The book itself draws inspiration from this unfaltering devotion. Designed to emulate a real Bible, and printed using all of the same materials — from the textured leather cover to the scritta Bible paper — it is a testament to the people featured inside and the beliefs they hold so dear. Speaking on this, Robert says “A big part of this region is coal and talks about good and evil, right and wrong, and I wanted to illustrate a world drenched in coal and struggle, so I decided to make the exterior solid black. As a result, when you open the book, you have this nice contrast between black and white, representing this notion of right and wrong.”

However, beyond its aesthetic and symbolic power, the book also functions as an invitation to others to open their minds. Though many may turn their noses up at a book resembling a Bible, Robert says his high hopes for Gloryland is in its potential to facilitate connection and communication.

“Many people initially rejected the book because of its association with a church, which I found very foolish. Pre-judging people or groups without even knowing the story is a massive problem in America. Hopefully, people experiencing this book will be inspired to understand their neighbours more and explore communities they have never experienced. It’s ok not to believe in the same thing, I don’t believe in what the church believes, but I respect it and respect them.”

Gloryland is available to purchase through the Fahey/Klein Gallery in Los Angeles and soon to be published and distributed in Europe through Setanta Books.

Bristol-based publisher RRB Photobooks has released a new monograph of work by British photographer David Hurn (who recently appeared on CR with his photos for an episode of Black Mirror). Spanning a period of 67 years and drawing from his extensive archive of photographs, the book traces his illustrious career from early shots of London in the 1950s to images created around his current home of Tintern, Wales.

Born in Surrey, England in 1934, Hurn first ventured into the world of photography when he was 21 years old via an assistant position at the Reflex Agency. By the next year, he was already establishing himself as a documentary photographer in his own right, as he travelled to Hungary to capture the 1956 Revolution – a photo of which can be found in the opening of the book.

Returning to London, he began documenting a revolution of a different kind: the social revolution of the 50s and 60s as changes in class and demographics gave rise to a new era of hedonism and pop culture.

During this period, Hurn worked for publications such as the Sunday Times, Queen Magazine, and Town Magazine, and shot some of the biggest figures of the day, including The Beatles, Sean Connery, and Jane Fonda. It was also around this time that he became a member of the prestigious Magnum Photos.

More of Hurn’s iconic photographs came in 1966 as he captured the aftermath of the Aberfan disaster in Wales. A single image in the book reveals the chaos that he encountered upon arriving in the small village, watching from above as miners struggled desperately to pull victims from the coal slag heap that had cascaded down from a nearby mountain.

The event had a profound effect on Hurn, who decided shortly after to leave his home in London, where he had lived for the past 20 years, and relocate to Wales, “the land of his forefathers”.

This move marked not just a return to the country of his ancestors, but also a more slow-paced approach in his photographic practice. Having grown tired of working in a commercial capacity, he yearned for a quieter, more reflexive process, and as a result spent the next year living in a van, travelling around Wales, and attempting to capture and understand the complexities of its people and culture.

Happy to be away from the hustle and bustle of London, he decided to stay put for a while, and quickly made his next big career move by founding the School of Documentary Photography in Newport, where he taught until 1989.

At this point, Hurn left the world of documentary photojournalism behind for good, opting instead to pursue projects of a more personal nature. Photographs from these later years can be found at the end of the book, and while there is no obvious thematic thread between them, there is evidence of Hurn’s unending curiosity for the world around him.

In his essay in the final pages, Isaac Blease, an archivist at the Martin Parr Foundation, explains Hurn’s ongoing mantra: “Life as it unfolds in front of the camera is so full of complexity, wonder and surprise that I find it unnecessary to create new realities.”

David Hurn: Photographs 1955–2022 is published by RRB Photobooks; rrbphotobooks.com

Have you ever looked at a bunch of flowers, or walked through a garden or park and thought the flowers would make a fantastic subject for a photograph?

Have you struggled to capture a mood or a style that really makes them stand out as a memorable shot that you’re happy with?

