Project 2: A durational space – Exercise 3.2

Exercise 3.2
Start by doing your own research into some of the artists discussed above.
Then, using slow shutter speeds, the multiple exposure function, or another
technique inspired by the examples above, try to record the trace of movement
within the frame. You can be as experimental as you like. Add a selection of shots
together with relevant shooting data and a description of your process (how you
captured the shots) to your learning log.

As part of Assignment 2 I took a number of images around Waterloo station in which I was attempting to capture images that evoked the chaotic movement of commuter crowds. The following images were all taken handheld due to the restrictions regarding tripods within Waterloo Station. I tried various combinations of; height, angle, focal length and exposure. I think that the images evoke movement and provide the traces of time I was attempting to create.

Blur 1

Blur 1 – Focal Length 450mm, ISO 400, Exposure 2 sec at f/22

Blur 2

Blur 2 – Focal Length 123mm, ISO 400, Exposure 2 sec at f/22

Blur 3

Blur 3 – Focal Length 123mm, ISO 400, Exposure 2 sec at f/22

Blur 4

Blur 4 – Focal Length 90mm, ISO 400, Exposure 1 sec at f/22

Blur 5

Blur 5 – Focal Length 217mm, ISO 400, Exposure 2.5 sec at f/22

Blur 6

Blur 6 – Focal Length 450mm, ISO 400, Exposure 1/15 sec at f/6.3


Project 1: The frozen moment – Exercise 3.1

Exercise 3.1

Using fast shutter speeds, try to isolate a frozen moment of time in a moving subject.
Depending on the available light you may have to select a high ISO to avoid visible
blur in the photograph. Try to find the beauty in a fragment of time that fascinated
John Szarkowski. Add a selection of shots, together with relevant shooting data and
a description of your process (how you captured the images), to your learning log.

The following series of 3 images were taken at covent garden during the performance of a street artist. I was lucky to have a seat and be able to carefully use my tripod discreetly.

The 2nd of the three really captures the action but  the 1st and 3rd provide context and the series works really well as a triptych.

artist 1

Artist 1 – Focal Length 27mm, ISO 800, Exposure 1/1000 sec at f/4.0

artist 2

Artist 2 – Focal Length 27mm, ISO 800, Exposure 1/1000 sec at f/4.0

artist 3

Artist 3 – Focal Length 27mm, ISO 800, Exposure 1/1000 sec at f/4.0

Post processing involved aligning and cropping images in photoshop. Followed by conversion to black & white and a few minor adjustments.

Project 1: The distorting lens – Exercise 2.5

Exercise 2.5
Find a subject in front of a background with depth. Take a close viewpoint and zoom
in; you’ll need to be aware of the minimum focusing distance of your lens. Focus on
the subject and take a single shot. Then, without changing the focal length, set the
focus to infinity and take a second shot.

The closer you are to the subject, the shallower the depth of field; the further from
the subject, the deeper the depth of field. That’s why macro shots taken from very
close viewpoints have extremely shallow depth of field, and if you set the focus at
infinity everything beyond a certain distance will be in focus.

As you review the two shots, how does the point of focus structure the composition?
With a shallow depth of field the point of focus naturally draws the eye, which goes
first of all to the part of the image that’s sharp. It generally feels more comfortable if
the point of focus is in the foreground, although there’s nothing wrong with placing
the point of focus in the background.

These two images were taken at the end of my road. The first focusing on the top nodule of a post box. This sharply focuses on the foreground and throws the background out of focus. The Second focusing on infinity puts the background in focus and throws the foreground out of focus.

They were all taken with:

  • Aperture priority
  • ISO 100
  • f/5.0
  • Fujifilm X30 equivalent 35mm focal length of:
    • 56mm

Post box and up the road – Short focus


Post box and up the road – Long focus

I can see that playing with the point of focus will effect the depth of field. This will be a useful technique to limit or restrict attention to elements within the image.

