Well in our absence we missed out on quite a few big stories in the photography world, but one of the most amazing was that of the discovery of Chicago nanny Vivian Maier’s amazing collection of street photographs. While researching a book on the history of Chicago, a real estate agent bought at auction a large quantity of negatives that had been sold off by a storage company for missed payments. A large proportion of these were undeveloped but those that were he began looking through and scanning and soon realised that he was sat on something quite special.
Having photographed in the Advertising Business from 1966 until the beginning of the 1970′s Peter Greenhill’s photography evokes a classic image of 60′s culture and fashion.
Celebrated models that Peter photographed include Joanna Lumley, Marisa Berenson, Celia Hammond, Sandra Paul who became Mrs Michael Howard, Shakira Baksh who married Michael Caine, Paulene Stone who married Laurence Harvey and Sarah Stuart who became Begum Aga Khan.
Many of Peter’s photos have become 60’s icons and a select collection of these high quality photographic prints are to be displayed at the opening of our new Brighton studio on the 10th of March. Viewing is strictly by invitation only so please contact Waterloo Street Studio on 01273 728830 for details.
If you’re a fan of motorsports there is very little to compare with the atmosphere of a racetrack on a Grand Prix day. The build-up of smaller races through the day sets the tone and you hear the high-revved engines haring round long before you get to the track to see them. By the time the main even takes place, everyone in the stadium is on an adrenalin high, imagining themselves in the driving seat. Even in these days of tactical racing and ultra technology, watching and hearing an F1 car scream past for the first time is exhilarating and the race seems to be over in no time at all.
Whenever I walk around a place which has an important historical past I always find myself trying to imagine it as it once was. Walking through tranquil fields where centuries ago a fierce battle had taken place, or around a long besieged castle that has fallen into disrepair, it’s hard to relate these places we can now visit so freely to the people and events that once occupied them.
When most photographers think of a telephoto lens they might be imagining something with Canon, Sigma or Nikon written somewhere on it. They’ll be using it to shoot some wildlife perhaps; a twilight landscape or a model in the studio. There is another world of photographers out there though whose chosen glass is far more likely to read Takahashi or Celestron. They’ll be the ones packing their gear away as you get up at stupid o’clock to catch that sunrise. Their subject is the night sky and it makes for some of the most fascinating and wondrous images ever recorded to camera.
Best known for his series of sequential photographs proving that a horse’s legs leave the ground while running, British born photographer Eadward Muybridge accomplished the feat by deploying a bank of trip-wire triggered cameras to capture a number of images in close succession. Aside from the obvious application as an early predecessor of motion photography, the technique is very similar to the ‘Matrix effect’ employed to the opposite effect that has become a cliche in countless action movies today.
Exposure is one of the most important aspects of photography and yet to many it is a complex art that is often overlooked. Image exposure is based on science yet is still open to artistic interpretation. Whilst one photographer may think an image has an accurate exposure, in that it captures the mood or essence of a scene, another may decide it inaccurate if it fails to conform to technical rules. This is especially true when considering landscape photography, as the difference in exposure can dramatically affect the outcome of the image. For example, the below image of a waterfall looks completely different when the exposure is altered slightly. Read More
Following on from the post on colour correction, we’ve put together a cheat sheet for warming and cooling corrective filters for daylight film. This is no substitute for a dedicated colour meter and full set of CC filters but can be used in most situations to get approximately the right balance.