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Preparation for second day of taking photographs


Exercise 2.1 – Zoom


Find a scene that has depth.  From a fixed position, take a sequence of five or six shots at different focal lengths without changing your viewpoint.

Exercise 2.1

To find a suitable location to take the photographs for this exercise I turned to the National Trust Website.  Instead of taking photographs of a tree line or arches, I wanted to do something a little different.

I decided to go to the Rothschilds Archive building at Waddesdon Manor, which has recently been built.  The building is very contemporary and uses strong lines.  At the front there are wooden pillars outside the building set alongside a rectangle pool, with a statue of a gorilla in the middle of the water.


The first time I went, I focused on the wooden panels behind the gorilla, but these didn’t come out very well. I returned a few weeks later and retook the photographs focusing on the gorilla, which has created a stronger sense of moving towards the statue when you view them in sequence. I took a photograph at each focal length marked on my lens.

1/640 Sec, f 5.6, 24mm, ISO 64

1/800 sec, f 5.6, 29mm, ISO 64

1/800 sec, f 5.6, 36mm, ISO 64

1/640, f 5.6, 50mm, ISO 64

1/640, f 5.6, 70mm, ISO 64


When viewing the images the Gorilla moves from the right side of the frame to the left, without the degree of the angles changing, as seen in Blade Runner when Harrison Ford zooms into sections of the photograph on the Esper, the object moves from one side of the frame across to the other.  Also when you zoom into the final pictures you will notice that the finer detail has a lower resolution on the wide angled zoom compared to the full zoom.  This is only noticeable when you zoom into a section of the image, as highlighted in the film ‘Blow Up’.  The printed images of the section that are blown up are of a lower resolution and therefore the finer detail is lost as shown below.

70mm and 24mm

Tom Hunter

Tom Hunter is a photographer who has explored the East End of London and in particularly Hackney Marshes, which is the far side of an area I am thinking of exploring, due to its open space that creates a form of calm and tranquility. However, you are frequently reminded that you are still in London when a train thunders through every few minutes.

Life and Death in Hackney (1997)
Fig. 6.

The way Home (1997)
Fig. 7.

The photographs above were taken in the late 90’s to reflect the rave scene in urban areas. The lighting shows that they would have been taken around dawn, when the raves would be coming to an end and the people dispersing. I feel like the use of the light in Life and Death in Hackney creates the emotion of feeling tired and not quite ready for the dawn of the next day and that the Marshes is an area where you could collapse and recover.

Tom Hunter provides a description of the landscape alongside his photographic series, in which he states

‘This maligned and somewhat abandoned area became the epicentre of the new warehouse rave scene of the early 90’s. During this time the old print factories, warehouses and workshops became the playground of a disenchanted generation, taking the DIY culture from the free festival scene and adapting it to the urban wastelands. This Venice of the East End, with its canals, rivers and waterways, made a labyrinth of pleasure gardens and pavilions in which thousands of explorers travelled through a heady mixture of music and drug induced trances.’ (Hunter T, s.d.)

We are now just over 20 years on from when the photographs were taken. The landscape has not changed much, although the rave scene has now long gone. It is now a protected nature park with set out paths, full of cyclists, dog walkers and runners, with rowers travelling up and down the River Leigh. There are still two train lines that run through the Marshes. The tranquility of the landscape is frequently broken up as trains go thundering past serving as a constant reminder that you are still in London.

My idea for a photograph of the Marshes is to capture the wildlife with a train running past in the background together with a view of all the construction on the horizon reflecting the regeneration in the area. The other was to try and capture the rowers on the river Lea with the canal boats and if the timing is right a train running over the rail bridge.

This is a series of photographs to keep in mind when visiting the Marshes and looking at composition.


I was made redundant from my role as a Senior Claims Negotiator in the City of London.  Although I had worked in Insurance for 20 years, I became disillusioned with the industry, and it became apparent that I wished to pursue another path. 

I have always enjoyed taking photographs and had an eye for detail, which I was able to capture on the old point and shoot digital cameras.  However, it was during a holiday to Iceland that my interest in photography really started.  Partly due to my husband and I being competitive and wanting to take the best photograph. I found that although I was able to take ‘good holiday snaps’, I was unable to capture the essence of Iceland, reflect its incredible beauty and ever changing scenery. 

Once we returned I took an online photography course, which I completed and was awarded a Diploma in Photography.  The Diploma was based on theory alone, with no practical work being submitted.  Following this course I continued my interest in photography, through mainly taking photographs of wildlife and pets.  I found that the more I learnt how to use the different settings on a DSLR camera together with the post production of RAW files in Lightroom, the more I was able to convey the scene at that moment in time.  This has culminated in me wanting to take my photography to the next level, through learning different styles and genres.