Project 2: Lens work – Research point

Research point
Do your own research into some of the photographers mentioned in this project.

Look back at your personal archive of photography and try to find a photograph that
could be used to illustrate one of the aesthetic codes discussed in Project 2. Whether or
not you had a similar idea when you took the photograph isn’t important; find a photo
with a depth of field that ‘fits’ the code you’ve selected. The ability of photographs to
adapt to a range of usages is something we’ll return to later in the course.

Add the shot to your learning log and include a short caption describing how you’ve
re-imagined your photograph.

Looking at the six recommended photographers, I selected one who demonstrated images with a deep depth of field and one who demonstrated images using a shallow depth of field.

First I looked at the work of Fay Godwin, especially those challenging the environment. I chose the image below from her work and one from my own that also shared a large depth of field and was also challenging what I had witnessed:


“Countryside of Brassington Derbyshire” – Fay Godwin

Fly Tip

Fly Tipping – Perry Tatman

For my shallow depth of field example I was attracted to the work of Mona Kuhn. In particular the use of a tilt-shift effect that provided a sliver of shallow focus. My attempt at this type of shallow focus follows:


“Grand Falls”  – Mona Kuhn


“Lynmouth, Devon” – Perry Tatman

Reference (2017). [online] Available at: [Accessed 27 Mar. 2017]. (2017). MONA KUHN. [online] Available at: [Accessed 27 Mar. 2017].


Project 1: The distorting lens – Exercise 2.2

Exercise 2.2
Select your longest focal length and compose a portrait shot fairly tightly within the
frame in front of a background with depth. Take one photograph. Then walk towards
your subject while zooming out to your shortest focal length. Take care to frame the
subject in precisely the same way in the viewfinder and take a second shot. Compare
the two images and make notes in your learning log.

As you page between the two shots it can be shocking to see completely new
elements crash into the background of the second shot while the subject appears
to remain the same. This exercise clearly shows how focal length combined with
viewpoint affects perspective distortion. Perspective distortion is actually a normal
effect of viewing an object, for example where parallel train tracks appear to meet
at the horizon. A ‘standard lens’ – traditionally a 50mm fixed focal length lens for
a full-frame camera (about 33mm in a cropped-frame camera) – approximates the
perspective distortion of human vision (not the angle of view, which is much wider).
A standard lens is therefore the lens of choice for ‘straight’ photography, which aims
to make an accurate record of the visual world.

Below are 2 shots I took near the South Bank Friday lunchtime with my Fujifilm X30 compact camera. The pair of images are framed on the sign. They were all taken with:

  • Aperture priority
  • ISO 100
  • f/5.0
  • Fujifilm X30 equivalent 35mm focal lengths of:
    • 112mm
    • 28mm

Tenison Way – Focal length 112mm


Tenison Way – Focal length 28mm

The difference in the view between these two images is striking considering the fact that the subject occupies the same space in the frame.

Project 1: The distorting lens – Exercise 2.1

Exercise 2.1
Find a scene that has depth. From a fixed position, take a sequence of five or six
shots at different focal lengths without changing your viewpoint. (You might like to
use the specific focal lengths indicated on the lens barrel.)

As you page through the shots on the preview screen it almost feels as though you’re
moving through the scene. So the ability to change focal lengths has an obvious use:
rather than physically moving towards or away from your subject, the lens can do
it for you. The other immediate difference between the shots is the ‘angle of view’,
which also depends on the sensor size of your camera. Use the sequence to try to
get a feeling for how the angle of view corresponds to the different focal lengths
for your particular camera and lens combination. Which shot in the sequence feels
closest to the angle of view of your normal vision?

Does zooming in from a fixed viewpoint change the appearance of things? If you enlarge and compare individual elements within the first and last shots, you can see that their ‘perspective geometry’ is exactly the same. To change the way things actually look, a change in focal length needs to be combined with a change in viewpoint.

