Martin Bailey is the latest addition to the Craft & Vision stable of authors. His eBook Making the Print is a masterclass in inkjet printing. But there’s a lot more to Martin Bailey’s talent than the ability to create a first-class print. He’s an accomplished wildlife and landscape photographer, based in Japan. He leads photographic workshops; and for the last five years has posted over 400 Podcasts on his website. Where he gets the energy from I’ve no idea. But one thing’s for sure – if you have any ambition to make a living as a photographer you need to read this interview. Martin’s story of how he built a photography career is a valuable lesson for anyone who desires to turn professional.

Interview

How would you describe your creative vision – what themes are you trying to explore in your work?

I strive to make crystal clear yet dreamy images, without moving away from the realms of reality. I want to invoke emotions when people see my work, printed, projected or on a computer screen. I want to see their expressions change. If the viewer becomes dynamic, lifting up from their seat, smiling, showing a change in their emotional state, I know I’ve touched them. The biggest compliment I’ve been paid is seeing people cry when standing in front of my prints on a gallery wall.

The theme is generally landscapes and wildlife, though I’ll shoot anything that I see beauty or potential in.

Who are your three favourite photographers and why do you like them?

This is a very difficult question. There are thousands of photographers that create amazing work, and I’m constantly blown away by the work I see on 500px.com for example, but to become a favourite, I want to see more than just good photography. I want the human element to really speak to me. Joe McNally and Zack Arias come to mind. Respect and humility are very important human traits to me, and these guys show a great deal of respect for their subjects and people around them, and remain humble and grateful for their success. They also both have a very good sense of humour.

A third favorite would have to be Michio Hoshino, born 1952. Hoshino saw an aerial photo of a small Alaskan town called Shishimaref when he was 16, and wrote a letter to the mayor asking if he could visit, stating that he’d do any job to pay his way. The mayor replied six months later telling Hoshino he could come anytime, so he jumped on a plane and the summer he spent there that year changed his life. The young Japanese photographer went to back to Alaska when he was twenty, and continued to photograph the wildlife and landscape there, until he was sadly killed in a bear attack in 1996.

Although he left thousands of beautiful images, once again, it’s his disposition that really makes Hoshino a favourite of mine. In a text book from his early school days he wrote the words “Asaki kawa mo fukaku watare” which translates to something like “Cross the shallow river deeply”. This is a probably his version of a Japanese proverb that means to proceed with caution even when the task at hand seems easy, but I don’t think he meant it that way.  I think he meant that we should make the most of all of our experiences, or give our all to the things we choose to do, and this is a mantra I too have lived by.

How did you get started as a nature photographer?

I started Landscape photography in my early twenties, with a plastic camera that someone gave me that I used to capture the beautiful scenery I encountered when hiking in the Peak District and Lake District back in England. Then when I came to Japan at age 24, the beauty of the Japanese landscape and the totally different culture propelled me into photography with a passion, and I got my first Canon SLR in 1991, my first year in Japan. I used this camera and the three lenses I bought at the time for a further ten years, shooting the landscape of mainland Japan, still usually on hiking trips in the most part.

Then at the end of 2001 I bought my first digital SLR, and things started to change. The instant feedback coupled with the ability to use shallow depth of field started me looking for beauty in nature more than ever before. I started making more trips out just for photography, and probably one of my most successful early digital images (2002) was of Mount Fuji from the Kawaguchi Lake.

I’d started to shoot birds in the parks around Tokyo with my old 100-300mm lens, then in the summer of 2003, armed with my first L series lens, the 100-400mm and an EOS 10D, I took my first trip to Hokkaido, the large northern island of Japan, and started to shoot wildlife for the first time. Having bagged a few nice shots during that year, I started to think that this might not be quite the elite area of photography as I had initially thought, and decided to pursue wildlife in addition to my landscape work moving forward.

Hokkaido had captured my heart, so I took my first winter trip there in February 2004, on a photo tour with a Japanese photographers and now friends Yoshiaki Kobayashi and Hiroshi Yokoyama. The beauty of Hokkaido in the winter and the red crowned cranes, whooper swans and eagles had me hooked, and these trips became a winter pilgrimage each year after that. In September 2005, I started to release a weekly Photography Podcast, and through that gradually gained a larger audience and recognition for my work. By 2008 I’d learned the locations and wildlife behaviour in Hokkaido so well that I was able to start running my own tours there, aided by the marketing value I’d gained from my Podcast.

I was still in my old day job at the time, but the tours and the fact that I was now also selling prints of my work and stock images, as well as being hired to do photography assignments here in Japan, started me thinking of the possibility of a career in photography.

By the summer of 2010, I started to avoid taking on new tasks that might mean a lot of overtime in my day job, so that I could protect my photography time. I had enjoyed my day job in Tokyo, working as a manager for a Florida based computer related company for over ten years, but this didn’t feel right, so I decided it was time to cut the cord and pursue my passion full time. I left my old job in September, and on November 1st, a new Japanese corporation Martin Bailey Photography K.K. was born, and I started operating my business as a legal entity.

What are the challenges of being a professional nature photographer today?  I imagine the expense of equipment (long lenses), travel and the degree of knowledge about wildlife required must make it a hard area to break into, and I can see from your website that you undertake portrait photography, and sell stock photos and fine art photos as well as giving workshops and leading tours (and now writing). How important is diversifying to making a living?

With the commoditisation and proliferation of a great deal of photography in recent years, I think it’s difficult to be a successful photographer today without diversifying. Traditional selling stock licenses and prints alone was probably enough to keep a roof over the head of an accomplished photographer, but as the times change many photographers are now running tours and doing seminars, as well as writing to augment their directly photography related income. Please don’t get me wrong here though — all of these additional methods of earning income require different and often new skill sets, that not everyone posseses, and all are noble ways to make a living. I don’t believe that you necessarily have to earn every penny directly from photography.

