Micro Four Thirds Purchases

Dear all, Those of you who have been following my blog for some time, or have been on workshops with me, will know that I'm a film shooter only. All of the work you see in my portfolio on this web site was created with a Mamiya 7II system, Hasselblad 500 / 503 system, or a Contax 645 system. I love these medium format systems very much and they all have their own strengths (and weaknesses - which I love, too).

I've owned a micro-four thirds system for some time, but I've never really given it much of a real try out. I tend to use it on my workshops to illustrate compositions, but until recently, I've not had much in the way of decent lenses for it.

So this week, I've purchased quite a few items for my Micro Four Thirds camera:

Panasonic 12-35 f2.8 zoom lens Panasonic 25mm f1.4 lens Panasonic / Leica 45mm f2.8 macro lens Lee Seven5 micro format filter system - hard grads, full ND's, big stopper

It's been a lot of fun, choosing the lenses, because there are so many now to choose from, for this really excellent compact system.

I thought I would go through my reasons for the choices, and also, to bring to light that I feel the days of big SLR's being the king of the photography market is changing. We live in a multi-format society and there is no reason to stick to such a format these days, other than backward compatibility with old 35mm film systems, or lenses.

On a slightly related note: I have been asking that camera manufacturers move away from the 3:2 aspect ratio (it's historical - designed for a film format), and towards systems that can be programmed for different aspect ratios. My preferences are for ratios such as 1:1 (square), 4:5 (rectangle) or 6:7 (a rectangle that is moving towards square).

Camera systems should be getting smaller, and more compact. What I love about the MFT (micro four thirds) format is that the sensor size is just a little bit smaller than APS-C. For such a compact camera, it means the quality of the images is pretty close to 35mm. The only thing that seems to be missing from the MFT format right now, is improved dynamic range and high ISO noise capability like the pro-end SLR's (unless I'm not so informed or up to date on the matter).

Anyway, here's my reasoning for the lenses:

Panasonic 12-35 f2.8 zoom lens

As much as I prefer primes, because primes make you fit the camera to the landscape, and not the other way around, I wanted a general purpose lens for my workshops. One that is on the camera at all times, and that goes all the way down to 24mm (12mm in MFT terms). The cost of buying the little Olympus 12mm was just a little bit cheaper, but reviews suggested it's not such a good performer as the 12-35 zoom. I also feel that primes are great  because they force you to hunt the landscape and work with what you're given, rather than just standing on the spot and zooming in and out until things seem to fit. I would have preferred to have a few smaller lenses than a zoom if I were using this system as a serious contender for my own work, but I'm not. I'm really using it for workshop, and most of the time, I just want to be out on location with one lens on the kit so I can illustrate things to participants.

I didn't really need the lenses I'm going to mention now.... these were perhaps just things I desired, rather than needed for my workshops.

Panasonic 25mm f1.4 lens

If I'm going to buy a dedicated prime for the system, I'd like it to be really fast. The MFT system suffers from too much depth of field because of its smaller focal lengths. A standard lens is 25mm on this system. That means it has the same DOF characteristics of a 25mm lens on any camera system - in other words - it's pretty wide, even wide open at f5.6. As much as I think the Pancake lens is a superb lens and fast, this lens is just a little bit faster. I may still buy the pancake at some point, because it's ideal for leaving on the camera when you just want to put the entire thing in your pocket. The f1.4 is not a pocketable lens.

Panasonic / Leica 45mm f2.8 macro lens

It sounds like a pretty stunning lens. There's not really any other reason for buying this, but maybe in time, I'll be able to share some thoughts with you on this one.

Lee Seven5 micro format filter system

The grads for this system have extremely hard transitions. It's really a must for any system where the lenses are small. Hard grad transitions become very soft when put up close in front of a lens. I often get asked how I'm able to place the grads for my Mamiya 7II rangefinder system - well the truth of the matter is - it's not important to be so precise with this system because the focal lengths are greater than a 35mm system. Hard grads are visible down at wide angle focal lengths, but as you move up the focal lengths, the transition in the grade becomes more diffused as you 'zoom in'. When moving form 35mm to medium format, you more or less double the focal length. What was 24mm for you, is now 50mm. This means that the hard grads become more diffused and therefore less problematic with accurate placement.

