugely creative tool which allows everyone an opportunity to express themselves artistically and which provides a means of drawing us closer to the essence of the world around us".

Charlie Waite enjoys photographing scenery that has resulted from human interaction with the land, the patterns left by a plough, dry stone walls, patterns of fields, particularly after rain.  He is fascinated by a rural way of life and the idea of working the land and growing your own food.  He also enjoys architectural settings, the English country park where generations have worked and moulded the landscape.

His early influences  include the impressionist painters, Claude Lorraine, a French landscape painter for one, after he was encouraged by his mother to visit art galleries and he began to study how they worked with light to bring depth to their work.

He has also studied the work of Laurence Whistler a glass engraver whom he says can "craft beaded light onto a glass with his fine engraving technique".

An image that has had a lasting impression on him is 'Grand Central Station in 1934' by Hal Morley, although this is not a landscape it is a large panoramic picture, full of pattern  and atmosphere, with light streaming through the windows onto the concourse below, much like sunlight breaking through clouds after a storm.

Charlie Waite says he truly understood how to use light when he took what he believes to be his most memorable picture, that of the view of St Claude Valfin in France, bathed in golden light, each time he looks at this image he is transported back to the scene.

I admire all of Charlie Waites work but am particularly drawn to his seascapes. 

The picture above is taken from Chesil beach in Dorset, the sun is very low in the sky and just breaking through covering cloud, forming diagonal patterns which point down through the picture leading the eye into the distance, creating a feeling of depth and vastness to the ocean.  The foreground echoes  the diagonal lines of the sky but adds a different texture with pattern in the  pebbles, whilst the breaking water adds softness and yet another texture.  Colours are of a similar tone and soft and muted with harder edges brought in by the darker tones.  Interest is added with the shape of pebbles, frothy surf, undulating ocean and thick breaking clouds.  We can see definite thirds with the sky, sea and beach.

This is a format which he uses often, getting in close and low to his subject, to ensure detail and interest in the foreground from where the eye is drawn into the picture to explore further.  The time of day he takes his pictures is important since when the sun is low this adds shadow and texture to the scene.   The colour temperature is also important, morning and evening adds warmth and depth. 

I intent to try all of these criteria to improve my images, getting down low to give a different perspective, going out early and late in the evening to take advantage of warmer light and using some device to lend depth and scale.

 The quality of light is very important in all photography,  but particularly when taking landscapes, since it changes a scene from being a flat representation of what is in front of you,  to one of subtle interest and variation.  I have not yet been able to  achieve this in my pictures but plan to get out at different times of the day in order to test this for myself.    

1.1 1.2 1.3 Photographic Equipment

Panasonic Lumix DMC G1

This is my first Digital SLR camera, it is my choice since it has all the features of more expensive DSLR's whilst, with its innovative design, it is lightweight and unobtrusive.  I can carry it with me comfortably and use it to take quick pictures of family, friends and things I find interesting as well as more serious studies without having too much kit.

Lumix G Micro System Digital Camera G1 - Ultra compact digital interchangeable lens camera with live view

The Micro 4/3 (four thirds) mount allows the LumixG1 to be both compact and light. These qualities allow the camera to be very portable making it an ideal travelling companion.

TYPE
Camera Type - Digital interchangeable lens system camera
Recording media - SD memory card, SDHC memory card, Multimedia card
Image sensor size - 17.3 x 13.0 mm
Mount - Micro Four Thirds mount

IMAGE SENSOR
Type - Live Mos Sensor
Total pixels - 13.1 megapixels
Camera effective pixels - 12.1 megapixels
Aspect ratio 4:3 (horizontal : vertical)
Colour filter - Primary colour filter
Dust reduction system - Supersonic wave filter

RECORDING SYSTEM
Recording file format - JPEG/DPOF corresponding/RAW
Image quality - RAW/Raw+Fine/RAW+Standard/Fine/Standard
Colour space - sRGB,Adobe RGB

VIEWFINDER
Type- Live View Finder (1,440,000 dots equivalent)
Field of view - Approx 100%
Magnification - Approx 1.4x/0.7x(35mm film camera equivalent) with 50mm lens at infinity;-1.0m-1
Eye point - Approx 17.5mm
Diopter adjustment - -4.0 +4.0(m-1)

AUTO FOCUS
Type - Contrast AF system
Focusing mode - AFs/AFc/MF
AF mode - Face detection/AF tracking/23-area-focusing/1-area-focusing
AF detective range - EV 0-18 (F3.5lens,ISO 100)
AF assist lamp - yes
AF lock - AF/AE LOCK button or shutter button halfway pressed in AFs mode
Light metering system - 144-zone multi pattern sensing system
Light metering mode - Intelligent multiple/centre weighted/spot
Metering range - EV 0-18 (F2 0 lens,ios 100)
Exposure mode - Program AE, Aperture PriorityAE, Shutter priorityAE, Manual
ISO sensitivity - Auto/100/200/400/800/1600/3200/Intelligent iso
White Balance - Auto/daylight/cloudy/shade/halogen/flash/White set 1,2/Colour temp setting

SHUTTER SYSTEM
Type - Focal plane shutter
Shutter speed - 1/4000 ~ 60 and Bulb (up to approx 4 mns)
Self timer - 2sec/10sec/10sec, 3 images
Remote control - Remote control with bulb function by DMW-RSL1 (optional)

The specification also includes ; Scene mode, Burst shooting, Built-in-flash, LCD monitor, Live ViewLive View, Film mode, Playback, and Protection/Erase.