As you correctly point out, nature photography does have a higher cost of entry in terms of equipment, travel and time investments necessary. I’m lucky in that I bought a lot of my original gear while I was still employed in my old job, and I think anyone interested in doing nature photography should consider some other way of building their gear arsenal first, rather than relying on nature photography income. That could be a totally unrelated job for a while, or maybe doing some other type of photography to make a living while you continue your nature work. I know people for example that make a good living doing wedding photography on the weekends to support their passion for nature photography, and I think this is perfectly okay, as long as you do a good job of both. I wouldn’t like to see someone doing crappy wedding photography, destroying peoples’ memories, so that they can make a quick buck to throw into their nature work. Of course, that kind of business model would be set to fail from the start, but you need to choose photographic genres that you enjoy and can commit to excel at, both for sustainability and for the sake of the customers whose money you hope to receive.

In my case, it was always my intension to include tours and education into my business model. I also started to build a portraiture portfolio while I was in my old day job, as I throughly enjoy this type of work in addition to my nature work. I have invested in some good studio equipment over this last couple of years, and my portrait and commercial work here in Tokyo has become a significant part of my income. It also works well because I can slot in the portraiture and commercial work between my nature expeditions and tours.

You have a lot of beautiful photos. But if you had to pick one as your favourite, which would it be – and why?

That’s a tough question, but I’m a firm believer that your recent work should be your best. Not so recent that the emotions you felt during the shoot still sway your judgment, but shots from the last year usually replace the favourite shots of mine from previous years, so I expect if you ask me this question in another year’s time, it’ll be a different shot. Although I was so busy at the end of 2010 to do this, for a number of years now, I have gone through the exercise of selecting my Top Ten images from the previous year, and I’ve just done this for 2011 and released a my selection in a Podcast and blog post on the subject.

Without a doubt, my favourite photo of my own is a portrait of a Red-Crowned Crane, shot during a personal trip up there a few weeks before my February 2011 tour. These birds are beautiful in every way, and I often spend some of the time waiting for them to dance or fly making what I can “Tanchou Studies” (Tanchou is the Japanese word for the red-crowned crane). This one typifies the beauty of these majestic birds, showing the slender form of the neck and almost shy looking angle of the head. The light was just right to give just a very subtle separation between the white of the bird and the snowy background.

Making the Print

Briefly – what are the three most important concepts to understand in order to make a good quality inkjet print?

Shoot well exposed base images. Many people’s images are too dark, because monitors are set too brightly by default. Use the histogram and shoot to the right, so that you capture bright and vibrant base images. The print starts here.

Calibrate your workflow. At the very least you need a calibrated monitor, and make sure you use the feature that has you adjust the brightness of your display for the ambient light in your workspace. This will have you darken your display down, and give you prints that look much closer to how your images look on screen. If they are too dark on screen, brighten the image not the monitor.

Take control of the colour management when you print by specifying the profile for your printer/paper combination in Photoshop/Lightroom/Aperture and turning off colour management by the printer. If you use third party papers, you may be able to download the profiles for your printer from their site, but you can also build your own profiles with some calibration hardware. This will usually give the best results.

Where did the idea for Making the Print come from? Talk us through the process you went through – from gestation to publication.

The initial idea came from David duChemin. We’d been talking and David knew that I was an accomplished printer, and asked if I could write a book on it. I jumped at the chance of course, and spent a few weeks creating a forty page draft for the Craft & Vision team to approve. Once it was approved, I spent a three or four days for the following six weeks filling in the gaps I’d left in the draft.

The writing process itself was really just a case of putting all of my printing experience down on paper, and ensuring that it had a natural progression, from buying a printer, through some fundamental ideas to grasp, then on to taking more control of the print process and refining the prints by creating your own profiles, soft-proofing and selecting fine art papers etc. I also added information on making your own Gallery Wraps and printing for exhibitions, as these have been popular subjects in my Podcast and blog, so I was pretty confident that people would find them interesting or useful if included.

As I filled out each section, I captured screenshots and selected images from my own catalogue to illustrate the book, and I shot additional images in my studio where necessary. I also selected a lot of images to add as eye candy, and left notes in the Word document to tell the designer what images to use as a background etc.

Having read through the book a few more times tweaking it here and there, I sent my final draft to Craft & Vision in mid-October, and after a nerve racking night as we passed through to the US daytime, I was worried that the Craft & Vision team would come back telling me it’s crap and to start again, but David loved it. Right there he decided it would be a Masterclass book.

I then heard very little from the team until the end of December when we started to lay the book out into the final design. The book was due for release on January 17, and I saw the first draft of the design at the start of January. We utilised the time-zone difference well as the designer sent a copy over at the end of his day, I would review through my day, and send my comments back at the start of the next day in the US. After a few rounds, we reached a copy that we were all happy with, a day or so before the release date. Things were pretty tight in the end, but the process was smooth and relatively stress free.

With the publication of Making the Print you’ve become a published writer. What are the key lessons you learnt from the process of writing the eBook?

With a background in business and education, and also having studied writing a lot over the last ten years, I’m not sure there were any real lessons learned from the process of writing Making the Print as such. It was a great experience, but I write a five to ten page manuscript for my Podcast and blog every week anyway, totalling more than 2,000 pages, so I’m quite comfortable writing. It was a lot like writing a Podcast manuscript but for longer periods of time each week, and building on the same theme. Luckily I was also able to come up with the natural progression for the book pretty easily too, probably based on my experience writing educational content for my Podcast and blog each week.

My advice for others would be to put yourself in the shoes of the reader. You aren’t writing for yourself, so you need to develop the ability to think how the reader will react as they read. What is obvious to you, is not always obvious to others, so don’t leave anything to chance, and fill in all the background information necessary to get your point across.