Now go down the formats. As you go to MFT format, the focal lengths get smaller, but so do the diameters of the lenses. The optics are really small, so that means a normal hard grad will be too soft.

The seven5 (weird marketing name) should be ideal for this kind of system.

I don't intend to move away from film and I've never understood the phrase 'going digital'. Film and digital are different mediums. They look different, and offer different things. I think it's fun to be able to mess about with both, but I can't see myself being able to focus seriously on both at the same time. I think my little MFT system is really for use during my workshops for illustrative purposes and to allow me to have fun as well (I don't often shoot much myself on my workshops), but time will tell if this system grows into something new for me.

I'm looking forward to trying out the MFT system in a more 'professional' way, but above all, I just think it will be a lot of fun too.

Iceland September trip - 1 space free due to cancellation

Dear all, I'm traveling in Bolivia right now. I've been on the altiplano for about a week, and my Hasselblad cameras have been behaving really well since I got them serviced :-)

I just thought I would write today about a recent cancellation I've received for my Iceland trip this September. This means there is now 1 space free for anyone who has been wanting to come this September. The dates are September the 23rd to October the 1st. If you wish to find out more, or even book, you can do so here.

I hope to write more over the next few days about my trip's progress in Bolivia. Speak soon, Bruce

Lofoten February 2013

I'm just heading off for South America today.... by tomorrow evening I shall be in the Atacama at the top of Chile, where I will acclimatise for three or four days before I head off into the Bolivian landscape. But before I go, I thought I would share with you a selection of images that I made in the Lofoten islands of Norway this February with my two groups. I've still got a backlog of images to work through, but thought it would be nice to end on some images before my departure for south america.

It's always nice to look at new images. It can give one a sense of enthusiasm and satisfaction - as creative people, we all need to create. If we don't, then we feel stuck.... it's so nice to see some of these images become realisations, as I'd lived with them in my mind for so long, and just didn't have much free time to work through what I've shot.

I still have many more to work through, but right now, this feels like a decent distillation of what I encountered last February. Each of the trips I ran had very different weather. The first week was particularly calm with perfect reflections most mornings, while the second week was perhaps more unsettled, but dramatic all the same. I'm now feeling as though I could really do with visiting the Lofoten at a completely different time of year now. And it has to be said that I think it's now time for me to visit some places new, for my own personal creativity. Lofoten is like an old friend to me now.

I'm delighted to say that I will be in Japan in February 2014 for a few weeks, as part of a new project I'm working on, and I have plans for somewhere else in December too. I feel it's time to reach for some new places and with it, new inspiration in order to keep things fresh.

I do feel I've found a very beautiful photographic-friend  in the Lofoten islands and I will be back there next January to explore the more northerly regions of the islands.

Wishing you were here (speaking figuratively about my pending destination of the Bolivian Altiplano!)

Further to this original posting, Erik (see below) wrote to me about his concerns about the lonely tree edit. I often feel it's not so obvious any errors or things that can be improved upon an edit until some time has passed. So it was interesting to see Erik point out something that was not working for him. Here is my rather quick correction to this image. I feel it works better, and would still require a few more days for me to sit on before I know for sure I am happy with the edit:

The value of photographic clubs

Over the past four or five years, I've had the pleasure of visting many photographic clubs throughout Scotland to give talks on my photography. It's an immensely enjoyable experience to present to an audience (once you get over your initial nerves of doing so) and I often find the process gives me a chance to appreciate what it is that I do, and how much others can gain something from the presentation.

I think photographic clubs are great venues for people of all abilities and levels of interest to attend. I would say that although most clubs differ in some subtle ways, they are full of social people who like to meet others.

I feel that it's often easy to feel daunted by the effort to visit a club where you do not know people and where you may feel like an outsider upon initial contact. But every photographic club I've been to, is really eager to get your attendance. The sad truth of the matter is that they find it hard to attract members. When I meet club secretaries and chair people, they are often selfless in their aim to keep the club going. Often having to organise day out events, inter-club competitions, presentations and it's very time consuming for them to keep looking for speakers to their clubs as this is often done as a part time activity outside of their working lives.