LENSES

14-45mm

This is the standard lens supplied with the G1 camera, and gives me the flexibility of a wide angle to normal
view.

Lens Construction              12 elements in 9 groups
Mount                                 Micro  Four Thirds mount
Optical Image Stabilizer      Yes
Focal Length                       f=14mm to 45mm (35mm film camera equivalent 28mm to 90mm)
Aperture Type                     7 diaphragm blades/Circular aperture diaphragm
Minimum Aperture              F22
Closest Focusing Distance   0.30m at all focal lengths

Maximum magnification     Approx 0.17x/0.34x(35mm camera equivalent)

Weight                             195g

45-200mm

Lens Construction              16  elements in 13 groups

Mount                                Micro four thirds mount

Optical image stabilizer        Yes

Focal length                         f=45mm to 200mm (35mm film camera

                                            equiv 90mm-400mm)

Aperture type                       7 diaphragm blades/circular aperture diap.

Apeture range                      f4.0(Wide) - f5.6(Tele)

Minimum aperture                F22

Closest focusing dist.           1.0m at all focal lengths

Max magnification                Approx 0.19x / 0.38x (35mm film camera equiv)

 Weight                                380g

This is a zoom lens which allows me to magnify a small part of the field of view to fill the frame  and still has the optical image stabilizer  and a light weight giving me the flexibility to use it without a tripod for support.
                                                                                    

FILTERS

I also have a number of coloured Cokin filters, as well as a polarising filter and a graduated filter, however these were bought some years ago and do not fit my Panasonic G1,  but I have ordered an adaptor ring which should enable me to fit them to the camera I am using.

Many coloured filters are no longer used with DSLR cameras since enhancements can now be made through one of the many computer programmes available.  However Panasonic recommend that a UV filter be permanently fixed to its lenses to protect them from damage.

Landscape photographers however, make use of polarising filters since these cut down on reflections when photographing water and can darken skies, in addition graduated filters can add colour and contrast to a dull sky.

COKIN FILTERS

What are Cokin filters made from? CR-39 Organic Glass: All Cokin filters are manufactured from CR-39 organic glass - originally launched for the vision lens industry, CR-39 organic glass boasts several major features: Extra lightweight Highly resistant to shocks, meaning that photographers, videographers and cameramen can handle the filters in complete confidence and safety Excellent optical transmission and high compatibility to colouring, making Cokin filters the proven choice of photographers worldwide.

How the Cokin System works The Cokin Creative Filter System consists of three main components: A filter holder / Adapter ring and a Filter. Screw the adapter ring onto your lens. Slide the filter holder on the adapter ring until it snaps in place. The filter holder is now solidly attached to the lens, yet it can rotate both left and right. Slide the filter into one of the filter holder slots. The one closest to the filter holder housing is the narrowest; it allows the use of round filters with notched edges (polarizer, star filters..). The two central slots are intended for square filters. The outer slot can be used either for an additional filter or for a coupling ring.

Most popular filters - There are over 140 filters to choose from in the range. The most popular are: Polarizers - Designed to eliminate unwanted reflections and darken skies. Graduated - Add colour to a scene by using a Cokin graduated filter to enhance a dull sky, or use a Sunset filter to add warmth. Pastels and Diffusers - Ideal for portraits, still life and landscapes, to create a moody atmosphere and a softer effect. Warm-up Filters - Add warmth to a portrait shot, giving improved skin tones. Colour Filters - Colour correction filters are available, as are Neutral Density filters and filters specifically designed for use with black and white film. Optical effects - There is a wide range of filters available to add special effects to photographs, such as Starbursts, Multi-image, close-up, Rainbow, Double exposure etc.

	COLOURED FILTERS		DIFFRACTERS - STARS
	POLARIZERS		PASTELS - DIFFUSERS
	GRADUATED & ND FILTERS		OPTICAL EFFECTS
	CENTRE SPOTS		SPECIAL EFFECTS

TRIPODS

This is my tripod which I purchased second hand a number of years ago.  It is a Kenlock 2000 SQ, alluminium and very durable.  It extends from 0.5m up to 1.5m and has a  pan and tilt head.  A tripod is essential to keep the camera steady at long exposures.

