4:1 – Re-imagining the Frame

Hi Folks:

As photographers, one of the most important challenges for us it to continue to change how we see and to stretch our creativity. One of the ways to do that is to pick specific parameters and then to make a body of work that fits within those parameters. It might be to shoot only one subject, to shoot only in grayscale (B&W), to make an image every day… In the film days, most people’s relationships to photography revolved around a few aspect ratios: 2×3 (4×6), 4×5 (8×10), 5×7, etc. With some older cameras we also had 1:1 square prints, usually from 120, 127 or 620 film. With digital photography we’re not so limited, although some of the same rules apply when we get to printing. Movies (and now video) have always embraced wider frames, although there was no one standard aspect ratio. We have movies made in 1.78:1 (16×9) out to 2.4:1 (22×9) and beyond. Outside the movie theatre, for the average person 16:10/ 16:9 showed up in their lives with the first widescreen computer monitors and digital TVs.

When we updated the theme for our blog recently, our header images needed to be created at 4:1. As we covered in our recent post Cell Phones, HDR and Panoramas, in photography a panoramic image is one with a wide aspect ratio and a panorama refers to an image made from multiple, overlapping exposures. Not all panoramas are panoramic in aspect ratio. However, going through our catalogue of images looking for those that might be appropriate for header images brought me to question what might fit into that 4:1 frame. Panoramic images usually depict broad skylines, often shot with wide-angle lenses, like this:

Victoria's Inner Harbour

But looking through the images got me wondering what else might work. Maybe something closer, but still panoramic in nature, like this:

Dallas Road Shoreline

Closer still, perhaps?

Cathedral Grove Nurse Log

How close could I get and still make an image that fit the frame?

Dallas Road Shoreline

Dallas Road Storm

How about a single flower?”

Sunflower at the Gardens at HCP

Or a small patch of winter leaves?

Frost on Leaves - Butchart Gardens in February

Not every image works of course, but I’ve added another tool I can use to expand my vision. I still make panoramic images like this:

Frigon Islets, Port Alice, BC

But now I’m also likely to look at something like a hood ornament at a car show in a different light.

1929 Willys 3-Window Whippet

One never knows where it might lead! With what creative projects are you currently involved? Leave us a comment and let us know… 🙂

Okay, that’s it for now. Go out and make some photographs!!

Hugs,
M&M

P.S. We now have 40+ images comprising our Headers collection. They’re set to load randomly, so you’ll have to keep checking different posts/pages to see them all! 🙂

Seeing Red(s)

Hi Folks:

Every three years, in July, Northwest Deuce Days comes rolling into Victoria. While it means different things to different people, to the public at large it mostly means a car show with a lot (this year over 1300 vehicles registered) of classic cars. Many of them are Ford 1932 Deuce Coupes, but there is literally a cavalcade of lovingly restored and/or modified vehicles here. Everything culminates with a car show that takes over much of downtown Victoria. If you like classic cars, this is vehicle heaven.

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Photography, White Balance and Colour Profiling

Hi Folks:

I wrote this out for a friend of mine and thought I should post it here as well. Back in 2010 we wrote a post on Photography and Colour Management, and this is complementary to that post.

When it comes to colour digital photography, many photographers are aware of white balance. If you’re not, this Wikipedia article on Colour Balance explains it well. The essential element is that the human eye sees subjectively (our eyes receive energy as light and our brains interpret what that energy means) whereas digital cameras see objectively. The human perspective is highly adaptable, so no matter where or when we find ourselves, if we see something white, we recognize it as white, no matter what colour it actually is. Cameras can’t do that. If you’re shooting .jpg images you select a white balance setting on the camera – daylight or incandescent or even auto – and the camera’s software shifts the information captured so that white looks, well, white. If you’re shooting RAW, the images captured have no integral white balance and one must be assigned during raw conversion.

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