landscape and nature photography · 2015. 2. 17. · andrew carter, an australian landscape...

© Lake County Camera Club. No material may be reproduced in any manner without written permission of the Newsletter Editor or the material’s specific contributor.

A Message From The President 3

Dates To Remember 3

Capturing Landscape Photo With Character 4

My Thoughts about Landscape and Nature

Photography

6

Landscape Photography 9

Photo Excursion: Anderson Japanese Garden 10

PSA : Significant Update to Nature Photo

Definition

11

Year End Specialty Awards 12

A Brief History of Photography Part 7

The Dawn of Color

13

April Challenge Images 18

Landscape and Nature Photography A Message From The Editor

Wikipedia states “Landscape photography shows spaces within the

world, sometimes vast and unending, but other times microscopic.

Landscape photographs typically capture the presence of nature,

but can also focus on man-made features or disturbances of

landscapes. Nature photography refers to a wide range

of photography taken outdoors and devoted to displaying natural

elements such as landscapes, wildlife, plants, and close-ups of

natural scenes and textures. Nature photography tends to put a

stronger emphasis on the aesthetic value of the photo than other

photography genres, such as photojournalism and documentary

photography.”

From the very first days of photography, some of the most

important and celebrated photographers have been motivated by

an appreciation of the beauty of our natural environment and a

desire to see it preserved. For example, Ansel Adams spoke

passionately in defense of the natural world. Well known nature

photographers include Frans Lanting, Galen Rowell, Eliot Porter and Art Wolfe.

In the last edition of Exposures, one article emphasized that a key to success as a photojournalist is to be an empathetic

storyteller. Landscape photographs are no different. A good landscape image should make a connection with the viewer, and

tell a story. A good landscape image should have a viewer finding interesting details each time they look at it.

Andrew Carter, an Australian Landscape Photographer writes,

“Landscape photography should remind you of that connection we

all have to the land, and remind us to stop every so often, to take a

big breath and be aware. Landscape pictures can also show both

the strength and the fragility of nature, the volatile beauty of the

wilderness and the earth that needs to be protected.”

Landscape photography doesn't always have to be nature

photography. The term “Urban Landscape” describes photographs

of a city taken in the manner of a landscape, using skyscrapers and

other man-made architecture as elements of composition which

should be treated in the same way a photographer would treat

mountains and trees.

Landscape photography is an addictive pursuit. You can often

forget those times when the light was wrong, the weather was

wrong and those darn tourists got in the frame when everything

finally comes together and you can joyfully share moments and

share photography.

Inside This Issue

Share Moments - Share Photography

June 2014 Volume 6, Issue 10

© Ken Johnson

“Nevada Falls”


2013 - 2014

Board Members President Mike Trahan

President Elect Mark Theriot

Past President John Williams

Secretary Terry Ferguson

Treasurer Jim Ross

Vice President, External Operations Michelle Cox

Vice President, Internal Operations Bill Sullivan

2013 - 2014

Committee Chairpersons

LCCC is a proud member of the

Chicago Area Camera Clubs Association

and the Photographic Society of America.

The club’s mission is to promote, teach and share the ideals, skills, techniques

and good practices of the art of photography and the use of cameras and

photographic equipment.

Visit the club’s website www.lakecountycameraclub.org.

The club meets at 7:00pm on the first Thursday of every month at:

University Center. 1200 University Drive, Grayslake IL

Questions or comments about this newsletter?

Please contact Ken Johnson, Newsletter Editor at:

[email protected]

Exposures - June 2014 Volume 6, Issue 10

CACCA Representative Bob Kruzic

Challenge Coordinator Linda O’Rourke

Competition Chair Bob Kruzic

Community Involvement Coordinator JoAnn Sullivan

Company Contact Coordinator Open

Continuing Education Coordinator Jim Ross

Critique Coordinator Liz Rose Fisher

DPI Competition Coordinator John Rouse

Educational Events Coordinator Open

Event Communications Coordinator Sue Baron

Facilities Coordinator Bill Sullivan

Gallery Coordinator John Williams

Historian Egon Shein

Hospitality Desk Margie Hurwich

Judge Procurement Tony Roma

Librarian Larry Chua

Long Term Planning Mark Theriot

Mentoring Program Coordinator Open

Membership Chair Terry Ferguson

New Member Coordinator Judy Reinhardt

Newsletter Editor Ken Johnson

Photo Excursion Coordinator Debra Olson

Program Chair Stevan Tontich

PSA Representative Egon Schein

PSA Photo Travel Coordinator Birgit Tyrrell

PSA Photojournalism Coordinator Linda Kruzic

PSA Projected Image Coordinator Ron Sheade

PSA Nature Coordinator Jeff Bark

Small Group Coordinator Ron Sheade

Webmaster John Rouse

Year End Party Coordinators Jeff Bott

Sheldon Wecker

http://caccaweb.com/

http://psa-photo.org/

http://caccaweb.com/

http://psa-photo.org/

http://www.lakecountycameraclub.org

https://maps.google.com/maps?q=University+Center,+1200+University+Drive,+Grayslake,+IL&hl=en&sll=37.0625,-95.677068&sspn=42.85226,93.076172&hq=University+Center,+1200+University+Drive,+Grayslake,+IL&t=m&z=15

mailto:[email protected]



