Project: Space and Function

Finding articles relating to the photography of the inside of buildings, with regard to how the spaces function, is not easy. Instruction on the photographing of architecture is much easier, but not what I was looking for. Some of the work of photographers in Magnum Photos

http://www.magnumphotos.com/ displays the kind of approach I wanted. In particular: Alex Majoli, October 2012 Paris Fashion Week where he uses figures within the spaces to bring life to the images; Bruno Barbey, Morocco Fes. 2012 where he has used different viewpoints to show the spaces used in the textile industry; Carl De Keyzer, Amsterdam Designers 2007 places subjects within their working environments; Chien-Chi Chang brings interiors to life in many of his images; Peter Marlow has several portfolios showing development interiors, mostly inferring that they are occupied without showing people; Susan Meiselas, Postcards from America III – House of Pictures, captures the spaces of a clothing factory with workers at their stations. Wayne Miller’s images show people in context with their surroundings, but the emphasis is on the subject, rather than the surroundings – not what I’m looking for just now.

Starting from the premise that I first need to know how to photograph the insides of buildings, I looked through my books and found one or two images which gave an idea of what to aim for:

In Michael Freeman’s ‘The Photographer’s Eye’ in the section ‘Perspective and depth’ there is an image of a cartographer’s library, which shows how the space is being employed.

While this is an example of the use of an image which used a tilt lens, the significance of the type of image is relevant to what I’m looking for. This image shows how the space is being used and tells a story of what is going on here.

We see areas where books and other reference items are stored, tables where the items can be worked with and people using it. This is the type of image I’d like to produce for the first exercise.

So, looking at this image, I need to consider perspective.

Another Michael Freeman book ‘Photographing People’, shows an example in the ‘workplace portraits’ section:

This is another example where perspective has been used to good effect. We see how the space is being used to fill the walls and provide a work area.

I suspect that a wide angle lens has been used here, as there is some distortion of the verticals in the image

John Hedgecoe’s ‘Complete Guide to Photography’ includes three projects relating to building interiors:

1. In the simple interiors section he addresses light. He advises that small, single source lighting from a window or open door may produce high contrast images, with the shadow areas showing very little detail. If additional lighting is to be used it should be diffused or reflected to create a soft light. Bouncing the light from a flash unit off walls, umbrellas or reflectors may be a possibility. If flash units are used, they should be well out of frame and softened.

2. For large-scale interiors (churches, courtyards etc.) it’s more difficult to provide additional lighting – it may be useful to use a tripod, with the camera triggered in ‘bulb’ setting then fire the flash at different areas – paint with light. Also, there’s a factor of deciding what to include in the shot – what can be included and what can be left out!

3. Including people in the image takes away the decision of what time of day to use for the image – the presence of the people defines when the image is to be captured. Here he extolls the advantage of working in Black and White, where the problems of colour cast due to different light sources is no longer an issue and it’s easier to use the high contrast from single light sources to create low-key atmospheric images like this:

The low light angle, with the camera positioned to cover the area from dark to light and with the sitter gazing into the light have produced an image which places the woman comfortably in her space. The room is so obviously part of the woman and vice versa.

High-key images can similarly be produced, in well-lit areas which make the space seem more open and less painterly.

A common theme throughout these examples has been the choice of lens, the aperture being used and the positioning of the camera:

· The two perspective images use a wide angle lens and obviously quite a small aperture, to attain the good depth of field and both with a fairly low shooting angle, which increases the perspective.

· The Black and White image looks to be a standard lens, as there’s no distortion or shortening of perspective. The camera position is a little higher, which creates good lines with the floor and light lines from the window to draw the viewer into the picture.

Norman McGrath’s ‘Photographing buildings inside and out’ has a wealth of information regarding equipment, planning, viewpoint etc. It’s a little dated, so suggestions on how to make B&W slides etc. can be taken with a pinch of salt, but much of the information is still valid. There’s a slant towards producing architectural images, but the technical nuances are worth considering.

