In the last three weeks, I’ve been the busiest I’ve ever been since taking up this interest in photography. Has it made me a lot of money? Sadly, no. But I’m still happy with the outcome. So what have I done?
One of the hardest lessons I’ve had to learn as a photographer is not to limit myself to the immediate reaction I have when looking at a scene or subject. There is potential in every situation, even those that to the human eye and the camera initially look like disasters.
A friend of mine invited me to join her to try to shoot car light trails from a highway overpass at dusk, achieving both the capture of the sunset and the movement of the cars through light trails. Here’s what happened. Continue reading “Believe”
It’s the stuff of mystery novels, with twists and turns and a very unexpected ending. A sculptor in the US was recently awarded more than $3M in damages for copyright infringement over misuse of his work.
The work: a replica of the Statue of Liberty, designed for a casino in Las Vegas. The culprit: the US Postal Service, who legitimately licensed a copy of an image taken of the replica by a photographer who offered it on Getty Images.
Ok, don’t panic. I can hear all of my photographer friends out there slamming their computers, tablets and phones shut. It can’t be happening: photography evolving into something that uses math, algorithms and logic to deliver the “decisive moment”? Say it ain’t so! Oh, but it is, and I think we will be better off for it. At least I hope we will.
I’ve been hearing and reading quite a bit about this thing called computational photography. It is such a new field that what’s in and what’s out, or even the language with which it is communicated, is not yet well defined. But it can be applied to any form of optical capture, whether in the science lab or in the artist’s studio.
Just as digital photography revolutionized the medium by converting light into numbers through sensors and processors, computational photography manipulates those numbers “in camera” through layers of new software, providing the photographer with new options, like correcting capture problems after the fact or applying a wide variety of creative effects.
It’s actually been around in the engineering and computer science universe for more than a decade, but practically speaking, is now having a huge impact in pro and consumer photography, particularly in the latest smartphones. Continue reading “Computational Photography – The Next Big Thing?”
In two weeks, my local photography club, the Oshawa Camera Club, will be holding a discussion and vote. The subject: how natural should nature photography be? Club competition rules for the nature category are currently strict, limiting almost all evidence of “hand of man” and requiring that the image be a documentary of the subject in their natural environment. But today’s sophisticated software opens the door to edits that are routinely applied in other categories, so why not here? Here’s the debate… Continue reading “Is Nature Ever Natural?”
I had the pleasure yesterday of attending a presentation by Patrick Rochon, also known as Patrick the Light Painter.
There are many ways to express one’s creativity in photography and Patrick has chosen light as the medium for his expression. You might wonder what’s unique about that, since every photographer uses light. It’s how he uses it that sets him apart. Continue reading “Light Painting with Patrick Rochon”
A few days ago, I joined a group of enthusiastic photographers at the Port Perry waterfront to try out a new device. It’s called “The Pixelstick“. It’s a device that takes light painting to the next level. It uses a long wand-like structure attached to a digital memory to essentially scroll bands of light or fully formed images across space as you move it.