In our photography we use well established rules to help us compose our images. Although one shouldn’t be too restrained by so called ‘Rules’ they do provide a starting point, when learning, to compose a pleasing image. These compositional rules have been well established for years and been used by artists.
There are also other aspects of fine art that can be helpful in creating a good image with impact. We have discussed in the past how we can use ‘figure to ground’ in photography to make a subject stand out by contrast against the background.
Many Street photographers adjust their exposure value to create dark shadows devoid of any detail which creates a dynamic graphical shape within the image. They may also use direct light to illuminate the main subject within that dark graphical shape.
This method of creating an image with strong contrasts between light and dark is known as Chiaroscuro, an Italian word literary meaning ‘Light-Dark’. In painting it is used to suggest volume and modelling in the subject.
A master of the use of chiaroscuro was the artist Caravaggio. A good example of his is ‘Calling of St Matthew’.
A favourite contemporary artists of mine who also demonstrates a good use of light in their pastel paintings is the Canadian artist Sally Strand.
In her words she explains her use of light within her paintings:
‘I relate to small moments of life that are often overlooked. These moments resonate with me because they are familiar—we see ourselves in them. They sometimes suggest things beyond the obvious. Painting mundane objects or tasks provides me with a challenge to portray the commonplace in a compelling way, to make the usual unusual and worthy of notice. ‘
This is also a good video where Strand explains how she sees the different light values: https://youtu.be/axlnVZjCjNA
How to create a PDI multi-image document for something like a triptych.
Creating document.
With Affinity Photo open – Click on File – New
Dialogue box opens – Click on ‘My Presets’ so we can save our document for later use.
Under ‘Layout’ on the right set document units to ‘Pixels’ .
To create a landscape document set width to 1600pixels and height to 1200pixels. Make sure you have the orientation set to ‘Landscape’.
If you want a portrait format you can just click on orientation ‘Portrait’
If you want a square format then just change the 1600pixels to 1200pixels.
Other settings:
DPI: 300
Colour format: RGB/8
Colour Profile: sRGB
Before you go any further you can click on ‘+Custom’ at the top and it will save these settings under ‘My Presets’ for later use. If you right click in the preset you’ve just created you can rename it.
Click on: ‘Create’
We now have a document of the size open with a white background.
Changing background colour.
At this point you can change the colour of the background. I like to use a 30% grey background.
Go to the tab ‘Colour’ on the right and click on ‘Greyscale’
Move the slider to 30 for a 30% greyscale or any other shade you wish to use.
Using the ‘Flood Fill’ tool click on the background and you should now have a 30% greyscale background ready to place your photos on.
Placing images.
Click on ‘File’ – ‘Place’ and chose an image from wherever you have stored your images.
Click and drag on the image background you have created and this will place the first image. Don’t worry too much about the size and position of the image as this can be adjusted once all images are on your background.
Make sure at this stage that you have the ‘snapping’ set to on at the top as this is useful in aligning the images once you’ve placed them on the background. You can move the images to the edge of the background and pick up the centre snap shown as a green line that pops up or move them near the other images to use the alignment of edges snap shown as a red line. You can click on each image and resize and reposition as required until you have the final setup.
You can also place text on your final layout by using the ‘Text Frame’ tool. Text can also be aligned by using the same snap alignment tools.
Text type size etc. can be changed by clicking on font et at the top of the page.
Saving the multi-image document.
Once satisfied then click on ‘File’ ‘Export’ and save your completed multi-image document to wherever you wish to save it.
As well as exporting to an image file of the type of your choice you can also save the file as an affinity file type .afphoto so that you can edit it further later.
Having just loaded up my Olympus OM2n with a roll of Rollei RPX 100 it has prompted me to write up my results from the last time I used this film
Back in 2019 I had a couple of days out with my Pentax P30 and SMC Pentax-M 50mm f1.7 lens and loaded with a 36 exposure roll of the Rollei RPX 100.
One day was spent through Bishops Stortford and the second day was Saffron Walden which is a lovely town in Essex, and a favourite of mine.
I developed the film in Ilford ID11 diluted 1:1 for 12 minutes at 20 deg C.
The camera that I used for the test.
My first location was on a walk through Bishops Stortford.
Bishops Stortford.
Top of Wind Hill, Bishops Stortford.
Looking down High Street, Bishops Stortford.