You also need to decide on an audience, and draw a definite line as to what you’ll cover, so as not to make the book too extraneous or unnecessarily complicated. I intensionally wrote a book for the photographer wanting to make beautiful prints without totally geeking out on the technical and without tearing their hair out in frustration. I don’t believe you need to geek out to make great prints, so it wasn’t difficult, but this may leave the seasoned printer wanting more. Had I gone into much more detail though, we’d have alienated the intended audience, and the aim of the book would have been lost. In short, stay focused, and find a balance between providing the information needed for the majority of your audience, without going into too much detail.

Any more eBooks or books planned for the future? If so, can you drop a hint at this stage to the topic?

Hee hee, right now I have one more idea in with the Craft & Vision team, and a few more ideas that I’m working on. I don’t want to give any details right now, other than I’ll continue to write directly from my own experiences. There are areas of photography that I have become known for, and am confident of my knowledge in. I would hate to have to spend half of my time investigating what to write, so I want to continue to write from my own foundations as a photographer, and from the heart.

Links

Martin Bailey’s website

Martin Bailey’s blog

Martin Bailey’s Photography Tours & Workshops

Martin Bailey’s Podcast at iTunes

Martin Bailey on Twitter

Martin Bailey on Google Plus

Making the Print eBook at Craft & Vision

Photo Gallery

All photos Copyright Martin Bailey. Please contact the photographer for permission to use in any way.

Regular readers will know by now that I’m a big advocate of the square format (see the previous post for some inspiration). Red Ognita approached me a few weeks ago and I liked his work so much that I asked him to take part in an interview. Red is based in Beijing and has some beautiful black and white photos taken in China and other Asian countries.

Interview

How would you describe your photographic vision? What kind of look or feel do you try and create in your photos?

I haven’t really thought about it. I create what appeals to me. Though I have to admit, it is the simple compositions that I am most attracted to – landscape or architecture. When the weather permits, I love to play with the fog and snow. That’s why I choose shooting early morning. Not as much because of the light but the mood it creates.

I find it interesting that when there almost nothing to see but just a tad of a hint, the mind creates the rest for us. When we are unsure of what we are seeing, the imagination comes to play.

When the viewer becomes so aware of the image that he is enveloped by it, and somehow forgets about the print even for second, then, I have achieved the look or the feel I try to create with my photos.

Your work is very creative. Where do you get your ideas and inspiration from?

I believe that we are influenced by everything. The things that we see, the experiences we’ve had and the environment we live in. It shapes not only our personality but also how we approach everyday life. And these things spills out to the things we create.

I notice that ideas and inspiration can come in from almost anywhere. I can be doing some non-creative activity and have an idea for a photographic project. But most of the time, it is stories of greatness that gets my inner self going. It may be about a thorny path a creative person took or about someone’s perseverance that celebrates the human spirit.

Name three photographers or artists you like and why.

There are many artist I’d like to mention, but if I have to choose only three, I’d say, Hiroshi Sugimoto, Ludwig Beethoven and Mark Rothko. Sugimoto and the later works of Rothko almost has the same aesthetics – minimal. While for Beethoven, well, who doesn’t love a Beethoven. Aside from his musical genius, his rise against adversity is very inspiring.

When did you start taking photos? What made you decide to explore photography as a means of artistic expression?

I started taking photos only in 2006. I am based here in Beijing and I wanted to document family events everytime I come home.

I did not decide on anything initially but having more time to myself, I started to go out and take some photos. Being used to taking photos of my family and events, I found it weird in the beginning; taking photos where the subjects are the landscape and city architecture.

I feel that it happened naturally. I enjoyed what I’m doing and just continued doing so. The next thing I remember is that I am creating images rather than just documenting events.

What effect has living in China had on your photography? What’s the best (and the worse) part about taking photos in China?

I think I would not have stumbled in photography had I not been based here in China. Appreciation sometimes happens when you detach yourself from something. When you are almost away with your family, time becomes more precious. Hence, the reason behind the purchase of my first camera.

Language is a big challenge. It is not enough that you know Mandarin but as you move to provinces, dialects begins to play.

As you would imagine, logistics can be a nightmare. Travel is also relatively more expensive than in my home country. I want to be there but not go there. A constant dilemma.

Culture can also be something to look out for; things that you expect to be acceptable might not be. Though, I think, culture can be easily compensated by a smile and constant awareness that you are in a different place.

But China is China. One of the dream destinations of many. Being one of the oldest civilization and being closed to outside world for many years, it offers the most interesting places and people. You just have to be there to experience it.

What does the landscape mean to you? Why do you choose to photograph the landscape in black and white?

I am attracted by simplicity, and it seems that the vastness of a landscape lends itself perfectly. When there is almost nothing in the horizon, that is when my mind is relaxed and the time that I can listen to my muse. I guess, you could also say that it is a form of escape from the man made world of steel and stone. The black and white processing came naturally. Black and white conversions helps eliminate distractions and helps to highlight the things that initially caught my attention.

Although, sometimes, I’d see simple patterns within the city. I realize that it is not actually where we are but what we really see.

You crop most of your photos to the square format. Why do you do this and how does it affect the composition? How important is aspect ratio for you?

The way I present my images was brought about by the way I see things. I tend to focus only on certain parts of a scene. It is challenging for me to see like an Alan Ross or a John Sexton – where elements of a grand vista sings altogether.

My photos are much simpler, and require a different approach in presentation. I could say that the format is almost as important as the image as it is the vehicle that helps the content to get across. It is important to use methods to suit our vision, and not the other way around.

There is a strong design element in your compositions – an awareness of geometry, graphic design and negative space. Do you agree? How would you sum up your approach to composition?