On the subject of including people in architectural images he suggests that the size of the building has an impact on whether or not they should be included. For instance, in a small room, the inclusion of a person may shift the attention from the room to the person, which may not be the remit for the image. In a large area, the inclusion of people can give the space some perspective, or show the function of the building.

Looking on line for information, I found the following:

eHow website http://www.ehow.com/how_7803216_photograph-buildings-inside-out.html advises the following for photographing interiors:

1. Scout the inside of the building to find interesting or significant subjects to photograph. Mount the camera on a tripod after you found a good vantage point and put the camera in manual mode.

2. Take several shots with different settings until you reach a satisfactory exposure. Often photographers will have success when using window light to illuminate their compositions. Overexpose your image to let more light from the window into the scene.

3. Mount an external flash to your camera and aim it upward or backward for it to act as a fill light. Bouncing your flash off of a ceiling or wall will help to lower the contrast of the shadows cast by the window light. Adjust the power of the flash until the brightness of the fill flash is just slightly darker than the window light.

Not the most detailed or very useful advice!

The Photo.net website http://photo.net/learn/architectural/interior gives much better advice on photographing interiors. It’s quite a long article, so I won’t try to insert it here, but the main points are:

· Use a tripod, as indoor light is usually poor, compared to outdoors, and longer exposures are required.

· When using a flash for additional lighting, don’t use the built in flash – it won’t be powerful enough.

· If the only light is from a single window the image will be very contrasty, so additional lighting may be required. This may be from existing lights (but incandescent lamps may require changing for daylight lamps), or flash. Alternatively the colour balance can be compensated for using filters or adjusted later using computer software.

· To show whole rooms, wide angle lenses produce better results - preferably prime lenses which require less light. It may be an advantage to use a longer lens to pick out detail for some images. Another option may be to use a standard lens and then stitch the images together – this brings in more techniques both in the taking and processing of the image, but it’s worth considering.

· Including people in an image can bring the space to life and give the image some meaning.

· Look for images that are ‘different’ or have some humour – have fun!

Using the various sources of information I’ve compiled a list of points to consider when photographing interiors:

· Perspective

· Light

· Lens

· Aperture

· Inclusion of people

· Shooting angle

· Look round the building for interesting angles and subjects

· Have a ‘planning’ visit and ask permission!

So with these points in mind, I’ll get onto the next exercise.

Part 3: Buildings and spaces

Assignment 2 – People and activity

The Plan:

With the Whitby Folk Festival running I’m going to focus on the various dance groups, using these different groups performing their traditional dances.

Referring to the lessons of this second part, I’m looking for images which show the dancers and activities and capture ‘the moment’ as much as possible, whether in the dance, their actions or intimate moments.

I’ll use one camera (Nikon D300s and one zoom lens (Nikor 18 – 200 mm VR) to make it easier for the grab shots while giving the facility for longer range ‘personal’ images.

The reality:

Finding out where the dancers were going to be over the weekend was fairly easy, using the events listing. I was already reasonably familiar with some of the groups, so I knew what I was targeting. Getting into an optimum position while not getting into the performers’ way or being in danger of getting struck by flying sticks or trampled underfoot was more difficult. There were several venues with simultaneous displays, so I chose those which had more ‘colourful’ groups and got to the venue before the dancers.

For the ‘action’ shots, I used continuous focusing and high speed continuous shooting, to enable catching ‘the moment’ that froze the action at various points of the dance. This inevitably produced hundreds of images and while I was able to review them on camera to a degree the majority of the editing was done at home using Lightroom 4.

A problem I had with many of the group images was the number of onlookers, who produced too much ‘clutter’ in the images, so a significant amount of work was required to reduce this clutter using Photoshop – I’ll document this as the images are presented.

Starting with the ladies’ teams, I took the following series of images:

Camden Clog

ISO-200, f/8, 1/500 sec, 29 mm (43mm EFL)

This image of the Camden Clog dancing team, from South East Lancashire, catches the ladies as they were all in step, with their right feet all off the ground, their arms at the same position and hands at head height. It shows the practiced steps of this really ’tight’ team – obviously well-rehearsed and committed to performing traditional clog dances. Their attire is obviously well kept, with well-polished clogs and bells. They are to be admired.

