Overview of Fine Art Landscape and Travel Photography
One of the things that we look forward to the most, is the opportunity to share the stage together. And to share with both our audience in the studio, and also those out there in Internet land. There's so many people in the world nowadays doing fine art landscape photography. And also, travel particularly. Everyone's got a camera, Peter.
Everybody has a camera.
Even on their phone.
And I think that's where we look at photography these days in two ways, isn't it? Photography is a form of communication. My daughters will take photos and show their mother where they've been and all that sort of stuff, or not as the case may be.
I was gonna say.
It's a form of communication. The way we look at photography, is an art expression. It's a way of hopefully inspiring people. I mean I like it when people give me likes on Facebook, or hearts on Instagram.
Well I gave you once, it was back in December, I gave you a like. I was pretty good shot.
Yeah, I know, but other people are more ...
discerning and they give me quite a few likes. We all like those likes, but I think what the most important like is, is to like your own stuff.
How can we, when we look at life, we can't all like absolutely everything. And I'm very grateful for that, because if everybody liked my wife, now, I mean to say that the other way around. But I was very lucky that we matched together. I'll stop while I'm ahead at the moment. But we're all different, and I think that once we understand that we're different, the only person that we can really convince about our own photography, and satisfy, is ourselves. And then hopefully, by being sort of satisfied, that will then spread to other people. So I think that's what we're aiming to do. Maybe we should just give a bit of a run down.
Well, I'm just thinking too, just picking up on that. The ability to be creative is really based in the fact that you've got to be comfortable with who you are inside. So a little bit of today's gonna also be about getting some confidence in the way you see the world. In your unique vision. We're gonna touch on that towards the end of the day. In between, we're gonna start looking at the way we approach our photography, some of the ideas we have and why we go that way. There's so many different opportunities in terms of technology, the directions you can take, and we have our styles. Some of it crosses over, some of it is quite different.
So we'll start off with a little bit of a background about the photos that made us who we are, or didn't make us who we are. Then we're gonna go through a little bit of the technique, when it comes to travel photography. What we actually do, to actually capture the pixels. Then we're going into our landscape slide, which is really gonna focus on ariel landscapes, just for this presentation. After that, you're gonna go onto a little bit of the--
I thought I'd read a bit of poetry, Pete.
Well maybe not poetry, but, you see my approach, for instance, would involve the way I think. Look what's going on in my brain when I'm looking at a picture, what am I gonna do with it? And I'll tie it into words a little bit. Whereas Peter will have, maybe slightly different approaches. And we'd like to share those approaches with you guys.
So that's day one, and then day two, for us, as we explained, photography is capture and post production, and tomorrow's gonna be a lot about post production. We're going to show people how to work with their images within light room and capture one. Just as a one way of doing your image creation. Then we're going to move into Photoshop for some more advanced work, then we're gonna critique some of our students work. Both our live students and online students. Then we're gonna finish up with how do you actually develop your portfolio. Some ideas for creating photo books, for doing exhibitions, or we're just gonna show you some of our prints as well. Because for me, one of the most important things that a photographer can do, is to create a print. Now I know I'm old school, but a print to me is the mark of a photographer. And so sometimes that print will go up on a digital screen, that's okay, but really holding that print, that tactile feeling. I know paper's making a really big comeback too, which is really wonderful, because that tactile feeling is just what it's all about.
Well one of the things we both love, is seeing our pictures hanging. Or in a book. And I particularly, both of us actually, work with the sort of cameras that allow us at times to produce really big prints. It's a way of differentiating your self from the people out there with the camera phones, or small compact phones. It allows you to produce something that they can't do. So we're gonna touch on a lot of things, gonna have a bit of fun doing it.
We're gonna have a lot of fun.
And I just want to say upfront that...
Here we go.
Be sensitive, I love Tony, he's a wonderful person. So when I give him a hard time,
Why didn't you say that in the interview before?
Well, I'm on live--
All right, that's fair enough.
