Sitting by the pond, eating an ice cream and enjoying doing nothing for 2 minutes.
Monday, 25 April 2011
Sunday, 24 April 2011
My cousin Andy shortly after marrying Ali in Manchester town hall.
High speed shot of an illuminated fountain, capturing the motion and blocking out the background. Makes for a nice artsy shot.
Thursday, 21 April 2011
That lovely time of the evening when the sun is low in the sky, this evening mist is just starting to rise, and the world takes on a golden glow.
Monday, 18 April 2011
Bicycle vs Taxi on West Bar roundabout. Who will be victorious?
Sunday, 17 April 2011
None of this namby-pamby, over-protective nanny state we're living in. If my kids want to climb a tree, they climb a tree.
Saturday, 16 April 2011
Dead Like Harry played an intimate gig (50 tickets) at the Yellow Arch Studios in Sheffield last night. It was amazing.
Thursday, 14 April 2011
Wednesday, 13 April 2011
Easter is coming, so I have Creme Eggs. I see nothing wrong with this. This is a bit of an experiment. The egg is sat on a piece of plain A4 paper leaning against a wall. A single strobe flashes to the right, bouncing off a white wardrobe door about 12" away from me, and back onto the egg. Seems to have worked pretty well, considering.
A picture of me with my camera and a funky flash effect. Well, if you can consider a dirty mirror a "funky" effect.
I didn't realise until seeing this picture how tiny my camera is. Or how massive my hands are. Whichever. Could explain why I have so much trouble using teeny weeny compacts.
Tuesday, 12 April 2011
Autumnal pictures. The Helios 58mm f/2 prime lens made me realise how good a decent prime can be, after years of struggling with slow kit lenses or crappy compacts. It has ended up being very much my standard "out and about" configuration, albeit with some slight modifications.
Moving on a little, I got my hands on the Nikon 50mm f/1.8 prime and took some more Autumn pictures. I raved about it, that moment of realisation of what I was missing out on by sticking to a relatively slow and clunky kit zoom.
Since then, and after a rather harrowing week of losing the lot to a break in, I have moved on with my kit to try and cover all bases. And the more I have got, the less I have tended to use the kit zoom. In fact, saving a few occasions when I've really needed an 18mm lens, it's not been on my camera at all. Even the shiny shiny EF 28-135mm IS USM is underused. It's just not fast enough, and it weighs almost half a kilo.
I've still got the two of those lenses, because they do come in handy at times. They have their uses. But for a good while now my "go to" lens has been the (in)famous Nifty Fifty; the Canon EF 50mm f/1.8. A clunky plastic little number with not even so much as a distance scale. But it takes some amazing pictures.
So what on earth could I ask for to make it better? Well, the one thing the Helios has they my current crop of lenses don't; decent manual focus. The 50mm feels light and imprecise. The 28-135mm has the best of the lot, due to the USM autofocus and full time manual, but it still doesn't have the satisfying heft of a full manual lens, nor does it take much of a turn to go from one end of the focal range to the other. Focussing precisely is not an easy task because even a small rotation can throw the focus off completely.
The reasons for this are plain and perfectly acceptable. In order to get good autofocus performance, the focus ring needs to be light and free-turning. It needs to have a short range of travel and it needs to have the ability to disengage from the motor. But all this means that, while autofocus works brilliantly, focussing manually does not.
"So what?" I hear you exclaim. "Surely getting the camera to focus for you is easier?" Well, yes and no. It's very convenient, that's for certain. But it also brings a raft of other issues. Do you let the camera decide what to focus on, or do you manually tell it using the multi-point autofocus system? Do you faff about setting it to always use the exact focus point, or go for the focus-lock-and-recompose method?
Honestly, playing with the Zenit with its lovely, hefty Helios manual focus lens made me realise how much a manual focus can bring you closer to your subject. Setting the focus exactly where it needs to be and having that control be as easy and comfortable as possible makes a vast difference to the feel of taking the photograph. That feeling can translate directly into the final image.
Now, my dad recently got himself a Pentax Kx. It's a cool camera and, thanks to Pentax's insistance of evolution over revolution, works with all the newest Pentax lenses as well as any of the older lenses from years gone by. As a Canon EOS user, I don't have that luxury. I can use EF (or EF-S) lenses ... and that's it. Which puts the price of a 28mm f/2.8 at around £150. Ouch.
So does it work? Well, yes. Yes it does. It's full manual, meaning that I have to use the aperture ring to set the aperture and use stop-down metering.
But then I try the focus ring. Like a breath of fresh air, it turns so smoothly, yet doesn't ever feel loose or imprecise. When I stop turning it, it stops turning. Knocking it gently with my thumb won't throw it off. It takes a full 180 degrees of turning to go from one extreme (about 6 inches) to the other at infinity. It is, in short, just what the doctor ordered. It's not particularly slow either. In fact, in low light I can focus faster with this than when trying to convince the nifty fifty that it really does want to focus ... honest ...
But the question is, I suppose, how does it perform? Am I just talking rubbish and am actually really terrible at getting pictures in focus? Here is a small selection of pictures that I think demonstrate what I can do with it. They're not all amazing, but they give an idea.
Monday, 11 April 2011
For my 100th and 101st pictures in 365/2011 I wanted something artistic, and something stark (to go with the theme of room 101). For picture 100 I actually revisited a subject I already photographed once before; blossoms on the trees. This time I wanted to make something high key, close up and fully making use of background blur and washed out colours. I think I succeeded.
For 101 I took a picture of some metal stairs running up the side of a hospital building. By making it black and white, and aligning it so the sharp diagonals zig-zagged down the image, I think I got what I was after. I toyed with the idea of boosting the contrast to make it look more film noir, but in the end I decided it just looked cheesy.
As for my other milestone this week, my 6000th exposure, I'm not sure I could possibly call the subject artistic. See what you think.
Yup, it's the condiments tray at Tokyou. Stunning, no? But what have I done with the last few months? Have I improved? I think so. Have a look at the funky widget thing I found at roytanck.com over in the sidebar, and see what you think. And if that doesn't float your boat, just click through to the actual 365/2011 set on Flickr.
This picture is dedicated to Emma.
Sunday, 10 April 2011
Closeup of some FIRE. In spite of the apparent heat in this pic, I could get pretty close without burning myself or my camera. Sexy FD mount 28mm.
I saw this striking shadow outside the crown court here in Sheffield. It's a large runged thing outside the main entrance, and I thought the way the shadow interacted with the rounded elements was pretty cool. Also, used my all new, all manual second-hand FD mount 28mm f/2.8 just for kicks.
Saturday, 9 April 2011
A sculpture near the office, handily taking the form of an (almost) golden ratio.