Do you look at other people’s photos with envy and wish you could take those sorts of shots?

Then you’ve come to the right place as I’m going to share with you ten tips on flower photography that I’ve found work amazingly well to help you get great images, EVERY time!

More info: dpture.com

Your subject is the key to success

Make sure that what you are going to shoot is pleasing to the eye. A nice flower will always look better than a withered one (although it can work in some shots – I’ll come to this later) but don’t discount something that’s unique. A petal out of place, or a different coloration can lead the eye into the scene and give you an appealing photo. Remember it’s your shot – even if it’s of a flower that’s been shot a thousand times by others you can put your own unique stamp on it and make the picture your own.

Light Light Light!

Light is one of the most important factors in photographing flowers. Too dark and you’ll lose the impact of the image. Too light and you run the risk of blowing out your highlights and losing detail. The perfect balance is a well-exposed shot with little or no peaked highlights and strong detail.
If the scene is too dark and you need to add light, don’t be afraid to experiment! A phone torch, handheld flashlight, or dedicated photography fill light are great options. Try altering the direction that you’re providing the light from and the intensity, and if you have the option, play with colors too – the whole feel of the image can be changed by literally changing the direction that you’re illuminating it from so try a few different angles – don’t be afraid to experiment!

Depth Of Field – knowing when to f-stop?

Another important factor is the depth of field that you’re shooting with. If you’re using a mobile phone to take the shot then there are a few options on most phones to play with the f-stop, or aperture width, in Pro-Photo mode or similar and if you’re using a camera, try shooting in Aperture Priority mode to give you control over the aperture but not needing to worry about ISO or shutter speed.

Ideally, you want to get the flower in focus as much as possible and the background nicely blurred. Depending on your camera or phone system somewhere between f/4.5 and f/5.6 is a good starting point as this will give a reasonable amount of detail to the subject but should throw the background nicely out of focus to stop it from becoming a distraction and keep the viewer interested in the details of the image.

A handy side effect of using a fairly wide aperture is Bokeh – the round, out-of-focus balls that you sometimes get from light sources on an out-of-focus background. This can really set a scene and provide some interest in the image without becoming overpowering and detracting from the subject.

Composition – less is more, sometimes!

Occasionally you may want to pick a single flower to photograph, like a rose for example, and this becomes your subject that’s framed by a nice contrasting background (black works well for red roses!) to create a striking scene.

But sometimes, especially out in a garden or park, a group of flowers looks more appealing if you keep the grouping together. It’s also good to remember that a group of flowers doesn’t all need to be in focus – experiment with where you’re focussing and try to zone in on a single flower head. The other flowers in the group will then blend away from the main subject and give a nice soft look to the image and complement your subject well.

Don’t be afraid to mix it up either – a foreground daisy with a blurred background of yellow buttercups in grass really makes for a nice composition!

Gear matters

The age-old argument that gear doesn’t matter is mostly true, except sometimes you need a little extra to help you get the shot you want.

A small travel tripod is a great addition and will help you get nice steady shots. Remember, you don’t need something 2 meters tall, but something that can let you get down low to get the perspective like you’re walking among the flowers instead of towering over them!

Whether you’re using a mobile phone or the latest mirrorless camera, keeping things steady can help you get the image right, the first time. If you’re outdoors, carrying a piece of white card to reflect sunlight can also be a great addition and doesn’t cost the earth either. If you’re indoors, it can be used to diffuse light around your subject which can give a nice soft pleasing look too.
Macro lenses are useful, but a standard kit lens can get great results too if you get your settings right.

Beauty Is In The Eye Of The Beholder

Occasionally a withered or dying flower can give a whole new dimension to an image. The detail that you can get from a drying petal or dying leaf can give you something to set your image apart from the crowd. Try shooting in black and white too – some of the most colorful flowers look even better when converted into monochrome as it stops the viewer from getting distracted by the colors and seeing more of the details. Don’t be afraid to increase contrast on the image too – light and dark sections can really come alive and complement each other when they’re pushed a little with the contrast slider!