The thing that strikes me most about every photographic club I've visited, is that there are usually not many young members there. By young, I mean 30 year olds. If I didn't know better, I would take the demographic of most clubs as an indication that photography is of interest to people who are more advanced in their years and that photography is not of interest to people in their teens, 20's or 30's. However, this is not the case. Photography is going through one of the biggest growths in interest it's seen ever. Everyone has a camera these days and cameras have become so cheap and ubiquitous, that people of all ages have the kinds of image capture quality at their disposal that a 17 year old in the 80's would have dreamed of.

So why are clubs failing to attract members?

I think there are many reasons for this. Firstly, with the availability of high quality information available now on the internet, a lot of budding photographers are staying at home and finding and sharing ideas through websites, blogs and forums. I also would dare to suggest that since photography is a predominantly male activity (yes, women like it too), a lot of men would prefer to find out information on a forum than attend a club. Lastly, and perhaps most importantly, a lot of people assume that clubs can or are very competitive and that you may have to be very good to be a member.

I find this a real shame. Because clubs are excellent places to meet others who like photography in your neighbourhood. It's very hard to find others who share the same interests in photography because by nature, photography is a solitary activity.

Through my own workshops, and even my two book launches where I had around 20 workshop participants attend, I found a few of them established friendships and continue to go out together to make photographs when they can find time in their professional lives. I know of three participants for instance, who met at my two book launches who I sometimes meet up with (Hi Joe, Niall, Omer!).

Photographic clubs are keen to have people come along and join. Many of them have been going for decades and have been run by very friendly and supportive people where the club is everything to them, and without it, they would feel a hole in their lives. I think by attending clubs, you can only benefit. It's just a case of trying a few out to find one that feels right for you.

By the way, I have been a member of Midlothian photographic club for a few years. I haven't attended in the past year because of work commitments, but I will be going to see them on March 18th 2014 to give a talk, and to catch up with the members. It's been a while since I saw them last, but there are some special characters to this club (which is perhaps one of the reasons why I joined in the first place).

If you're considering joining a club, or feel a little daunted by going along to one, what might be a good idea is to offer to come along and give a talk on your own photography. It will help the clubs by introducing new speakers to their yearly syllabus, and it will also benefit you also by getting to visit the clubs and find out more about them, and whether they are right for you and what you are looking for.

Is confidence a requirement to making art?

I believe very much, that when we create art, we do it for ourselves and everything else comes as secondary to that purpose. To do it for other reasons, is to lose one's way and soon, we are floating on a sea of uncertainty.

I had an interesting discussion with my good friend Niall today in which he felt that for some, creating art requires a sense of confidence in order to do it. I've often heard many workshop participants tell me they don't know if what they're doing is right or not, and some have also brought up the idea that confidence is lacking in what they do.

I can understand a degree of uncertainty at times. I think this is natural and when we're new to any new hobby or passion, we don't often know which way to go. What equipment should we buy? What is good light? Am I being ridiculous trying this out? This is simply a case of going outside of our comfort zone. But maybe for some, maybe for you - the act of creating anything at all is a new thing in life? If so - I would love to hear if you feel that creating something requires confidence?

I've always thought of creating art as an expression of freedom. It is a place where our minds are allowed to roam, unconstrained from timescales, pressures or limits. By placing the concept of confidence on our work, I believe it to be another form of writers-block - in other words, a barrier we have put up, to prevent us from taking chances. Because when we take chances, we are opening ourselves to the possibility of failure.

There should be no constrictions places upon creating things. No boundaries or rules. There are no rights or wrongs. There is just the act of doing what we feel we want to do next. And enjoying that freedom. Creating art should be a freeing thing to do, not something that we get tangled up in and frozen into a state of inertia.

I'd love to ask you if you feel your photography is bounded by your own confidence in what you do?

My friend and I continued our discussion, and he being from a scientific background, suggested that most of his life has not entertained too much creativity, and so for him to go out there with a camera and make images, he sometimes feels as if he is a 'fraud' in what he does. I can relate to this very much if I look at my sports experience while at School: I was terrible. Always the last person to be chosen for a team because I had two left feet and I would only hold a sports team back. Since then, I've always felt a lack of real confidence to get involved in most sporting activities. It doesn't sit well with me. On the other side of the coin, if I look back to my childhood, I was always drawing and painting. I was an arty kid. So I guess through being creative since an early age, I have never experienced the  'lack of confidence' that my friend is talking about, because I've always been creating things from my very earliest of memories. Creating art feels natural. Perhaps to some, it doesn't?