I chose a low shooting angle for this in order to frame them better with parts of the harbour showing behind them. This is one of the images where I selectively blurred some of the background in order to bring the focus onto the ‘sharp’ dancers.

I think the moment of action has been caught well here and the processing of the image has worked fairly well. Obviously it would have been better to capture them without the need for further processing, but in this kind of situation one needs to be fast and catch the image as it’s presented – getting to the front of a crowd of spectators and keeping out of their viewing area is a feat in itself – so I’m quite happy with this result.

Hexhamshire Lasses

ISO-200, f/8, 1/500 sec, 35 mm (52mm EFL)

This group of traditional dancers, from Northumberland, is obviously very well-rehearsed. Again they’ve been caught in mid step as the lines dance towards each other. What is seen in this image is the joy of the dancers. They are so obviously enjoying the dance and each other’s company – and surely this is what the dance should be about! The footwear here is high heeled, traditional dancing shoes, rather than the clogs seen in the previous image (although they do perform clog dances too). They Hexhamshire Lasses have been in existence for 20 years and their impeccable dress and display are testament to their dedication. Their musicians are impressive too!

A very low shooting angle was used here as I wanted to accentuate the height of their dance steps, as well as put them in context with the venue. Using a focal length close to ‘standard’ has prevented distortion which could have occurred at this low angle. Again, I used Photoshop to selectively blur the background distractions in order to separate the dancers from the ‘clutter’.

Apart from the post processing needed, I think this image worked well – it captures the essence of this group – perfection in their pastime and sheer joy in its execution.

Martha Rhodens Tuppenny Dish

ISO-200, f/4.8, 1/2500 sec, 50 mm (75 mm EFL)

This team work closely with the Shropshire Bedlam (who’ll be seen later), performing ‘Border Morris’. They have been in existence for 40 years and perform their own interpretation of previously neglected dances, providing each other with musical accompaniment and support as they travel together to various displays.

I like this image, which is almost ‘cheeky’ but highlights the fact that every item of clothing is prepared and presented meticulously. Of all the ladies teams of the festival I think these are my favourite, mainly because of their obvious enjoyment of the craft but also of their easiness of working together. This shows a much more graceful side to the traditional ladies’ dances.

I used a low shooting angle and again, and a lens setting which produced no distortion - although the perspective has been shortened slightly. In this case I used a much wider aperture which meant much less post processing work as the background was already thrown out of focus. The backdrop of the cargo shed could be better, but I had to be in this position to catch the dance.

Fool’s Gambit Morris

ISO-200, f/11, 1/200 sec, 20 mm (30 mm EFL)

This group of young dancers performs a type of traditional Morris dance, usually danced by men. They are precise in their following of the dance steps and dress, so they’re preserving this type of dance as exactly as possible. Good for them. Personally I prefer a little more interpretation and excitement.

I think this image shows the exactness of their style, capturing them all in mid jump and all with an almost exact pose.

The relatively low shooting angle has accentuated their height from the ground well. I made the mistake of using a smaller aperture, which introduced a lot of distractions from the crowds and surroundings – this was treated using selective blurring in Photoshop, which I think produced a reasonable end result. There was also some distortion in the original image, but cropping and some perspective adjustment corrected this.

Shropshire Bedlam 1

ISO-200, f/11, 1/100 sec, 200 mm (300 mm EFL)

The next images are of this exciting, energetic group of dancers who perform a really masculine dance which is loud, fast and macho. This image of the youngest member of th team captures the movement as they race past. Obviously this dancer was aware that I was photographing him, but it wasn’t a problem. It’s interesting to note the line of sweat running down his face. This style of dance is hard work!