The Gourmet Turk restaurant which used to be The Boar’s Head pub.
Church Street, Bishops Stortford.
The multi-storey car park. Bishops Stortford.
My second location was the lovely town of Saffron Walden.
On the corner of Freshwell Street looking up Bridge Street toward High Street
Looking down Bridge Street Saffron Walden.Looking up Bridge Street, Saffron Walden.
I scanned the negatives using a Plustek 8100 scanner and was very pleased with the results. The negs have good tonal variation and contrast so it’s prompted me to stock up with some more of this film.
When I retired four years ago I decided to get back into more serious photography as a means of having an interest that I could pursue.
I joined the local photography club and started entering competitions. This was using a modern digital camera. However, I started seeing some good old film 35mm cameras on ebay which piqued my interest in maybe getting back and doing some retro film photography.
The Olympus OM2n that I used for these photos.
So, two years ago I started using old cameras and developing my own black and white films. The negatives would then be scanned to digital copies for use on social media etc.
That then, of course, led me to thinking that wouldn’t it be nice to get back to some old retro printing in the darkroom using traditional silver gelatin printing methods.
I had semi converted our loft in our house to a craft room 10 years ago. I had redirected the electrical wiring and extended lighting and power circuitry. Flooring was the next thing to go down followed by rooflights and insulating between the rafters. We are fortunate that our house has quite a high ridge line so the loft has a high area in the centre without having to disturb the main load bearing structure.
Flooring down and workbench installed within truss structure. Next stage is installing windows and insulating between rafters. I also stapled multi-foil insulation under the rafters for additional insulation.
I was also able to create workbench areas constructed off the load bearing trusses down each side of the roof. I was aware that I couldn’t put a lot of load on the roof structure so the way I had done it meant that it could never be used as a proper room and heavy things such as furniture couldn’t be put up there. It was though adequate to allow use for crafts as nothing I was using was heavy.
The room as it was converted was great as a craft room but we never really used it as such as we realized that as we are still capable of going out we would rather be out and about than stuck up in the loft doing crafts. For me the plan was to do model making and for Liz it was bead and card making.
So, we were quite happy to let things go and spend our time going out and the craft room didn’t really get used. Then, along came Covid 19 and we had a lot of spare time on our hands.
So, jump to 9 months ago and my current interest in doing some photographic printing. The first thing I had to do was to make some blackout curtains for the Velux windows. The windows which were a big advantage for craft work were something I could do without in a darkroom where you have to work only with a red safelight.
The darkroom all setup with the blinds in place and the red safelight on.
So, some material purchased from ebay along with self-adhesive velcro and I’d made the blackout blinds for the windows.
Next thing was the equipment required to produce prints from negatives. I used to do photographic printing as a teenager and had kept all the equipment, the enlarger, developing trays, safelight etc but here’s the cruck, when I was going to convert the loft I had decided I wasn’t going to use that anymore in the digital age so had chucked it in the council tip. I had tried giving it away but no one wanted it. At that point everyone thought that film photography had died.
Fortunately for me, 10 years later a fellow member of my photography club was clearing out his garage and wanted to just get rid of all the kit to do printing. It was actually better kit than I had before as that was purchased when I was a penniless teenager rather than a penniless pensioner.
So, next stage was to get all the kit up and running. It hadn’t been used for a while and some of the electronic things didn’t seem to work any more. So things like the enlarger timer were taken out of line and replaced with an ordinary in-line torpedo switch and the timing done with a mechanical timer.
In an ideal world a darkroom should have a wet area but for my room I had to make do with using a couple of the large plastic darkroom trays that I had acquired to wash the prints. All used chemicals and dirty water goes into a bucket and is carried down to the bathroom for disposal.
All set up and ready to go and an order sent off to Ilford Photo for some paper developing chemicals and Kentmere VC Select 10” x 8” silver gelatin paper. I setup an oil filled radiator in the loft. Although the heat from the house would rise up through the open loft door I did need to make sure that the temperature in the room was maintained at around 20 deg C. so additional heating was required.
An actual scan of a silver gelatin print produced in the darkroom. Henry Moore, Mother and Child.
I had been running out of subjects to photograph but fortunately the Henry Moore Gardens in Perry Green had decided to stay open in December so thought that would make a good subject for some film photography.
A scan of an actual darkroom print. I thought it was a good opportunity to get some close ups of the sculptures with water on them.