It’s worth remembering though not to push too far – it’s very easy to get carried away with the sliders. Remember we’re looking for something that we can still recognize as a flower! Which leads nicely to the next tip.

A Bug In The System

Sometimes you’ll come across a flower that has a bug on it and this can give a great focal point but it takes some care and practice! If you’re shooting with a long zoom lens, having the extra distance away from the bug will help you get the shot without disturbing it. If you need to get closer though, do things very slowly. Once you get used to shooting bugs though you’ll find it much easier to spot them and incorporate them into your image without scaring them off. Remember though, they don’t stand still for long so getting lined up with your shot will be a case of balancing speed and stealth to get the image you want. Don’t be afraid of failure – it’s all good practice and soon you’ll nail that perfect shot of a bug on a flower!

Sunshine and showers

Shooting flowers after rain is one of the great challenges but one of the most rewarding because of it.
The look of fresh raindrops on petals is a classic look and one that’s difficult to get out in the field due to the nature of having to time things just right with the light, the rain, and the wind!
I’ve found that if you can get out just as the rain is easing, you’re more likely to get a shot of the raindrops before they start to run off and the inevitable wind gets up blowing things around and making it hard to get your scene in focus. There’s also the cheat method though, by using a spray bottle and a hand-picked flower in front of a window you can recreate the effect but have much more control over the subject and also add in little extras like light, color, and backgrounds too!

Know your camera

It kind of goes without saying that before you can dive in and get some more advanced shots you need to know how to change the settings on your camera or mobile phone to get the best out of it. Experiment with your settings, adjust your aperture, play with the depth of field, and remember what each of them looks like.

In no time you’ll be able to dial those settings in without much trouble and get the shot you’re wanting with the minimum of fuss. Learning how to use your gear is one of the most rewarding things you can do and will pay dividends in helping you get more shots, with the look you’re after, and with the confidence that you know why these settings work for the shot you’re taking.

It’s All In The Edit

A common misconception is you have to heavily edit your photos to get the “professional” look. Certainly, with flower photography, this isn’t the case and sometimes the camera’s JPG is so good it needs no editing at all! If you’ve got the lighting, depth of field, and composition right you’ll find most shots will look amazing straight out of the camera. It doesn’t mean you don’t have to edit, but it means it’ll be a lot nicer to start with!

Composition is the backbone of photography, the artistic element that allows photographers to convey their vision and create captivating images. It is the arrangement of elements within the frame and the deliberate placement of subjects, lines, shapes, colors, and textures that bring harmony and balance to a photograph. In this article, let’s delve into the importance of composition in photography and how it serves as a powerful tool for visual storytelling to help your own photography level up.

Guiding the Viewer’s Eye

Composition serves as a roadmap for the viewer’s eye, guiding it through the image in a deliberate and meaningful way. It directs attention to the main subject, leading the viewer to explore the image and uncover its narrative. By strategically positioning elements, you can create leading lines, use the rule of thirds, or establish a visual hierarchy to guide the viewer’s gaze and emphasize important elements within the frame. This results in an overall stronger image, which tells and better story and keeps the eye of the viewer on a journey rather than a chaotic pattern.

Conveying Emotion and Mood

Composition plays a significant role in evoking emotions and setting the mood of a photograph. The placement of subjects and the arrangement of elements can convey a sense of calmness, chaos, solitude, or excitement. A well-composed photograph can evoke joy, sadness, awe, or tranquility, inviting the viewer to connect with the image on an emotional level. If you are successful in creating an emotional connection, then you have succeeded in finding one of the keys to a banger image.

Creating Balance and Harmony

A strong composition ensures that all elements within the framework are together harmoniously. It involves finding the right balance between the subject and its surroundings, between positive and negative space, and between various elements within the frame. A well-balanced composition brings a sense of visual equilibrium, making the image pleasing to the eye and drawing the viewer’s attention to the intended focal point. Build your image from the fixed elements that you cannot change, like a mountain, sky or trees, then position yourself to find a complementary foreground subject that interacts well with the fixed element(s).