Below is a sequence of 5 shots I took on the South Bank Friday lunchtime with my Fujifilm X30 compact camera. The sequence does give the appearance of travelling through the image. They were all taken with:

  • Aperture priority
  • ISO 100
  • f/5.0
  • Fujifilm X30 equivalent 35mm focal lengths of:
    • 28mm
    • 35mm
    • 50mm
    • 85mm
    • 112mm

Of all the images taken, the image taken at a focal length of 50mm appear to me the closest to normal vision.


South Bank – Focal length 28mm


South Bank – Focal length 35mm


South Bank – Focal length 50mm


South Bank – Focal length 85mm


South Bank – Focal length 112mm



Project 2: Visual Skills – Exercise 1.4

Exercise 1.4 Frame
The final exercise of this project makes use of the viewfinder grid display of a digital
camera. This function projects a grid onto the viewfinder screen to help align vertical
and horizontal lines, such as the horizon or the edge of a building, with the edge of
the frame. If your camera doesn’t have a grid display, imagine a simple division of the
viewfinder into four sections.

Take a good number of shots, composing each shot within a single section of the
viewfinder grid. Don’t bother about the rest of the frame! Use any combination of
grid section, subject and viewpoint you choose.
When you review the shots, evaluate the whole frame, not just the part you’ve
composed. Take the same approach you used to evaluate the point and line
exercises: examine the relationship of elements to the frame. Composition is part of
form and formal analysis will be a useful skill for your exercises and assignments as
you progress through the course.

Formalism: prioritisation of concern with form rather than content. Focus on composition
and the material nature of any specific medium. (Wells, 2009, p.347)
Select six or eight images that you feel work individually as compositions and also
together as a set. If you have software for making contact sheets you might like
to present them as a single composite image. Add the images to your learning log
together with technical information such as camera settings, and one or two lines
containing your thoughts and observations.

Looking at my cameras manuals I found that both were different.

My Nikon D7200 utilises a 4 x 4 viewfinder grid as shown below:


While my Fujifilm X30 offer two options: a 3 x 3 or a 6 x 4 viewfinder grid as shown below:



For this exercise I used my Fuji X30 and the 3 x 3 viewfinder grid. I took two series of images, one within Waterloo Station and the other outside the station area. With each series I focused on composing each image in turn in each sector of the viewfinder grid. Each series shows the full image and highlights the frame concentrated on, then the frame image on its own. I finished each series by composing a picture using each selected image in the position they were originally taken.

Series 1:


Station Composite

Series 2:


Waterloo Composite

My conclusions to this exercise are to consider the whole field of view within the viewfinder when composing your image. It is easy to be suckered into just concentrating on what is at the centre of the frame and not considering what is happening in the foreground, background or edges of the image.

Assignment 2 planning part 3

Hmm… Well I spend few hours at Waterloo and Euston Stations Friday afternoon and used the tube to get between them. There were a reasonable number of people about at each location and less down the tube. I took quite a number of images, but on reviewing them when I got back home I was less than happy. Most were blurred manly down to camera shake and me trying to focus on moving people. Lighting was very mixed and shutter speed increase was a contributing factor. I might have had better (noisier) results if I had used a higher or even auto ISO.

I really want to photograph larger crowds, so I will really have to be there during rush hour. I was also very concerned about getting stopped or quizzed by station staff or security so didn’t make use of the tripod I had with me. However hindsight being a wonderful thing I thought I would check online exactly what Network Rails policy was towards photographers and photography was. I was actually pleasantly surprised and wish I had read it before now. The following link explains it in-depth:

An extract from the information page is shown below which may be of interest to fellow students:

You can take photographs at stations provided you do not sell them. However, you are not allowed to take photographs of security related equipment, such as CCTV cameras.

Flash photography on platforms is not allowed at any time. It can distract train drivers and train despatch staff and so is potentially very dangerous.