Whilst I have been using Ilford black and white films by preference I’d also been trying out using some unusual film. One such was Rollei Retro 400s which is actually a film originally produced in Belgium for aerial surveillance (more on that subject in another post). It is what is termed as super panchromatic and is sensitive to more of the red spectrum. I thought it would suit the subject of Henry Moore sculptures very well with it’s increased contrast.
My first trials were to actually test the effectiveness of my blackout arrangements. I set everything up and placed a coin on some photographic paper with all lights including the red safelight off for 20 minutes. Developing this showed no witness of the coin on the paper so that proved the blackout arrangements were OK.
Next test was with the previous arrangement but this time with the red safelight on. This proved that the safelight itself was effective in not fogging the paper.
I was using multigrade paper so set the colour head settings on the enlarger to give a grade 2 mid range contrast and my first set of prints were just to do a couple of test strips. First set 5 seconds apart to get the ball park figure then another set 2 seconds apart. I also established that the photos of the Henry Moore sculptures looked better with a bit more contrast so reset the colour head settings to give a grade 3 paper.
I did some 8” x 10” prints and were very pleased with the results. Unlike when trying to print using an inkjet printer the black were actually a warm tone black rather than a blue hue as produced by the inkjet.
I have also recently processed the higher contrast Rollei Retro 400s film and produced some prints from those which I’ve been very pleased with.
A document scan of a silver gelatin print produced in the darkroom. Rollei Retro 400s film.
A document scan of a silver gelatin print produced in the darkroom. Rollei Retro 400s film.
Next stage in my lockdown crafts is to mount and frame some of the photos. I think a set of three framed Henry Moore prints would look good on the wall.
My latest project whilst in lockdown is to increase the contrast of my black and white film photos. I’ve been reading about various new 35mm films that have come on the market that were designed for uses such as aerial surveillance or use in ATM machines. Even some that emulate the old black and white film stock produced for the movies in Germany. Many of these films are 2 to 3 times the price of my regular black and white films such as Ilford HP5+ or Fomapan 400.
This got me to thinking though that maybe I could emulate some of these films by using my regular film stock and altering exposure and development to increase contrast.
For a given film and developer the variables are duration of development, Temperature of developer and agitation. Activity (whether the solution is used more than once) can also be a variable but for these tests I’ve used one shot methods. Increasing development time increases both the density and the contrast of the negative image but also increases the speed of the film and the granularity of the image.
My test is carried out using a pair of my Olympus OM40s loaded with Ilford HP5+. I also used another roll in my Ricoh KR10 Super which I intended to shoot at box speed but then alter the agitation of the tank from 10 seconds each minute to 30 seconds each minute to see how that effects the final outcome.
The two Olympus Om40s that I used for the test.The Ricoh KR10 Super which had the third film loaded.
The Olympus camera exposure meters are set to the normal ‘off film’ setting for centre biased exposure. One camera will be shot using an E.V. of minus 2 to enhance depth of the shadow areas. This gives an effective film speed of 1600 ISO. This film will then be developed in Ilford ID11 diluted 1+1 for the regular time plus 20% to enhance the contrast. This will give me a development time of 15.5 minutes. The second camera is set to an E.V. of zero and the development time in ID11 diluted at 1+1 will be the regular 13 minutes.
The Ricoh was set to 400 ISO and the dilution was 1+3 to improve sharpness and also agitated 30 seconds every minute. This in contrast to 10 seconds every minute which is my normal method.
Maybe semi-stand development might be the answer, but that’s another test for another day.
My first test day was carried out during a walk through Marks Hall Arboretum. I thought trees would make a reasonable subject during these times when my ability to get into London for some architecture is limited. The day was a bit overcast so I thought this might show up better any increased contrast.
The test using the Ricoh was conducted on a bright and sunny day taking photographs of a church and a local wood.
In part Two I’ll be looking at the results and comparing the photographs!
I’ve recently completed converting my loft into a darkroom. It seemed like a natural progression from having got more into my film photography recently..
An ideal time to spend in the darkroom what with this awful weather and being in lockdown.
Did a few trial prints the other day of some photos taken in the Barbican using a 35mm Olympus OM2n.The film was rated at ISO 400 and developed in Ilford ID11 developer.
These are all scans of the actual prints made in the darkroom and printed on Kentmere VC Select Luster multigrade paper.