A Message From President - Mike Trahan

Our NIK Plugin small group has just ended our series. We had six sessions attended on average by over 20 people at each

session, all mentored and taught by Margie Hurwich. Our thanks to Margie for a great series. We all got quite a bit from it.

As we thought when we started the small group concept given almost any subject, we've got some club members who are

knowledgeable on it and willing to teach others. I'm also in several other small groups and have learned a lot from each plus

enjoyed meeting on a small group basis with others.

Others are having the same experience. I saw an email from a member of one of our Novice/Intermediate small groups agreeing

that we needed to skip a session in May because of members' schedule conflicts, but saying how disappointing that will be

because she's learning so much at each session.

Jim Ross, our resident philosopher, recently sent a tip about how worthwhile being in a camera club over three decades has

been to him and how he's still learning things through the club. It made me think about how much I've enjoyed being a member

of LCCC. The photography came first, but being in the club has kept me involved in photography far more than I would have

been otherwise and stretched me to try things outside what I'd normally have done. It's also great fun to meet and socialize with

many like-minded people who I just plain enjoy talking to. Can it ever be too much?

Do you:

-- Plan your vacations around photography? Check.

-- Have your spouse complain that you spend more time with your cohorts from the camera club than with her/him? Check.

-- Spend more than 2/3rds of your non-fiction reading time on photography? Check.

-- Spend more on camera equipment than on jewelry for your spouse (or yourself)? Not quite. A fact that I frequently point out to

my wife, usually before buying some new piece of camera equipment.

Oh good. I'm still not too far gone. How about you?

Challenge Due: ‘Spring Scenes’ May 31

Program Night: Monochrome Conversion presented by Stevan Tontich June 5

Photo Excursion: Anderson Japanese Garden June 7

Board Meeting: All are welcome June 19

Shutter Café 8:00 AM June 21

Newsletter Articles Due: Macro Photography June 21

Challenge Due: ‘Dusk to Dawn’ June 30

Photo Excursion: Eyes to the Skies Balloon Festival July 5

IMPORTANT NOTICE : July Club Meeting Date Change July 9

Dates To Remember


Capturing Landscape Photo With Character By Andrew Goodall

Landscape photography is a most rewarding

pastime, but it can be far more challenging

than some people imagine. It sounds so

easy; visit a beautiful location, shoot a few

snapshots, and come home with a work of

art in your camera. After dealing with the

public for over 20 years, I swear most

people think it really is that simple.

But really good landscape photography is

much more challenging. Anyone can

recognize the potential of a good subject,

but turning that potential into a memorable

image is another story. The task is even

greater if it is a popular location. When you

photograph a place that is photographed a

thousand times a day, you have to find a

way to create something different from the

everyday snapshot.

4 Tips For Capturing The Character Of A Landscape

1. You Don’t Have to Fit Everything In

Some panoramic views are so huge that the only way to fit everything into your photo is to use a very wide-angle lens. The

trouble is, this reduces everything in size, so that the grandeur of your subject is diminished. It can be more effective to

concentrate your composition around one feature of the landscape; a feature other people will recognize. With this approach, you

can use a larger lens to add size and prominence to the subject. You may also capture details that could be lost with a wide-

angle lens.

2. Look For a New Angle

Why is it that so many photos of the great landmarks

look the same? Simply because everybody

photographs them from the same lookouts. It is easy

to get a good shot from a major lookout; in fact, that

is probably why the lookout was built in the first

place. The trouble is, it is almost impossible to get a

unique shot if your photo is taken from the same

angle as all the others.

If possible, search beyond the established lookouts

to see if there is a more interesting angle to take

your photo. This may take a little more effort, and

you may have to do some bushwalking to find the

best spot. I don’t suggest risking your neck or

trespassing, but in most cases there are alternatives

to the established lookouts.

.


“Saguaro_1679” © Michael Just (click to see more from Michael Just

“Ice-over-Yamanaka Lake” © Kustiyah (click to see more from Kustiyah

http://www.picturesocial.com/photo/saguaro-1679

http://www.picturesocial.com/photo/saguaro-1679

http://www.picturesocial.com/photo/ice-over-yamanaka-lake


3. Use The Surroundings to Your Advantage

Anyone can take a snapshot of a mountain range. But what about a mountain range framed through the branches of a tree in the

foreground or with a river winding away into the distance, drawing with it the eye of the viewer?