Enhancing Visual Impact

The composition has the power to elevate an ordinary scene into a remarkable photograph. By carefully choosing the viewpoint, framing the subject, and considering the placement of elements, a photographer can create a visually striking image that captures the viewer’s attention. Effective use of composition techniques, such as framing, symmetry, patterns, and perspectives, can transform an image into a compelling work of art. Getting down low and changing the perspective is a great way to achieve this. Also, moving your camera six inches to the left, right, up or down can dramatically change the overall impact of the shot.

Telling a Story

Photography is a means of visual storytelling, and composition is the language through which stories are conveyed. It enables you to communicate your message, evoke curiosity, and engage the viewer. Through composition, you can capture the essence of a moment, convey a narrative, or highlight a particular theme or concept. The arrangement of elements within the frame can reveal relationships, emphasize details, or create a sense of drama, resulting in a story that resonates with the viewer. Of course, finding something that is fleeting is better than something that is fixed, but don’t dismiss a wall, a set of rocks, or a tree that has been there for a while but in itself can tell a number of stories. It’s up to you to find a way to tell that story.

Exercising Creativity and Individuality

Composition allows you to express your unique creative vision. It encourages experimentation, exploration, and the development of a personal style. How you compose a scene can be a reflection of your personality, perspective, and artistic choices. By mastering composition techniques and applying them creatively, you can distinguish your work, leaving a lasting impression on the viewer. Over time, your own style will then reveal itself not only to you but also to the viewer, who can potentially recognize one of your shots without even seeing your name under or after it. 

Simplifying Complexity

In a visually cluttered world, composition helps simplify complex scenes by eliminating distractions and focusing on the essential elements. It involves making deliberate choices about what to include and what to exclude from the frame, ensuring that the subject stands out and the message is clear. By simplifying the composition, photographers can create images that are visually impactful and convey their intended message effectively. Don’t rush, take your time, and review your image while on location, so you can remove something that doesn’t quite fit your vision, either by adjusting your position of the camera or adjusting the actual element. You can, of course, remove certain items in post-production; however, it’s best to be deliberate while on location, as this will train your eye to see things that don’t suit the shot early.

And Finally

Composition is an indispensable aspect of photography, serving as a fundamental tool for visual storytelling. It guides the viewer’s eye, conveys emotion and mood, creates balance and harmony, enhances the visual impact, and allows photographers to express their creativity and individuality. By understanding and applying the principles of composition, photographers can elevate their work, capturing not just a moment but an entire narrative, story and feeling. Make mistakes, learn from them and keep adjusting your eye to truly find your sweet spot and, of course, banger shots.

What are your thoughts on this topic? Let’s continue the conversation in the comments below.

The nice thing about learning aspects of photography like proper camera settings or even composition is that these things are strongly codified, but when it comes to developing a personal style, it can be a bit harder to know how to proceed and if you are on the right track. This great video tutorial discusses the idea of a photographic style and some of the mistakes people make en route to developing theirs. 

Coming to you from Christian Irmler – Landscape Photography, this insightful video discusses the topic of developing a photographic style. Having a recognizable style can give you a real leg up if you are a professional. Not only will it help you feel more confident in who you are as a creative, it will give your portfolio of work a unifying consistency that shows you are capable of producing high-level results no matter the circumstances and that gives you a recognizable style. This can be particularly important nowadays, when we are inundated with imagery from every last corner of the internet. If you look at the work of all the best photographer, you will undoubtedly notice consistent styles in every portfolio. Check out the video above for the full rundown from Irmler.

If you’re out in public and hear a buzzing nearby, chances are you’re either about to be attacked by a swarm of bees or someone is flying a drone. More likely than not, it’s the latter.

That’s because there are more than 869,000 registered drones in the U.S., according to the Federal Aviation Administration. More and more, people are learning to fly drones either as a hobby or as a career skill. As a multimedia journalist who is used to experimenting with different visual storytelling techniques, drone photography was a tool I was eager to add to my kit.