I've got to be honest, and fair, and lie a little bit. I'm just letting you know, that if you think that I'm being a little bit harsh on Tony, you're probably right. Okay, so shall we move on?
Are you guys ready? Are you guys ready?
So let's start off, with Tony, with just a quick example of what we create. And this is perhaps and example of where we start with an image, it's an ariel photograph.
Looks a bit flat to me, that one.
It looks a little bit flat, thank you. And so, I agreed, there is the change which is done. Now, for some people that change might be too much, for some it's not enough, but it's what makes me happy. And that's what we want to get you guys to think, that the changes that you make to your photography, is what makes you happy.
And one of the things we want to explore is why you make those changes, you know? It's not about, I've got this new app, I've got this new plug in, someone showed me the technique, let's just apply it. Well no, you really need to have a reason to apply it. Why are you applying it and what are you trying to say with your pictures?
So Tony, that was quite a strong change.
It was. I was mesmerized by the blue of that water and the iridescent red of the sand. But I didn't feel the camera output actually showed that. It's a popular place yes?
Well known one might say. It's been a number of, other photographers have--
Have gone, yeah.
Have discovered that as well. Wonderful place. So a little example here, we're spending a lot of time in amongst the smoke of the bushes.
This was Bhutan.
This is in Bhutan. And I wanted really to get that Lama's face, but the smoke and the Lama didn't quite match. And so joining a couple of pictures together lets me tell the story. That was important. So you understand this story, I think, much better than the straight shot before. It's still the same Lama.
You take a shot like this it was part of the North of Australia, where you get the build up of storms. And you get big big clouds, big big skies, and this color comes through and yet when I captured, the file was quite flat. That's how I felt. This amazing cacophony of color, whereas the original capture, maybe didn't quite translate that way. And often that's what comes out of our cameras. So, the degree to which you take that expression, well that's up to you, you're the artist, you're the one who's telling the story.
And with this image here, my starting point, is the colors are already there. I mean this off Dirk Hartog Island in Western Australia. And my interpretation actually isn't that much of a change. And sometimes the colors that we see, and then you move your angle a little bit and the colors can change a little bit. And we'll talk about this a little bit later on. We've got a few examples of you know, what color is actually okay. How much color is okay. And these are big discussion points which we wanna get into.
Yeah and just on that you know, we do get, we've had a lot of interaction with photographers. We talk about the fact that how much color, what is the right color and what is real photography, and we're gonna touch on that. I'm sure it's gonna be an interesting conversation--
And also how much post production is too much.
How much is too much Pete?
Well Tony, you tell me. We've got this starting point here. Which is--
I quite thought that was a good picture.
But I wanna look at it again. When I was out there and watched this cloud build out, it was Biblical, it was dramatic. It was like a big stage but that doesn't, but that does. That does. That kind of shares for me, that's how it felt to be there. You know what I'm saying? So, that's what we're about. We're about saying, is it enough to just say that's what's in the camera? Now you know sometimes, sometimes Pete you take the shot, and it comes out of the camera and you think, set it, that's it, it's done.
You know, I've challenged myself with that. And there's sometimes been photos that come out of the back of my camera and I think, yes, that's very, very close. But I can sit down, and just slight changes of contrast, lightness, a little but of highlight, shadow and I think I've improved it yet again. So, I sort of really I suppose I struggle to accept that what the camera produces is ever the best. But even if I go back to the camera settings, I still feel I need to explore that rural file, because there could be something hiding in there. And that to me is, that's what's fun. That's what part of the creative process.
Yeah I agree. I suppose what I was saying was there are people out there that don't use Photoshop. They maybe have limited post production experience, and they'll get a shot and I'll think, well what would I do to improve it? This says it. What we'd like to maybe share with everybody and to inspire them to think about is, yes it works. But as you said, maybe there's a little bit further. But what you've done's good. We're not saying, if you don't go to here, you've stopped short. We're not saying that all. But what we are saying is, just have a look at where you can take that picture a bit further.