Back to my first paragraph: I believe very much, that when we create art, we do it for ourselves and everything else comes as secondary to that purpose. To do it for other reasons, is to lose one's way and soon, we are floating on a sea of uncertainty.

That uncertainty is what kills our creativity. Doubt is introduced, and when doubt comes along, we lose everything.

I'm very aware of this myself, because with my own photography business, I could get sidetracked into creating work that I think will interest you as a reader to my blog. I haven't felt any pressure to do so, nor have I ever pandered to the idea that my work is for the consumption of others: I do what I do, for me, and because I am driven to do it.

I think it's a shame if the 'confidence' required to create art is because one feels they do not measure up to another's work, or whether we feel we must prove our validity to others. I think this is why I've never really been interested in competitions as such. Art is not a competitive thing for me, but I can understand and appreciate that competitions give some a sense of validity and encouragement to what they do (heck, I'm sure I'd be delighted if I won a competition!) But really, I think we have to please ourselves first and foremost.

We do art because it's what we saw and what we felt. If we do it for those reasons alone, we can't go wrong. I would love to hear your thoughts on confidence when creating art.

Fast-Track to Photoshop CS e-Book

When I first decided to run photographic workshops, I sat around for a few months wondering just what a workshop should entail. As my good friend Kathy said to me - 'don't copy anybody, do what you think a workshop should be all about' - this has been extremely good advice, and since then, I've taken it very much to heart in everything I've done regarding my own photography career.

So when I set up my workshops, I decided there should be some kind of structure to what I wanted to convey. One of the things I felt was a 'must', was to include a tutorial on Photoshop CS* (not elements), something that my participants could take home and walk through under their own pace. So I put together a nice tutorial that walks the reader through an entire edit of one of my images, from start to finish. The tutorial comes prepared with the TIFF image I use throughout the edit, and also a final Photoshop version for reference purposes.

I've had many participants tell me that by walking through my tutorial a few times, they were up and running using Photoshop CS! That's pretty encouraging news to hear, because Photoshop CS is not an easy application to start with, but it is, in my opinion still the best application for photo editing because the degree of control you have is very precise.

So, with this rather long pre-amble done. I wish to tell you that I've decided to offer in the form of an e-Book, my fast-track to Photoshop CS tutorial that I give all my workshop participants. It comes along with the two files I mentioned - the raw TIFF file, and also the completed Photoshop file, so you can look at the edits.

So if you're in the market for learning Photoshop CS, but you're a bit overwhelmed by the application (Photoshop CS is not intuitive), and you can't face months of reading massive books which aim to tell you everything about Photoshop CS, then this eBook is for you.

Mytutorial is condensed and tells you the core of what you need to know.

If you wish to buy it, you can buy it here.

*Please note: this e-book is for Photoshop CS. It is not suitable for Photoshop Elements.

Iceland March 2013

The life of a 'pro' photographer (if that's what you wish to call me) is not always so plain sailing, and for the past year or so, I've not really had a whole lot of time to make any new images of the places I am in, either while on workshops or on my tours. I'm not bemoaning this.... it's just a fact of life, that these days, I get as much time to make new images as I did, when I was working in IT all those years ago. It's often just nice to enjoy where I am and who I'm with. I get a real buzz out of being somewhere really beautiful and I also enjoy what I do because I've met a lot of really great people on my workshops (hi!).

(Please click on the above image to see it much larger).

I've got a little stock pile of images that I've created over the last year sitting in my home studio. The films have been sitting there unprocessed for months, and this week has been the first chance I've had in ages to sit down and work on what's come back from the lab. I thought I would start with Iceland.

A place that I'd completely forgotten about, but had visited many years ago is Stokksnes. I had the good fortune to bump into Daniel Bergmann (icelandic photographer) on my tour in March and he suggested my group take a visit to this great location. If I hadn't told you it was Iceland, I would easily forgive you for thinking it is part of the Lofoten islands in Norway, but perhaps the black volcanic sand beach gives a clue as to its true origins. Still, I found symmetry and balance here in the shape of a sweeping snow curve that leads my eye into the frame.

