Once again, it’s been too long since I’ve been out shooting landscapes, and even longer since I was out at the coast. Praia da Adraga is a well known beach among photographers, and one that I’ve kind of steered clear of as it’s been photographed to death. There’s not much you can do there that is original…just hope that the weather conditions give you something different.
But on this occasion it wasn’t really about the actual images, it was more about re-connected with the landscape. getting my feet wet, getting my tripods feet wet, and so when my friend Hugo suggested Adraga, I thought “Why not?”
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No photography blog would be complete without the obligatory “iPad for photography” article, and so inevitably, here’s mine.
Pretty much from their first launch a little over 2 years ago, most photographers will have thought “can I use this for photography?”, and although the iPad is a brilliant piece of hardware, I don’t believe it’s particularly useful for actually working with images (for example processing or even reviewing images), but it is absolutely fantastic for lots of things around my photography business, just not for the taking or editing of photos.
“It’s a little underexposed!”
I read this critique of an image recently and it re-awoke in me the vague plan that I’ve had to write about subjectivity and reality in photography.
What does it actually mean when someone criticizes an image as being underexposed? I know what they mean technically; that on a histogram the tonal range is stacked too far to the left (the blacks), but what is it about the image being dark that is actually wrong?
So it started me thinking, could the same thing be said about a painting? Could Goya’s Pintura’s Negras be faulted for being too dark, having too much black in them? For being “underexposed”?
With digital photography, it’s very easy to forget sometimes that the final result of any image is the print. We spend so much time seeing images on the camera LCDs, or blown up big on the monitor, then posted in small sizes on websites or social network sites, that it can come almost as a surprise to feel the magic that a well printed photograph has.
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I’m just editting the photos from a wedding I shot in January in Cruz Vermelha, Lisbon. I’d heard that despite being a stunning venue, it was a difficult place to shoot because it was so dark. Fortunately, the windows face south, and as the sun in winter is low in the southern sky, the room was in fact flooded with strong directional light.
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I remember reading an article on Thom Hogan’s site about reviewing your work at the end of each year. He had a test: try to pick 6 images that you’re really proud of and think that you’ll still be really proud of them in 10 year’s time. It’s not just the “wow” images with stunning weather conditions, great sunsets or amazing locations, but shots where technique and moment came together in such a way as to create an image that really stands out from the other images you’ve produced that year.
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Preparation of the bride is one of the most significant parts of the wedding, and one of the most fun to shoot. There’s so much happening; people coming in and out of the room, seeing the bride dressed for the first time…the sense of anticipation.
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After a summer spent shooting and editing wedding photos, we celebrated the end of a successful season with a long weekend in the Peneda Geres national park, in the far north of Portugal. It’s a place I’ve been told about so many times, and have wanted to see for a few years now, and it’s also the best place in Portugal for autumn colour.
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I’ve just finished editing and finalizing the images for Tania and Goncalo’s wedding in Viseu, in the north of Portugal.
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Andreia and Andre’s late summer wedding in Setubal. A really friendly wedding….and the dancing was some of the most lively we’ve ever seen…..
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