Thank you for noticing. Yes, these are the things that attracts me and the same things that I want to be evident in print. When there is nothing left to take away and the image stands on it’s basic element(s), then I am done. I think they call it minimalism and I agree.

You take a lot of landscapes using long exposures. What is the attraction of this – and how does it affect your approach to other aspects of the photo like composition and lighting?

I think it’s the overall appeal of a landscape that attracts me. It’s always there and there no need to talk to have a conversation.

I like it when there’s a sense of simplicity and calm in my images. The technique of long exposure helps me to achieve what I set out to. It is an interesting technique wherein you would cut available light whereas in other techniques – more light, the better. It is difficult to expose when the sun is up, and that why I tend to shoot either early morning or near dusk. I also have a density filter to help out in cutting out the light at midday exposures.

When using a filter, you might find composition a challenge. The way to go around this is to frame your shot before placing the filter. Make sure that you have read the metering without the filter, then it’s just a matter of math. Remember to flip the focus switch to manual when you have the framing done. Composition remains the same but you have to envision the final crop – a square crop.

Long exposure and a square crop will definitely add preparation time in your shot. It is not the way we are used in seeing, and our tools can also help so much. Every shot is made with every intention of creating it.

What equipment do you use for your long exposures and what advice would you give someone who wants to try this technique out?

In doing long-exposures, it is paramount that the camera stays still when exposing. In this regard, anything that would help you achieve this is important. To make creation easier and flexible, I have invested in a cable release, neutral density filters and a tripod. It’s not really expensive relative to its use and the benefits it will serve you. Of course, you can use the built-in camera timer in exchange to a cable release and any sturdy platform as your tripod. Photography can only be as expensive as we want it to be.

Patience will be another indispensable tool that you should have. Long exposures are exactly that – long exposures. You will spend time not only looking for a good subject but also in exposing itself. And although there are calculations available as to the length of time vs. ISO and aperture, these are only base calculations. A sudden change in light would affect your image. Be prepared to make mistakes and fail. Welcome them as a learning experience.

You sell fine art prints of your work. Do you make the prints yourself or do you have a printer to do it? Why the relatively small size? (10×10 inches).

My gallery helps me to do that. I sometimes find it difficult to be on the business end of photography. But true enough, I am getting a better grasp on it.

As in presenting my work in a square format, the small prints are also how I would like my work to be presented. I consider the print as the final stage of the creative process and, in my opinion, it should reflect the vision almost to perfection. I work in collaboration with a master printer in creating my platinum/palladium prints.

Needless to say, partnership with someone with years of experience in printing breathes life to my work and helps me realize my vision. I print my own pigment prints, but if needed, I have a trusted gallery printer of over three years to help me out.

While I acknowledge the impact big prints gives to the viewer, I also know that my content calls for a more intimate experience. A smaller print would request a viewer to step in closer. I believe that images of simplicity, calm and serenity would be better presented in a smaller print. I’d say that the images dictates the print.

In my earlier days, I shied away from any collaboration. I exposed, post processed, printed and framed all my work. I felt that getting some help somehow dilutes my creative process. Today, I realise that a symphony is made by an orchestra.

Links

Red Ognita’s website

Red on Facebook

Red on Google Plus

Photo Gallery

All photos copyright © Red Ognita. Please contact the photographer for permission to use in any way.

Now, with digital cameras, it’s easy to crop and experiment with different aspect ratios. As a result we have a lot more freedom to play. One result is a resurgence in the popularity of square format images.

What is the appeal? For me, it’s all to do with balance and composition. If you look at an uncropped photo taken with a 35mm camera, your eye moves from side to side (or up and down if it’s in the portrait format), following the longest side of the rectangle. When you look at a square image your eye tends to move around in a circle. The balance, and the dynamics of the way the eye moves around the image, have changed.

Composition tends to be much simpler within the square frame than the rectangular one. Shape and line become stronger. The rule of thirds no longer applies; you have the freedom to place the subject in the centre of the frame, or near the edge. Convert the image to black and white and all this stuff becomes stronger still, free from the distraction of colour.

40 Square Images

I’ve put together a selection of over 40 square photos taken by some of my favourite photographers on Flickr. This varied selection will hopefully show you why I like the square format so much; and inspire you to try it out for yourself.

Even if you don’t use the square format, there’s a lot to learn from the composition of these images. Look at the way the photographers use line and shape. How many have a central composition? Would the black and white images be as effective in colour? (And would the the colour images work as well in black and white?) The lessons you learn can be applied to the rectangular frame as well as the square one.

Photo Gallery

Here are more than 40 square format photos for you to enjoy. Please visit the websites and Flickr photostreams of the photographers and take some time to explore their work (click on the photo to go straight to it on Flickr). There are some very talented people in this list.

*jo-ji*  (Flickr)

 Dasha Mari (Flickr | Website)

Brian Chapman (Flickr | Blog)

Hannah Hlemholt (Flickr | Website)

Gavin Dunbar (Flickr)

Darla Winn (Flickr | Website)

Will S (Flickr)

Jib Peter (Flickr | Website)

Julia Dávila Lampe (Flickr | Website)

Wjflowers (Flickr)

Andy Brown (Flickr)

Alex Alexander (Flickr | Website)

Lee Jeffries (Flickr)

Colin Campbell (Flickr | Website)

Iain Gilmour (Flickr | Website)

Giancarlo Rado (Flickr)

Michael Diblicek (Flickr)

Nathan Wirth (Flickr | Website)

Cory Varcoe (Flickr | Website)

Albert Tam (Flickr | Website)

Betina La Plante (Flickr)

Adam Clutterbuck (Flickr | Website)

Martina Woll (Flickr | Website)

Jeff Gaydash (Flickr | Website)

Virginia Gálvez (Flickr)

Jaclyn Sollars (Flickr | Website)

Johan Verhulst (Flickr | Website)