The first print (above) I made using the settings on the colour head for the equivalent of a grade 2 paper which is a mid way grade. The range of tones at the lower level under the overhanging construction are pretty good, although the upper level balconies are a bit over exposed and losing some detail.
For the second example (above) I reset the yellow and magenta settings on the enlarger colour head to give me an equivalent to grade 3 paper which is more contrasty. The image has more punch and has darker blacks to the shadow area, although the lower part does look a bit under exposed (it does look darker on the scanned image than on the actual print though). It does also have good detail to the upper balcony areas. I may have to redo this and using a bit of cardboard just hold back the lower part by 5 seconds on the exposure in the enlarger.
It is good fun and is an interesting project to be doing in these restricted times.
I’ve also included a few of the other scanned prints of the Barbican from the last session.
Whilst we have had restricted travel I’ve been lucky enough to be able to visit the Henry Moore Gardens and Studios. It’s just a few minutes drive from where I live and just a few weeks ago I took the opportunity of a stroll around the grounds with a film camera loaded with a 36 exposure roll of Ilford HP5+ loaded into my Olympus OM2n.
The visitor centre building is quite an interesting shape in itself.
It had been raining which always adds an interesting perspective to the sculptures. Three Piece Sculpture: Vertebrae
I think it’s a good idea to get the interaction of people to the sculptures.
Using one sculpture to frame another is a useful compositional tool.
Knife Edge Two Piece.
I was rather glad that this lady had decided to take a seat for a while. Reclining Figure: Angles
Reclining Mother and Child.
This one of the best shots I’ve ever got of the Large Upright Internal/External Form. It usually has a bright sky behind it which makes the exposure very difficult. I got in close this time to exclude exposure those influencing highlights.
I’m very pleased with the quality of the photos and I think the HP5+ film is certainly ideal for capturing the sculptures on a very dull day. The tonal range of the images is very good and I haven’t noticed too much grain. The film was developed in Ilford ID11 diluted 1+3 for 22 minutes. I would normally develop for 20 minutes but this was the second use of the developer so I added 10% to the time.
It’s good to see Sheep Piece back in the field after being away on tour for a while.
Geometric shapes can be defined as figure or area closed by a boundary which is created by combining the specific amount of curves, points, and lines.
Assignment
A group of friends who are members of the local photography club and also keen on old cameras decided last week that it was time to go out on a photo shoot. Keeping to the current Government guidelines we were limited to a total of 6 and we decided to have a visit to a local town called Harlow in Essex.
The town plans were drawn up in 1947 by Sir Frederick Gibberd and was designated a New Town built to provide housing to replace the loss of housing in London during the war.
We wanted to catch the setting sun going down and throwing some light shafts through the contemporary architecture in the town. A New Town is an ideal location for this style of photography due to the proliferation of contemporary architecture with it’s associated square blocks and straight lines.
Equipment used
I used my Olympus OM2n 35mm SLR with a 50mm f1.4 lens. I had a red filter fitted to the lens for all these shots to darken the blue of the sky and give contrast between the sky and the buildings. Film used was Ilford HP5+ rated at 400 asa. The film was processed in Ilford ID11 @20 deg c for 20 minutes.
I saw this zebra crossing and thought it would be an ideal location for some Street Photography, especially with the vertical lines of the building behind. All I need now, I thought, was for someone to walk into the picture. Imagine my surprise when at that moment over my shoulder I heard someone appologise for walking into my picture. It couldn’t have been better. Not only had I got my subject but they were wearing a black and white striped top too. Perfect!
Film: Fomapan 400. Rated at 400asa. Developed in Ilford ID11 dilution 1+3 for 23 minutes @20 degC.
Film scanned using Plustek OpticFilm 8100 through Silverfast 8 software.
Agfa Optima 1035 Sensor
Why I chose this camera?
Having an interest in analogue photography I like to follow a YouTube channel called Analogue Insights (link at the end of this post). Recently, Max, who is the host of the site has done a review of the Afa Optima 1035. It seemed to be the ideal camera for some Street Photography and as a coincidence there was one on Ebay in mint condition which I purchased for £56.
The camera and it’s features.
The camera is built of metal and is very compact and takes 35mm film. It has zone focusing but if turned upside down it has the distance scale on the underside of the lens. Zone focusing is something I often use for Street Photography so that is fine. The viewfinder is very large and bright for such a small camera and it is equipped with a nice f2.8 40mm lens. The zone focusing settings are shown in the viewfinder which is handy. The exposure is fully automatic but there is an aperture setting on the lens. This though is only operational when using flash.