Using a longer lens I’ve captured a more intimate moment of the dance. I wanted to capture some of the movement, but the speed of the dance meant that 1/100 sec was the best I could do while still keeping the subject in reasonably sharp focus. I’m not completely happy with this image – it’s not sharp enough due to the speed of the dancer. I could have changed my ISO setting or a wider aperture to allow a faster shutter speed, but that would have lost some of the movement. It’s one of those quandary moments, so I took the middle ground with reasonable focus and a degree of movement.

Shropshire Bedlam 2

ISO-200, f/5.6, 1/1250 sec, 170 mm (255 mm EFL)

The force exerted by the dancers as they clash sticks isn’t to be underestimated. They could do some serious damage. Catching the moment as the sticks are struck by members of the team and seeing the concentration and almost malevolence in the faces of the dancers wasn’t easy.

Choosing a low shooting angle from a reasonable distance caught this image. Here I wanted to freeze the action, so a much faster shutter speed was used. I enhanced the image using single frame tone mapping. Without the tone mapping his blackened face had little detail. I think this treatment worked well for this image.

Shropshire Bedlam 3

ISO-200, f/4.8, 1/1600 sec, 60 mm (90 mm EFL)

This image gives an indication of the energy of this group. I used to think the Morris dancers were somewhat effeminate until I saw these guys in action – They’re strong and fit and they mean business. Woe betides anyone who gets in their way. I kept a discreet distance!

Again the low shooting angle and relatively high shutter speed has captured this moment in the dance. I was unhappy about cutting out the feathers on the hat of the front dancer, but accepted this as the rest of the image was good. Catching this moment and every part of the dancers, bearing in mind the speed of the dance, would come down to luck in many cases. This is another image which I treated with single frame tone mapping, to bring out the detail in their faces and costume. I think the end result warrants the treatment.

Shropshire Bedlam 4

ISO-200, f/5.6, 1/400 sec, 135 mm (202 mm EFL)

The rigours of energetic dancing on a warm day have produced a lot of sweat which has washed the black from his face. His eyes are red from the salt and even the feathers and tassels of his costume seem to be flagging. But look at the happiness and satisfaction in his face. I think this is one of the best ‘moments’ I’ve captured in this set.

All I needed to do with this image was crop some of the background (too much building was showing).

Ouse Washes Molly Dancers 1

ISO-200, f/5.6, 1/250 sec, 200 mm (300 mm EFL)

Another blackened face from a member of this group from the fens. They have very different costumes – portraying their Sunday best or what to wear for a garden party, because traditionally these dances would be performed in their leisure time for entertainment. This troupe performs ‘molly’ dances which tell stories of murder and mystery. This is the leader of the group and he’s here waiting for their turn to perform. He’s watching every step of the team that’s now dancing with such concentration. The face black is fresh and unspoiled, without even a smudge on his spectacles – this won’t last long.

Picking his face out in the crowd, with other members of his team in the background, shows the seriousness of the show they’re going to perform. The show will be entertaining and enacted to a very high standard which only this kind of concentration will produce it. It’s a momentary prelude to a moment if you like!

I’m pleased with this image. I like the short depth of field and the subject’s separation from the background. All I needed to do was converting it from RAW and resize the image for the different media applications.

Ouse Washes Molly Dancers 2

ISO-200, f/3.8, 1/1000 sec, 24 mm (36 mm EFL)

Performing this dance (or tale) shows the dancers’ commitment to the art. They’re apparently charging off in different directions, but look at the precision – they’re all in perfect step, the directions of travel are exact (or they’d be running into each other) and they’re obviously enjoying what they’re doing.

I think the moment has been well caught, with all members off the ground. Another typr of moment is seen in their happy faces, while the street setting gives them a sense of time and place.

Although the depth of field in this image was relatively short, I still used Photoshop for selective blur in parts of the image, to reduce the impact of the crowd ‘clutter’. I’m still happy with the end result and I think the treatment shows the dance troupe to good effect.

The sequence of images has shown different groups performing their folk dances in different ways, but generally all to the same end and at the same event. Close up images of some of the players have helped show the dedication these dancers have to the tradition and to the enjoyment they obviously have in the performance. I’ve really enjoyed the experience.