Yura Kurnosov (Flickr | Website)

Rohan Reilly (Flickr | Website)

Yang Du (Flickr)

Hengki Koentjoro (Flickr | Website)

Mark Voce (Flickr | Website)

Noel Clegg (Flickr)

Laurent Miaille (Flickr | Website)

Bernd Walz (Flickr | Website)

Sue Hammond (Flickr | Website)

Aleksandra Patova (Flickr | Website)

Yukiharu (Flickr)

Phil Bebbington (Flickr | Website)

Ruediger Beckmann (Flickr | Website)

Joel Tjintjelaar (Flickr | Website)

Pauline Greefhorst (Flickr)

Interviews with Photographers

I’ve interviewed several photographers over the last few years that use the square format in their work. Here are the links to the interviews (clicking on the photo takes you to the interview):

An Interview with Landscape Photographer Andy Brown

The Surreal Black & White Photography of Michael Ticcino

An Interview with Black & White Photographer Marius Rustad

An Interview with Fine Art Photographer Brigitte Carnochan

The Art of Black & White Photography (the first photographer in this article, Flavia Schaller, uses the square format).

An Interview with Landscape Photographer Xavi Fuentes

IMPERFECTION: An Interview with Fine Art Travel Photographer Jessica Hilltout

Square

If you’ve enjoyed this post, you may like to take a look at Square, my eBook about the square format for digital photographers. Click the link to learn more.

Craft & Vision have just released their newest eBook, Making the Print: Printing Techniques for the Digital Photographer. Written by photographer Martin Bailey it’s a complete guide to printing your digital images at home on an inkjet printer.

Anyone who used an early inkjet printer is probably as amazed as I am at the print quality you can get from the latest inkjet printers. I remember using an Epson Stylus Photo 700 around 12 years ago – photographers talk about the ‘magic of the darkroom’ but for me this was a different kind of magic, the type where you can press a button and after a few minutes a near perfect print emerges from the printer. Maybe I’m just easily impressed (I grew up with dot matrix printers at a time when most of them didn’t even print in colour).

I’ve never missed printing in the darkroom. The best thing for me about inkjet printers is that you can do all your image manipulation (including dodging and burning) on the screen, then print the image afterwards. Again and again, if you want. In the darkroom, you have to do all the dodging and burning for every print.

Making the Print

Despite the advances in inkjet technology since the early promise of that Epson printer, inkjet printing isn’t as easy as perhaps it should be. That’s where Making the Print comes in. Martin’s an experienced photographer and printer, and he’s written a practical, readable eBook that guides you through the process of making your first inkjet print, then goes into more detail regarding important to know stuff such as monitor calibration and colour management. If you’ve ever wondered which inkjet printer to buy, which printing papers to use or what printer profiles are all about, the answers are in here. There are also sections on printing on and framing canvas, and preparing exhibition quality prints.

Special offer on PDFs

For the next four days only, use the promotional code PRINT4 when you checkout to buy the PDF version of Making the Print for only $4 OR use the code PRINT20 to get 20% off when you buy five or more PDF eBooks from the Craft & Vision collection. These codes expire at 11:59pm PST January 21, 2012.

Making the Print gallery

Here are some spreads from the eBook:

2011 was an eventful year for me – it started off in New Zealand and finished in China. It was also my first full year working as a freelance writer. January is a natural time to reflect on the achievements and disappointments of the previous 12 months; to celebrate successes, learn from mistakes and make plans for the year to come. Part of that process is evaluating how I’ve developed as a writer and photographer. At the end of last year I chose my ten favourite photos. This year I’ve done it again. Comparing the two sets of images shows how my focus has changed; and hints at future projects and images to come.

I created a lot of black and white images in 2011, yet when it came to selecting my favourites only one black and white photo made the list. Maybe it’s a case of colour images being strongest when seen on a computer monitor, and that black and white photos are best viewed as prints. Whatever the reason, I’ve felt that my vision has shifted somewhat from favouring black and white to colour these last few months.

My ten favourite images from 2011

Here, in the approximate order that they were created, are my favourite photos from 2011:

Abbey, Fairy Falls

I saw the potential of Fairy Falls on a previous visit. This is the shot I visualised creating before we arrived; Abbey standing in front of the waterfall with a slow shutter speed (1/2 second) to blur the motion of the water. I asked her to keep still during the exposure so that she would stay sharp.

Chandee, Karekare Beach

I photographed Chandee walking along Karekare Beach at sunset. There’s a distinctive rocky outcrop in the sea and I wanted to include that in the background to make the location recognisable to people who are familiar with it. The sunlight in New Zealand in the summer is extremely strong, and I had to use a silver reflector to fill in Chandee’s right side, which would otherwise have been in deep shadow.

Auckland Lantern Festival

The Lantern Festival celebrates the Chinese New Year. We went at night, and I used a prime lens at wide aperture to create photos with a blurred background. This one ended up on the cover of Beyond Thirds.

Kaipara Coast Sculpture Gardens

The head of this metal sculpture is only a few centimetres high, and getting this close to photograph it created an image with the background thrown completely out of focus. I was drawn to the bizarre, alienesque shape of the face.

Fernery, Whangarei

More experiments with wide apertures, which is something I’ve been playing around with ever since I bought my 85mm prime lens nearly two years ago. The depth of field at f1.8, the maximum aperture of the lens, is extraordinarily narrow.

Muriwai

Here, I was playing around with slow shutter speeds. I panned the camera sideways during a two second exposure to create this blurred effect. The photo was taken at twilight, after sunset, and I pushed the colour temperature slider in Lightroom around until I got the deep blue colours I wanted.

Muriwai

Another photo created during twilight with a long exposure, this time three seconds. I held the camera in my hand and jiggled it a little to get the shaky effect.

