Entries from June 2007 ↓

This year marks the 60th anniversary of one of the World’s most famous photo agencies; Magnum was formed in 1947 by Robert Capa, Henri Cartier Bresson, George Rodger and David ‘Chim’ Seymour.

Robert Capa, had for some time, promoted the idea of an agency run by photographers, but it seems that this became fully realised after a meeting in the second floor restaurant of the Museum of Modern Art in New York. It was here, so the story goes, that the name and structure were decided upon. It works based on the cooperative idea, owned by it’s members, and where the photographers retain the copyright to their images.

The Magnum image library contains some of the most iconic images of the last 60 years.

As an aside; the current (June 16th) issue of Amateur Photographer is devoted to this and includes some interesting articles on the history and photographers, as well as a behind the scenes look at the London offices. It also includes many of the agency’s most famous images which makes it well worth checking out.

Taken using a 50mm lens and 68mm extension in combination. Depth of field becomes pretty tight.

I’ve previously mentioned that one of the more reasonable ways to add a macro capability to a SLR is through the use of extension tubes.

Extension tubes work by reducing the minimum focus distance of the lens, allowing you to get closer to your subject and still be in focus. This can sometimes be a bit of a disadvantage with things that notice you coming, such as insects!

Recently, I decided to take a look at some of the options available for my Canon Digital SLR. Canon make a 12mm and 25mm tube, however, another Japanese company, Kenko, make sets for most of the major lens mounts; and they are well worth looking at.

I did briefly consider the Canon, but only very briefly, the Kenko set offers more flexibility for around the same cash as one of the Canon tubes.

The set contains 12, 20 and 36mm tubes which can be connected together to give an enormous 68 mm extension, used alone or in combination. Extreme close ups here we come!

Playing around with them, (I mounted the new 50mm lens on top) you soon realise that depth of field is pretty heavily reduced, but they are fantastic fun. They do make for a slightly darker image when reading from the camera’s meter. So, to compensate, you might lower the shutter speed, or use the bracketing function of your camera to get a nicely lit shot.

On the whole if you’re interested in taking some macro shots, and you don’t want to splash out on a dedicated lens, they’re a good option. One word of warning though some lenses may not fit or indeed work, for example the standard 18-55mm lens which comes with the consumer Canon SLRs won’t. Lenses with lower focal lengths (below 35mm) may not focus at all, even though they fit the arrangement, since the focal distance is so reduced.

Treat yourself to the 50mm lens mentioned previously instead. They’re a great combination, and the variety of shots you can make with them is amazing (Not just macro).

The 50mm lens is a classic piece of kit, it’s basically the WYSIWYG of the lens world. The idea being that it will give an image that correlates to what your eyes see, albeit at a reduced field of view.
The lens was a standard fitting on most 35mm cameras for a number of years, and made famous by many of the great photographers in particular Cartier-Bresson and Elliott Erwitt. There’s a good article here on shutterbug.com with some more info.

I recently picked up Canon’s EF 50mm f1/8 II Lens, and I have to say it’s a really fantastic. I am completely taken with it, and have had it attached to my 350D body for the past few days. In comparison to the (approximate) 50mm setting on the EFs 18-55 lens that comes with the 350/400Ds as standard there really is just no comparison!
With an aperture going to f1/8, it lets in plenty of light. It’s great for available light portraits and candid shots.
This aperture gives a shallow depth of field, helping to removed any background mess, which can be very effect in close up portraiture.
One negative is the plastic enclosure and general build which does feel a little cheap, but for the price maybe that’s to be expected; and given just how inexpensive (trust me, it’s pretty cheap!) it is, it’s hardly a complaint.

It really is very difficult to find fault with the lens, and I’d highly recommend it to any Canon users out there, particularly if you’re moving away from the EFS 18-55 that came with your camera and looking for that first prime lens to start the lens collection. It’s an opinion shared by a good many others, take a look at the discussion here on fredmiranda.com.

It’s also available to buy on amazon; Canon EF 50mm f/1.8 II Camera Lens

Adobe are getting a bit of flack lately over their software pricing policy, specifically the price difference between the US and Europe. It’s not without justification.

Take a look at this price comparison chart on amanwithapencil.com.
In the case of the latest release of Creative Studio Design Premium (CS3), there’s up to a 1000 dollars in the difference, between the UK and the US.
If you feel strongly about this, there’s a petition to the European Commission you can sign… there are already over 10,000 signatures.

I’m currently using a very old copy of Elements 2.0, which I got bundled with a scanner I bought a few years ago. As you can see in the post below; I’m not adverse to doing the odd digital composite or just generally playing around with the software… No doubt about it, Adobe make great software. Doing a full upgrade of my software to something a little more pro and up to date has been on the cards for a while now… but my wallet just can’t make it that far… especially when a new camera beckons…

So, will Adobe listen, and start playing fair…? Who knows? If they do, there’s a good chance that I’ll break open my piggy bank… and send a few euro their way.

1. Pay homage to one of your favourite photographers.

2. Photograph some hands; working, not working, muddy ones, wrinkly ones, soft ones, small and large.

3. How about photographing feet?

4. Go Black and White for a day. Get back to the old days… You could set your (digital) camera to do this, but since you can do it pretty easily in most photo software, it might be an idea to just try out every photo as a B&W image.

5. Saturate everything with glorious colour. (Good job you didn’t use the B&W setting on the camera eh?) This can work really well if you have images containing just a few complimentary colours.

6. Play with the hue… if you’ve always wondered what it does.. check it out. It basically cycles through the colour palette, reds become yellows, become greens.

7. Take pictures from a moving vehicle, such as a car or train; please don’t do this while driving a car… you’ll be busy with the camera. Pick fast shutter speeds if you want to get some detail, and you’ve got some available light… for obvious reasons; don’t use a flash. Shooting from the side window, things are going to get plenty of motion blur, particularly those objects which are closest to you. Pointing the camera towards the front or back will reduce blurring. At night, with longer exposures, you can get some interesting effects, with the trails of head lights being the most intense light source…

8. Take some abstract shots; out of focus, long exposures, you name it… includes the occasional mistake which can make for an interesting image.

9. Abstraction again; this time go in close. Look for interesting surfaces, wood, bark, peeling paint, or rusting metal can all have intriguing patterns and textures.

10. Last one; number ten is maybe the most important… Have fun!