Venturing back to the beach at Jökulsárlón lagoon, it had been snowing one morning, and I made great effort to point out how the snow was helping define the shape of the ice bergs lying here. This one reminded me of a Conch at the time of the shoot. It has such a beautiful set of grooves going throughout its form, and the snow helped pick them out for me. This is the first time I've witnessed snow here, and it was pleasing to see the black volcanic sand create new patterns and textures as it mixed white with black.

 As my good friend Lynne kept calling this place - Durdle Door, while she accompanied me on my shoot here in 2011 for my Iceland book, I'd never had a chance to shoot the arch at Dyrhólaey until this March. We got a rather wet and moody morning for this one. This kind of weather is perhaps my favourite times to make images.

But I think this one - of a little Kimodo dragon (perhaps?) is my favourite. Stephen who was on the trip with me found him first so I would really love to see his image of this little 'beastie' as we say here in Scotland.

What can I make of my most recent work?

It was interesting for me to go back to shooting rectangles after almost 2 years shooting square. I think the aspect ratio we choose to shoot with makes a huge impact on what compositions we select, how we see, and how the final image will end up. Cropping later is not the same as composing for the aspect ratio of your choice while on location. Although there is nothing wrong in each approach, I do prefer to compose in-camera. So it was interesting for me to go back to 5:4 aspect ratio - it came very naturally to me and I was surprised at how quickly I got back into using my trusty old Mamiya 7II film camera. I deliberately left the Hasselblads at home, because I don't think it's so good to mix formats while I'm on location. I like to settle into one-way of thinking for my shooting time.

I think the light was particularly muted for the whole time we were in Iceland. I don't recall us experiencing any warm light at any stage of the trip and I think the reduced colour palette shows this. Despite me using Velvia for the shoot.

So if there's a lesson here, it's simply that you can't bring out what what isn't there, so instead, you have to work with what is. :-)

Copyrighting Culture

I read a really interesting article on the BBC news website this morning about copyrighting cultures. In the article, the Maasai people - a semi-nomadic people located in Kenya and northern Tanzania are considering seeking copyright for their image. They have set up an organisation to take care of this called the Maasai Intellectual Property Initiative.

I think this is most intriguing, because in a world where imagery and branding are extremely valuable and highly protected (think of Microsoft and CocaCola for instance), it's surprising to think that people and cultures have not set about this sooner.

"We all know that we have been exploited by people who just come around, take our pictures and benefit from it," - Isaac ole Tialolo, Massai leader and elder.

I do think there is a lot of exploitation and theft of other people's cultural heritage and one way this is done is through the act of making pictures where the tribes or peoples do not benefit as well as they could. It could be argued that whenever a professional or amateur photographer captures any images with cultural reference that they are aiding tourism to the place. I know for sure that all of the places I have visited myself were fuelled by seeing images by others which captured my imagination. I do however think there should be some form of protection for cultures and peoples. A kind of cultural copyright whereby we all pay towards the protection and acknowledgement of the 'brand' in some way.

I met a photographer in Lalibela, Ethiopia, a few years back. He had raised around £2,000 for an NGO based in Addis Ababa, before he came out to do his photography. I remember him explaining that he felt he could now make his own images, because he had contributed towards the people of Ethiopia. It was a really great thing for him to do.

I do think we need to be mindful and respectful to others on our travels. Treat others as we would wish to be treated. I do think however, that when there is no price put upon something, it is valued less for what it is than it should be. Simply turning up to make images and feeling that you are contributing to the local people through your own tourism is perhaps not enough.

But there has to be a way forward for tribes of people to gain something of value back for their heritage, while at the same time allow photographers to work unconstrained by hefty fees, or heavy restrictions. And this will be difficult to do, because I've been thinking that in the past decade since I started making images, what used to be a relatively minor activity has now turned into a major one: everyone has a camera, and everyone is looking for that special photo. This perhaps leads this posting into other territories that I do not wish to discuss - namely that of photography etiquette, or the lack of, shown by many who are tourists first and foremost and photographers by the very nature that they are there as tourists. The world of photography is growing as everybody has a camera, but with it too, social graces are being challenged: there are more people pushing cameras into someone's face just because they are on holiday.

But I do not wish for photography to become policed in any way. Surely though - it is inevitable that it will? Surely as photography becomes more and more widespread and commonplace, that laws will be created to protect peoples rights to privacy? Whether this happens is one point, but in the case of the Massai people, protecting their cultural image and ensuring they benefit from what is rightfully theirs is just as vital.