Abbey, Herne Bay

A simple portrait, enhanced by running through Instagram on my iPad to get this effect. Originally taken with the intent of converting to black and white, I found the image was quite strong in colour too.

Dongtai Road antiques market, Shanghai

A chinese chess set photographed at Shanghai’s most well known outdoor antiques market. I like the monkeys.

Hong Kong at night

I wanted to create a photo of the Hong Kong skyline, but to get something a little different from the 20 or so other photographers that had set up on the waterfront with their tripods (admittedly, most of them were probably there for the lunar eclipse later that night). I made this near abstract image by focusing on the edge of building (a fast food outlet, from memory) on our side of the water and using a wide aperture to defocus the background.

As a photographer staying in China, I’m interested in beautiful landscapes and the way that people in the more remote parts of the country live (I’m planning a trip to Yunnan early next year – I won’t find many of those here in Shanghai). But a photographer who ventured into remote China long before me is Terri Gold. Her work caught my eye some time ago as she has created some beautiful black and white images using a digital camera converted to infrared. She has travelled to China several times, and is a witness to the immense changes that have taken place here over the last twenty years or so.

Recently she returned to the region of Guizhou, after an absence of 14 years, to continue her lifelong project, Still Points in a Turning World, which focuses on Asia’s vanishing tribal heritage. The trip resulted in a body of work called Into the Mists of Time (click on the link to see a slideshow). Terri has an interesting method of working; she uses a digital camera converted to infrared. This gives her black and white images an unusual, but ethereal feel.

Interview

How long have you been photographing the tribes of south-east Asia? Which parts of Asia and China have you visited in that time?

My earliest memories are of spinning a globe, always drawn to the last mysterious corners of Asia, the tribal worlds. I began my travels in books with Pearl Buck’s biography, Alexandra David-Néel’s “Magic and Mystery in Tibet”, Isabella Bird’s “The Yangtze Valley and Beyond” and Peter Goullart’s “Land Of the Lamas”. I read all the old travelers tales and then as soon as I was old enough I stepped into my dreams. I have traveled extensively in Kham, South Western China, Tibet, Burma, Thailand, Vietnam, The Nagaland, India, Cambodia & Laos. I travel to the tribal villages where the traditions of different millennia co-exist side by side.

Into the mists of time

Tell us a little about your trip to Guizhou. What is the area like? How remote is it and what are conditions like for travellers?

In April 2011, I returned to Guangxi and Guizhou, China, an area rich in minority culture and stunningly beautiful, mountainous and remote. When I was last there in 1997, I visited Miao, Dong and Shui villages that had never received western guests. I wondered how different it would be.

Everywhere we went the people were open to make us welcome and were willing to let us peer into their lives and traditions. The roads and hotels had improved tremendously since 1997 and the Chinese cuisine was diverse, creative and often delicious. Every meal was served on Lazy Susan’s spinning in the center of the table filled with different dishes. It is also possible to set up home stays in many of the villages. Having a charismatic local guide who understands what you are looking for and knows and is respected by the people is essential to being able to really connect.

What changes did you notice between the first time that you visited Guizhou and your most recent visit? How have things improved? Has anything been lost in that time?

Each day our van would climb around hundreds of switchbacks, our faithful driver Chen, his eyes totally focused, honking at each bend. Winding our way through 2000-year-old rice terraces intricately carved into the mountainside, higher and higher into the mists, the landscape green and lush, roads newly built and muddy.

The villagers awaited us with welcome ceremonies that have not changed for generations. The older people are still wearing traditional dress everyday but the next generation only wears these colorful garments for festivals. This is a significant change, for these tribes’ identity is best represented by their intricate textile work. Now the younger generation wants a different life. These are not stagnant societies; there is change in the air. At risk is a vast archive of knowledge and expertise of healers and weavers, silversmiths and musicians, poets and saints.

It is predicted that in the next decade, China will experience the largest human migration in the world’s history, from rural to urban. This is the beginning: there is now a real road in this remote mountainous province connecting it to the world.

It will change everything.

What changes have you noticed in China and south-east Asia in general over the years? What do you see as the major challenges in the area over the next few decades?

The city has become a synonym for modernity, the country backwardness.

China is a wild and complex mixture in time and place, ancient and modern all at once,
there is building and construction everywhere from the small tribal villages to the provincial cities and towns we pass through. New roads are being built as well as towering bridges and dams. The homes in the villages are wooden, all built without nails,
whereas in the cities they are concrete and without much charm.

There is a veritable hum of activity. People are enthusiastically pursuing their dreams of a better life and fortune, often ignoring the non-economic aspects of their lives. The enormous challenges will be in building a new equilibrium.

Infrared photography

You have an interesting style of photography. Tell us a little about working in infrared.

When I began my photography career I was immediately drawn to the world of infrared imagery and the invisible light spectrum. I like adding the element of surprise that naturally happens when working with light you cannot see.

The photograph is the first step in the process. I shot infrared film for many years and was a Lith printer in the darkroom. Now, I use a digital camera converted to infrared by Lifepixel and the digital darkroom to create the split-toned imagery. Working with infrared light adds an element of mystery when creating the work, which, I feel, suits the subject matter and the timeless quality of the images. The post processing is part of my medium – working extensively in Photoshop, Lightroom and then often painting with encaustic wax and oils on the surface of the prints. This creates work that reads like a photograph, but at the same time depends heavily upon the intervention of my hand.

How would you describe your creative vision? What themes and ideas are you exploring in your photography?

I strive to capture the wonder and grace in the celebrations of life and in the artifacts and architecture that remain. My work is an exploration of our cross-cultural truths; the importance of family, community and ritual and the amazing diversity of its expression.

Cultural diversity is our greatest source of wonder and we keep it alive by learning to embrace our differences and celebrate our common threads.