Tripod legs must be kept away from platform edges and behind the yellow lines. On busy stations, you may not be allowed to use a tripod because it could be a dangerous obstruction to passengers.

(policy, 2016)

Now that I know this I could have used my tripod providing I had taken care! To quote Alanis Morissette “Isn’t it ironic!“. Therefore I shall treat this visit as another scouting trip and plan another trip. Though as already mentioned I would see larger crowds during rush hour times. So timing is critical (07:00 – 09:00 and 17:00 – 19:00), and with a larger amount of people even greater care when using a tripod. Also trying different positioning to get more faces and crowds coming towards camera would be better. I know that on the underground tripods are a no-no and only small camera photography is permitted. They may well classify my SLR as a large camera and get all official, so would have to be careful.

I did have a play around with stacking and merging some of the images I took to try to get the effect in the images I wanted. I want to have elements in the composition in focus and others in movement. Not just a slight blur but a stacked blur to really emphasise the movement.

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I may also try blending textures to achieve my desired outcomes.


policy, c. (2016) Railway enthusiasts. Available at: (Accessed: 23 October 2016).

William Eggleston Portraits -Study Visit National Portrait Gallery 1st October 2016

On Saturday 1st October I attended the ‘William Eggleston Portraits‘ Study Visit at the National Portrait Gallery in London. This was my first OCA study visit and it happened to be run by my tutor Jayne Taylor. There were approximately 14 of us. It was a real pleasure to meet follow students. One of the downsides of distance learning is the lack of physical contact with ones peers, a meeting like this is most refreshing. A really nice bunch of people studying a variety of courses all in the same boat. Link to the exhibition website is below:

The exhibition is not large, 100 images. These images vary in size from passport sized to several feet across. The variety of content range from early black & white, innovative early use of colour, very large prints and later works of high quality. The arrangement of the display and lighting was somewhat strange and I found myself having to continually move in and out to obtain the best perspective and to be able to read the information cards.

The colour prints were rich and saturated. The subjects generally appeared to me melancholy or even uncomfortable, and rarely engaged the camera directly. I was particularly struck by some rather stunning large low-key portraits that Eggleston created in the 70’s. Also his use of perspective was interesting. From above to make the subject diminutive and vulnerable as in the B&W image of the man in the phone booth or the later colour image of his grandmother framed in the room doorway. From low down to give the subject greater stature as in the 70’s colour images of the fashionable black man standing between the cars and the one of Shelley Schuyler.

Once the group had viewed the Eggleston exhibition we went to the cafe in the crypt across the road from the NPG to have some refreshments and discuss the exhibition as a group. This was a lively and friendly discussion and everyone was able to share their thoughts on the exhibition. Everyone’s views and perspectives were refreshing and valid. Overall my impression of ‘William Eggleston Portraits‘ was a positive one and made all the better for sharing with the group.

We also went to see another display in the NPG ‘Black Chronicles: Photographic Portraits 1862 – 1948‘. Link to the exhibition website is below:

This was a small but poignant exhibition. I was impressed by the sharpness and quality of the large portraits in the initial hall. They seemed so fresh, that they could have taken yesterday with modern subjects dressing up. I am attending the Brighton Biannual later in the month, and look forward to comparing it to the ‘Dandy Lion‘ exhibition there.

A very enjoyable study visit and look forward to attending more in the future.

Wonderful bit of news

This week I received a wonderful bit of news. Back in June I took part in my 3rd Photo 24 in London, organised by Photography News and Nikon School. On Thurday afternoon I got a email telling me that my image “Millennium Reflection 3” was judged to be the winner of the Photo 24 2016 “Capital Reflections” Theme catagory.

Millennium Reflection 3

Millennium Reflection 3

To say I am pleased is an understatement, as I was against over 460 other great images. My image should appear in Photography News and I also get a Nikon Coolpix P900 superzoom bridge camera.

Photo 24 is a great and challenging event which I highly recomend anyone to enter the ballot when it is anounced next year.