Before joining the Union-Tribune in March 2022, I had flown a drone a couple of times, but I was unaware of the rules for flying one. The U-T requires employees who will use a drone on the job to get a commercial drone license. The 50-multiple-choice test covers FAA regulations and best practices of flying safely.

In the last couple of years, drones have become more accessible — for better or for worse. It’s legal for someone in the U.S. to fly a drone in an uncontrolled airspace without a commercial license up to 400 feet above ground. By acquiring licenses, U-T photographers expand their access to shooting locations.

Aerial photography wasn’t as convenient before drones. My colleague K.C. Alfred, who has been at the U-T for more than 20 years, recalls that up until recently U-T photographers would frequently pay for a ride on a helicopter to take shots. Most of the time, they would decide ahead of time on the variety of subjects they planned to photograph.

“We’d kind of do a big loop around the county and shoot real estate, the freeways, the coastline, the buildings,” he said. “While we were up there, I’d spent like ten minutes getting a pretty picture for that (day’s) newspaper too.”

Photographers would also ride on helicopters during breaking news, such as the 2008 crash of a Marine Corps F/A-18D in University City.

Renting a helicopter ride would cost upward of $1,000 an hour and could fly as high as 5,000 feet.

An F/A-18 jet approaching Marine Corps Air Station Miramar crashed in San Diego’s University City in Dec. 8, 2008. This shot was taken from a helicopter.

(K.C. Alfred / The San Diego Union-Tribune)

But now we fly drones. The U-T began using them in 2014. Alfred, and my colleagues Nelvin Cepeda and Ana Ramirez are also licensed to fly drones. We have full discretion on deciding when we want to fly — as long as we’re following any regulations in place. And just like regular photography, we all have our own unique approach. In general, aerial photos work best with stories related to housing, development, or the environment. From my point of view, the possibilities are endless.

I have been a licensed drone pilot for little over a year, but I still get nervous every time I fly. That’s part of the reason I’ve been more eager to use my drone. I want to get more comfortable with the equipment and improve my skills. I also want to approach assignments in new ways that help elevate a story, so to speak.

For example, I recently took photos with my drone of crew workers repairing a road in Rancho Bernardo that was damaged by the Witch Creek fire in 2007. I could have just taken photos from an eye level, but I wanted to take it a step further. “How would it look like from above?” I asked myself. The end result was a new perspective that clearly showed the juxtaposition of the old asphalt compared to the new one.

Flying a drone can be fun by itself, but when it comes to photojournalism, drone photography is another way I can connect with you, the reader.

Cepeda, who’s been a U-T photographer for 35 years, always says “challenge the reader’s eye.” Now that I’m getting more comfortable with drone photography, I am adding my own line to that piece of advice: Challenge the reader’s eye, but also challenge yourself.

off-RCA: First Edition
A collection of contemporary photography by RCA photography alumni
3rd July – 9th July 2023
Atelier Alonso
5 rue de Grille
13200 Arles

This first edition of off-RCA showcases the works of 40 talented photography alumni from the RCA (Royal College of Art). The RCA is the world’s most influential postgraduate institution of art and design. 40 photographers and multidisciplinary artists will exhibit A3 Limited Edition images throughout “Les Rencontres D’Arles” opening week.

A dynamic exhibition with contemporary creations rotating regularly, thus creating a new exhibition almost every day. The images’ themes are as varied as their creators, addressing the urgency of the arts be it about humanism, the environment, gender equality, queer art or colonialism.

The selected RCA alumni completed a 2 years Master’s degree with the writing of an in-depth thesis positioning their practice.The artists are both established and emerging artists from all over the world.

Selected Artists

@off_rca

©2023 off-RCA

Art Plugged is a contemporary platform inspired by a relationship with the broader arts communities. We provide our audience with curated insight into the world of art, from exhibitions to artist interviews and more.