Name three photographers you like and why.

Phil Borges – He takes beautiful images of indigenous and tribal people while bringing attention to the value of their culture and the challenges they face.

Chris Rainier – I ran into Chris Ranier while photographing in the Nagaland. He captures powerful black and white imagery of indigenous cultures around the globe. He is also working with National Geographic to document the world’s endangered languages and trying to prevent language extinction.

Osa & Martin Johnson – In the early 1920’s these intrepid photographers & explorers trekked the unknown lands of the South Pacific, East & South Africa & Borneo. They photographed the tribes including headhunters, cannibals and the wildlife introducing the first glimpse of those worlds to America. It took tremendous ingenuity to develop large format film on a boat in Borneo.

What projects do you have planned for the future?

“Still Points in a Turning World” is part of a lifelong series. I am always plotting my next adventure. Perhaps Ethiopia is next; I am in the research stage now. I am working with The Buglisi Dance Theatre building a new body of work and also developing a series on Wyoming Cowboys, the spirit of the West. I am currently working on a new website and blog.

Most exciting for me is that I am finally making the time to work on a book project focused on my tribal work. The winter is a great time for that.

Links

You can contact Terri Gold at ttgold [at] aol [dot] com

Terri Gold’s website
Terri Gold’s blog
Terri Gold on Facebook
Lenscratch featured photographer
Lifepixel – Tribal world of Guizhou

Terri Gold March 3rd 2011 from Sabine Anton on Vimeo.

Photo gallery

All photos copyright © Terri Gold. Please contact the photographer for permission to use in any way.

I’ve just finished watching The Tudors on DVD with my girlfriend – all four seasons, working our way through the episodes by playing one each night. The series is brilliant on many levels, but the thing that stays with me most is the portrayal of King Henry VIII and his close friend, Charles Brandon as they changed over the decades covered by the show.

The series started by showing them as young, strong virile men. It moved through the major events of their lives and loves (including the king’s six wives) and finished with them old in body and spirit, ready to pass away. It moved me because I’m growing older (I’ll be forty next year) and I’ve become more aware of the fragility of life, and the speed at which it passes, as I contemplate turning forty. I’m trying not to think about it too much, but the thoughts are there, at the back of my mind.

It reminds me of one of my favourite quotes from the Lord of the Rings movies (slightly out of context):

All we have to decide is what to do with the time that is given to us. -Gandalf

Vision is Better II

Which brings me to Vision is Better II, the latest Craft & Vision eBook. This one’s by David, and like Vision is Better, is a collection of posts from his Pixelated Image blog (with a couple of new essays thrown in); presented in a 95 page, beautifully designed eBook along and illustrated with his inspirational photos. David’s writing style is both humorous and honest – brutally frank in some cases as anyone who has followed his blog over the last year or so will understand. Life is short, he tells us again and again (yes David, I’d noticed!), time is precious, go out and live your dreams. Blog posts like this one helped me decide to go freelance when I did (around a year ago) instead of waiting another year or two for the ‘right moment’.

Vision is Better II is more than a collation of hand-picked blog posts; it’s a glimpse into the mind and teachings of a gifted writer and photographer. I’ve read most of these already, but I’m glad to read them again; each essay gives me something to ponder, and glimpses into the inner workings of the creative process. The photos are beautiful, too.

Special offer on PDFs

You can learn more about Vision is Better II here, and as usual there’s a special offer on PDFs:

For the first nine days only, use the promotional code VIB4 when you checkout to get the PDF version of Vision Is Better II for only $US4, VIB7 to get the Vision is Best bundle for $US7 or VIB20 to get 20% off when you buy five or more PDF ebooks from the Craft & Vision collection. These codes expire at 11:59pm PST December 21, 2011.

Vision is Better II gallery

Here are some spreads from the ebook:

Most Canon EOS users will probably have at least a passing familiarity with Digital Photo Professional (DPP), the free Raw processing software that comes with your camera. If you haven’t tried DPP, then maybe it’s time you did. It really is a very good piece of software, but one that’s easily overlooked. That’s presumably partly because it’s free – it’s easy to assume something that is free can’t be very good.

But that’s not true – DPP is a brilliant piece of software. I know photographers who are quite happy to use it and don’t feel the need to buy anything more advanced.

I like DPP for a number of reasons. One is that it’s free (and presumably always will be). Another is that it’s updated every time a new EOS camera model comes out, so you never have to worry about whether you can process the Raw files from your Canon camera or not. Another is that the functions within DPP work the same way as those on your camera. This means that you change settings like Picture Style, white balance, PIC (peripheral illumination correction) and so on in DPP just like you can on an EOS camera.

If you are new to Raw processing and find programs like Lightroom or Photoshop intimidating and complex to use, then another advantage of DPP is that it is much simpler to use. It’s a good way to learn to process Raw files,  and you can move up to a more advanced piece of software if you ever outgrow it.

Understanding DPP: the eBook

Understanding DPP is written for anybody who uses a Canon EOS camera and wants to learn how to get the best out of their Raw files with DPP. The difference between this eBook and a manual or guide is that it explains how to use the software, but also, and more importantly, why you should use it. I’m a creative photographer and I’ve written this eBook for other creative photographers who want to use the functions within DPP (such as white balance, Picture Style and contrast control) to make creative images.

The Raw advantage

If you’ve never tried the Raw format before it has a number of advantages over the JPEG format. With Raw, you can capture more detail in the highlights and shadows. You also have more post-processing options; you can adjust white balance and Picture Style, convert to black and white, and correct chromatic aberrations and barrel distortion. Understanding DPP explores these advantages in depth, and explains how to use these functions in DPP.

There’s also a section devoted to black and white photography. You may not have realised it, but DPP is very good at monochrome conversions and toning effects. I’ll show you how to get the best out of DPP for black and white photography.