Zone focusing seen in the viewfinder.The zone focusing on the top of the lens.
Design philosophy
The camera was one of a series of cameras produced by Agfa through to the late 1970s and the simplistic design philosophy has as it’s roots in that of post war German industrial design. The design is a reflection of the design principles by such great designers as Dieter Rams who was instrumental in the design of the sleek and understated household goods for Braun in that era. “Good design is as little design as possible.” These few words encapsulate the philosophy of Rams. The British-American designer Jony Ive, Chief designer for Apple until 2019 once said of Rams that his work is “beyond improvement.”
This camera was designed by another German design studio. In 1967 Norbert Schlagheck and Herbert Schultes formed the design partnership Schlagheck Schultes Design GmbH and took on work of designing products for AGFA Gevaert AG. The design partnership was located in Munich and they were Influenced by Dieter Rams and his 10 Principles of Good Design. They were responsible for delivering designs for several classic cameras, along with other products. The design for AGFA provided a new and more modern direction for the camera-maker with the large red sensor shutter release being instrumental in the catch phrase for the product of ‘The other red dot camera’. This being a reference to the logo on Leica cameras. Not quite up to the standard of manufacture of Leica of course.
The results of my first trip out with the camera.
I recently was able to visit the National Trust property of Anglesey Abbey. Having just received the camera through the post I thought I’d load up with a roll of Fomapan 400 black and white film and try it out. It was an overcast day so not too much contrast but the white statuary in the grounds set against a dark background of foliage proved to be ideal for a test and I’m quite pleased with the results. The camera was a joy to use and handled very well. Manual focusing was very easy with the 400 ASA film providing small enough apertures to get some depth of field.
My next test of the camera will be to take it out on a trip doing some Street Photography.
I do like the quality and feel of the old legacy lenses created for the old film cameras. To my mind they are built to a higher standard than the modern lenses made for the consumer market.
I recently saw a Carl Zeiss Jena 29mm lens advertised on ebay and was tempted and was surprised that no one else bid on it. So, I got myself a nice lens of good condition for £31.
There is a lot written about the company of Zeiss Jena and the fact that it was situated in the Eastern part of Germany after the second world war. The company Zeiss originated in Jena but after the war the Americans moved most of the staff and manufacturing to Oberkochen in the West of Germany. Optics were continued to be manufactured in the original factory in Jena and in some cases using the original technicians who chose to stay. Some would say that the quality of the Jena lenses doesn’t match that of the ones produced in Oberkochen but I think there is an element of snobbery in that statement. It may be that the quality control was a bit more relaxed at the Jena works but if you get a good example they are certainly good lenses.
Carl Zeiss Jena 29mm f2.8.
You are, of course, stuck with manual focus when using these lenses on a digital camera but that doesn’t bother me at all. I often use manual focus with my digital lenses. On a Micro Four Thirds camera the focal length for this lens is 58mm which is a good focal length for Street Photography. The lens also has a close focus distance of 0.25m which is better than my Leica 25mm digital lens. I also like the way these old lenses have all the distance scales etc etched on the lens. It’s very handy for when you’re doing zone focusing, again, not something easy to do on a lens with no distance markings.
The lens fitting is the 42mm screw fit so I had to purchase a new adaptor for my micro four thirds cameras (Olympus OM-D E-M1 and Lumix GX8).
K & F Concept M42 – M4/3 adaptor
I chose the K & F Concept adaptor as I had purchased others in the past and some had been problematic and fitted the Lumix camera but not the Olympus. The one I chose was the Pro version which is a couple of pounds more expensive but was of excellent build quality and finish. It fitted both cameras very accurately without any play.
K & F Concept M42 – M4/3 adaptor
The lens and the adaptor look very good mounted on my Olympus OM-D.
Olympus OM-D M1 fitted with K & F Concept adaptor and Carl Zeiss Jena 29mm f2.8 lens.Olympus OM-D M1 fitted with K & F Concept adaptor and Carl Zeiss Jena 29mm f2.8 lens.
I mounted the lens to my Lumix GX8 and went out for an afternoon photographing in a small town called Saffron Walden in Essex. These are some of the results. All jpgs straight out of the camera with no post processing:
Nicks Pics 