1.1, 1.2, 1.3, 1.4, 1.6, 1.7, 1.8, 2.1, 2.2, 2.4, 2.6, Photographic Research/Experimental Pictures

This the work of Joe Cornish, I find his pictures very inspirational and will try to study them in more detail, so I can understand what it is, that makes an ordinary or good photograph great, how to look at the landscape and see a framed picture that has all the elements to make it interesting to others, how to use the changing light and seasons and understand the technical elements, so I can reproduce them in my work.


Joe Cornish came to photography gradually whilst studying fine art at university. His influences are Ansel Adams, Edward Weston, Paul Strand and Walker Evans to name some. He tried social and portrait photography for a while but didn't like to be inside a studio, prefering to work outside, he was fascinated by maps as a young boy and liked to discover open landscapes and coastal areas. He was given work by the National Trust, they needed black and white photographs for a book, following this he met Charlie Waite, a successful landscape photographer, and worked with a number of other photographers on a photolibrary 'Landscape
Only'.

I have been studying 'Light & Land, Working The Light, A Landscape Masterclass', put together by Joe Cornish, Charlie Waite, David Ward & Eddie Ephraums.
It is full of beautiful pictures by various photographers and carries critiques as well as technical information about the pictures.

I have put together some photographs by Joe Cornish, click HERE to view.


I love the coastal view below, it clearly demonstrates the use of thirds since 2/3 of the picture is composed with sea and land and the final 1/3 of sky.

The tower on the hill in the distance adds interest in this area, with the eye having been drawn around and up to it, after first alighting on the highlighted boulders in the foreground, my eye then travels to the left down the sloping hillside to the lightening sky, then back over the outcops of rock in the middle ground finally resting on the shoreline and rocky beach.


The sky is a moody reflection of the water and seems to convey a latent power which has just been tamed by the rising sun, colours are muted and of similar dark tones, except for the breaking light on the horizon which is reflected on the boulders in the foreground, this brings the picture to life and adds contrast.


There are different textures in the scene, a slow shutter speed has been used to soften the water on the shoreline breaking on the solid shiney boulders which add pattern and shape, the coastline receding into the distance appears to be hard and rough against the softer billowing clouds, with the sun breaking through to add yet another element.


There is interest all through the picture with the different elements providing an obvious foreground, middle distance and background, it would appear that a small apperture has been used to keep detail sharp all through and probably a graduated filter to give more emphasis and interest in the sky.


I also like the "inner landscapes" of Joe Cornish, details of the landscape, can carry as much impact as panoramic views. There is a fantastic range of colours in the picture 'Beach Pebbles' , although there is great harmony in the picture since all the colours are of the same tone. The photographer repeatedly uses lots of pattern and shape in his pictures to add interest and keep the viewers eye moving from one spot to another.


In order to practice more landscape photography I have decided to take a trip out to Dovedale in the Peak District National Park and will try to keep the work of Joe Cornish in mind when composing pictures.














Venue ; Dovedale, Peak District National Park, Derbyshire
Equipment ; Panasonic Lumix G1, 14-44mm & 44-200mm lens, tripod

Comments ; I have been studying the work of Joe Cornish, (see above) and particularly like his landscape studies which include water. He has used slow shutter speeds in order to soften the flow and make water appear more interesting and frothy.

I decided to try and capture water in this way and took a number of pictures before I achieved the effect I wanted.

I particularly liked the rock with water flowing around it, I wanted to get a close overhead picture and had to find something close enough to the bank where I could lean over with my camera without danger of slipping into the water, I couldn't use a tripod since the bank was muddy and soft, so had to ensure to hold the camera steady. I used my standard lens at f16, shutter speed of 1/4 sec at iso100.

I should have preferred to compose the picture with more thought, perhaps with the rocks better placed and more interest in the foreground, a polarising filter may have been useful to cut down on reflection and give a better view of the green weed under the water. I shall take more time to think about composition when I next go out with my camera.

I also took some larger landscape pictures trying to use the rule of thirds and ensure that I had interest in the foreground, middle and background. Some are more successful than others but I am still not satisfied with the colour. I am sure this will improve as we move more into spring and the hillsides and trees become more green. I have tried to limit the sky to the top third of the picture in many of the shots, since it was uniformly grey the day I could get out. I am however, looking at filters in order to improve colours and add more interest in the sky.

More images can be viewed in my Picasa folder, CLICK HERE

1.6 more practice

I was hoping to improve on my landscape photography last weekend but the weather was so cold and grey and I didn't have much free time so I went down to the local spinney to cheer myself up with the snowdrops.

Since they are such small flowers I decided to take close-up pictures using a large aperture and took my Panasonic Lumix G1 camera with 14-45mm lens. I also took a board to rest the camera on and something to kneel on.

I took landscape as well as portrate pictures with an aperture of 5.6, iso 100.