I think copyrighting a cultural image, or imagery associated with it is a really good way forward because it generates an income for many peoples and tribes. What they have is of value, and that value should be acknowledged. By copyrighting it, we not only give it protection, but we also ensure that it is sustained. And maybe, just maybe,  the erosion of any culture with this protection will be stopped as a result.

But one thing is clear: give a culture it's own copyright, and you give them a more recognised value in a global sense.

Cultural heritage is a rare and precious thing and should be respected and valued accordingly.

New Ragnar Axelsson book.....

When I was in Iceland this March, I read an article in one of the homespun magazines there about a new book by RAX (He prefers to be called this, rather than Ragnar).

I've been looking around for it, but still no sign, but RAX has now put images up on his site for the new book, so if you'd like to see what's coming, then please click here.

I think the book is called Round Up, and it's about the farmers on Iceland. I include one of the images from the forthcoming book. Something to look forward to!

The art of Photographing Geisha

A lot of people know my landscape photography as 'simplified' and some even go as far as to say it's 'elegant'. All very complimentary to me, and it makes me happy because this is exactly what I aim to achieve with my landscape images. But what of my portraiture work? I personally see no difference between landscape images, and people images. To me, one is the landscape of a place, while the other is the landscape of a human soul. The same compositional rules apply - shape, tone and form are all required and of course the emotional engagement must be there too. So I've always been intrigued with people who like landscapes, but don't like photos of people, or the other way round.

When I make pictures of people, it's because I find them very engaging. Either it's their posture, the colour of their clothing, or there is a spirit about them that I find appealing, but ultimately, the composition has to be there too.

So while thinking about the kinds of portraiture work I would like to do as a new project, I've been thinking about how it would be nice if the work was simple and has some beauty or elegance to it. I know myself well, to know where I am with my own aesthetics and abilities as a landscape photographer: so I'm aiming to match my current level of ability and aesthetic with a new subject. For a long time now, I've believed that certain subjects work well for us, only when we have reached the right state of readiness. In other words, we do our best work when we encounter the right subject at the right time in our own artistic development. When both these worlds merge, the work can often bring on a new awareness of our style and future direction.

For some reason, the Geisha of Japan sprang to mind. I've been speaking a good friend of mine who told me about Kusakabe Kimbei's work, and I reproduce a hand coloured image here. I think there is indeed something elegant and beautiful about the work, and it shows me that there is great potential to this subject.

I bring all this up because I'm simply trying to explain how I can become inspired by certain subjects, or how the creative process can begin for me. I still have no idea whether a trip to Japan is actually on the cards as yet, or how realistic it may be to make images of Geisha, but the wheels have started to turn, and I've started to research the possibilities.

One of the things I love to do about anything I get really into, is to buy books on the subject. Today I received a copy of John Foster's book 'Geisha & Maiko of Kyoto' (you can also view his work on Geisha at his website too). I'll start by saying that it's a great book. It tells me a lot about the Geisha and Maiko but also, from a photographer's perspective, he tells me about the issues in working with his subjects over a seven year period.

John is a passionate photographer who has very similar attitudes to making portraits as I have: his first rule is that he is there to make friends, not offend anyone. So making images is secondary to the experience of meeting someone and finding out about them. He cares a lot for his subjects and has the utmost respect for them. I feel this is key to any engagement with a possible subject for portraiture photography  and it's something I've always kept in mind while making images in Cambodia, Cuba, India and Nepal. People are people, no matter wherever you go, and they have feelings.

John's book has given me a lot of insights into the possibilities of engaging Geisha and the chances there are of making any photographs of them. From what I've learned: it's not going to be easy.... But I've been so inspired by his images because they show me the 'elegance' and 'simplicity' that I'm seeking.

Of course, John's book is not the only one I've bought on the subject of Geisha. I also found Jodi Cobb's (National Geographic photographer) excellent book, which has a more 'reportage' aspect to it. Her website has an excellent 'street photography' section on the Geisha.

All of this, is helping me gain better insight, and also helping me build my enthusiasm for a possible project. Whether I actually make it out to Japan is another story all together. But right now, I feel I've found something that is inspiring me to find out more, and this is key to any possible project one is considering undertaking.

For anything to begin, a flame has to ignite first.