The eBook is illustrated throughout by my photos – every single one of which was processed using DPP.

An important point to make is that while I like DPP and it’s a very good piece of software, I never try and tell you in the eBook that it’s as good as Raw processors like Adobe Camera Raw (used in Lightroom and Photoshop). My approach is to tell you when you may benefit from buying a more advanced piece of software, so that you can understand the advantages of doing so, and make up your mind for yourself.

Special offer on PDFs

For the first seven days, you can download Understanding DPP for £5 by entering the code dpp5 when you checkout. The code expires at midnight on December 19th, 2011 GMT.

Title: Understanding DPP

Length: 80 double page spreads

Words: approx 27,000

Price: £7

Note: Payment is handled by PayPal, but it’s easy to pay by credit or debit card if you don’t already have a PayPal account. Just click on the Create a PayPal account link in the shopping cart to create a new account and pay with your card.

Format: PDF. You can view Understanding DPP using free Adobe reader software on any PC. You can also read Understanding DPP on the iPad using iBooks – the ebook has been optimised for iPad viewing.

Contents:

Introduction

• Introduction
• The Raw format
• DPP
• Workflow

Getting started

• Getting started
• Quick check
• Edit window
• The tool palette
• DPP workflow

Processing Raw files

• Picture Styles
• Brightness
• The histogram
• White balance
• Contrast sliders
• The alerts
• Colour tone
• Colour saturation
• Sharpening
• Lens correction
• PIC
• Lens distortion
• Chromatic aberration
• Noise reduction
• ALO
• Trimming Angle
• Recipes
• Transfer images

Black and white in DPP

• Black and white
• Why mono?
• Converting to B&W
• Digital toning
• Toning with curves

Converting to JPEG and TIFF

• Converting files
• Batch processing

Additional features of DPP

• Before & after
• Stamp tool

Conclusion

Appendix

• Updating DPP
• Monitor calibration
• Comparing DPP

Strange as it may seem, up until last week I hadn’t considered taking any photos of the buildings in Shanghai. I’ve already taken my ‘must-do’ shots – the obligatory photos of the ‘forest’ of skyscrapers (taken from my apartment balcony) and the view of the Pudong skyline from the Bund (both images below). But that was just to get them out of my system; and concentrate on the ‘serious’ business of creating some more original images.

But then I came across this set of images by Joel Tjintjelaar and changed my mind. It inspired me to go out and take some similar photos of the skyscrapers of Shanghai. Initially I wanted to try some long exposures, but the brilliant sunshine and lack of cloud meant that wasn’t practical. But it’s something I’ll try when the weather is more suitable.

You’ll notice that I cropped the images to a square. I’ve been using the square format more and more since I arrived in China, especially for black and white images. I think of it as the fine art photographer’s format. In this case, the square format suited the geometric shapes and sharp lines of the buildings.

Take a look at the two images below to see what I mean. The first is uncropped, but you could argue that there is too much empty sky. Cropping to a square eliminates some of the negative space and focuses attention on the buildings. Actually, I like both images; but it’s interesting how the crop completely changes the dynamic of the image.

Did you know that Shanghai has more skyscrapers than any other city in the world? According to a program I saw on television the other week anyway. Here are some of them:

Skyscrapers of Shanghai

These photos show the Monument to the People’s Heroes on the Bund. Not exactly a skyscraper, but still a worthy subject.

Square

If you want to learn more about the square format, then my ebook Square is the place to start. Click on the link to learn more.

This year I’ve found myself using the square format more and more. I enjoy the challenge of composing within the square frame and ‘seeing’ images that would work well in the square format. Like the majority of photographers with digital cameras I don’t have a square format camera, so the process of working within the square format involves visualisation at the time I take the photo and cropping in post-processing.

But that’s the beauty of digital photography – back when everybody used film just about your only realistic option, if you wanted to experiement with the square format, was to buy a 6x6cm square format camera. Now things have changed and anybody with a digital camera can play around with square images.

Square: The Digital Photographer’s Guide to the Square Format is the first full-length ebook that I’ve released on my website and the natural follow-up to Beyond Thirds. In Square, I delve deep into the mysteries of the square format, from the perspective of photographers that use digital cameras.

The square format isn’t simply a matter of cropping – there’s a lot more to it than that. The square format demands a new approach to composition. The rule-of-thirds (which readers of Beyond Thirds will know I’m not too fond of in the first place anyway) no longer applies. Instead the composition relies on aspects like shape, simplicity and balance.

Square shows you how to use the square format on your camera, and how to make the most out of what I think of as the fine art photographer’s format. It’s illustrated throughout by my photos, and I’ve also interviewed the two film photographers, Matt Toynbee and Flavia Schaller, to explore their perspective on the square format. The price of the ebook is $US9.97. With 52 spreads (including the cover), and over 12,000 words, that’s great value.

Title: Square: The Digital Photographer’s Guide to the Square Format

Length: 52 double page spreads

Words: approx 12,500

Price: $US9.97

Note: Payment is handled by PayPal, but it’s easy to pay by credit or debit card if you don’t already have a PayPal account. Just click on the Create a PayPal account link in the shopping cart to create a new account and pay with your card.

Format: PDF. You can view Square using free Adobe reader software on any PC. You can also read Square on the iPad using iBooks – the ebook has been optimised for iPad viewing.

Contents:

• The history of the square format
• Going square
• Square subjects
• The 35mm problem
• Cropping square
• Design & balance
• Shape
• The four S’s
• Black & white
• Case study: Matt Toynbee
• Vertoramas
• A creative edge
• Framing
• Creative layout
• Diptyches & triptyches
• Instagram
• Holga lenses
• Case study: Flavia Schaller
• Appendix A: Cropping
• Appendix B: Vertorama tutorial
• Appendix C: Adding a black border