Every landscape can be photographed from a number of angles; the most obvious one is not always the best. By scouting

around and looking for interesting foregrounds, you can add real character to your image and create something truly unique.

4. Consider the Conditions

Capturing your subject in the best light can

be a real balancing act. First you need to

consider the time of day. Usually the ideal

light is early in the morning and late in the

afternoon, when the light is softer and

more colourful. The trouble is, any

photographer with experience already

knows that. So how do you take your

photo to the next level?

Keep a constant eye on the weather. You

may be able to see something special, like

a storm front, a good cloud formation, or

even a good chance of a rainbow starting

to develop. If you choose your moment

just right, you can be on location in time

for something really special.

This is a measure of the commitment of a

landscape photographer. The more effort

you put in, the greater the rewards. You will spend a lot of time waiting for the right moment, but once you get that perfect image,

you will see it was not time wasted. You will know you have done a good job when people start to say, “I have been there, but my

photos are nowhere near as good as yours!”

About the Author:

Andrew Goodall writes for http://www.naturesimage.com.au and is a nature photographer based in Australia. He manages a

gallery in Montville full of landscape photography from throughout Australia.

Reprinted with permission from PICTURECORRECT.

Go to full article: Capturing Landscape Photos with Character


“Wonderland” © Andy Hough (click to see more from Andy Hough

http://www.picturecorrect.com/tips/capturing-landscape-photos-with-character/

http://www.picturesocial.com/photo/wonderland-8


Continued on next page

My Thoughts about Landscape and Nature Photography By Gary Smith

Well for gosh sakes, I’m no Ansel Adams, so I am a bit uncomfortable writing anything on the subject of Landscapes and Nature.

I like writing about technical things regarding photography, like light waves, apertures and lengths of exposure etc. While those

things come in to play with the subject at hand, I feel this subject is where the “Art” of photography really comes into play.

My first bout with photography was in 1957 with a Fujica 35mm camera. The first photos I took were of people (friends and

family) and some hotrod cars. It took years until I discovered the joy of going “out there” and trying to capture on film what I

always loved, Landscapes and Nature, the outside. That’s when I realized I needed a better camera, but like most young folks

who got married early, I couldn’t afford a good camera. It took years before I got my first SLR and more still to get lenses that

could get anywhere near close up, then my two prize possessions, a 20Omm Macro, and eventually a 24mm. Back then, I shot

slides and joined this club about 25 to 30 years ago when I first met Jim Ross and Jerry Donahue.

But I digress. So lets look at the differences between Landscape and Nature

photography. I feel they are somewhat intertwined, so all I can say is that

Nature, to me, is of wild plants and animal life. Usually one would almost fill the

frame with a critter photo like this Colorado Moose crossing a stream. (image

left).

In regard to landscapes, I would

suggest you open up your vista

to capture the grandeur of a

mountain scene, a whole tree or

waterfall from top to bottom like

this lonely tree in Kansas:

(image right).

Nature can be a macro shot of

some small bug or of a critter of

some kind like these geese on

their nest (image left), but not a

large landscape view.

A wide view of a mountain

scene with many buffalo far

away would be more of a

landscape shot than of a Nature

shot as this Yellowstone photo

will attest. (image right).

A nature shot of the same

subject matter would be of one

buffalo. (image left).

See how complicated this classification business can become. That is why I

think there is some over lap between the two. Also, when taking landscapes

you most often want to maximize your depth of field to sharpen everything in

the image. Many Nature shots are of animals or flowers in a tight group, with

shallow depths of field to isolate the subjects from their surroundings.


All images © Gary Smith


Continued from previous page

The use of a tripod is of course useful for any good image. If you are trying to sharpen a scene in a landscape shot, you will

want to stop down the lens (make the aperture smaller) to create a larger depth of field. By stopping the lens down you will

increase the exposure time, this requires the use of a tripod to eliminate camera shake. One is also needed for macro

photography, usually nature.

Oops sorry, I’m getting technical. I’m really trying to stick to the artistic side or difference between Nature and Landscape. Let

me focus on the landscape side of things for a bit. How about having a subject in a landscape, something that adds interest to a

larger scene.

In this beautiful birch tree within a mountain scene (image right), I had to

position it to improve the aesthetic value of the photo.

You can place it on the right or left, near the top,

bottom or vertical (image left). The rule of thirds

can help you, but you don’t have to follow it, it’s just

something to guide you.

What about the foreground and background? In

this mountain scene in Wyoming with a pond in

front of me, my subject was the mountain. Did I

want the foreground to be water only (image right)

or did I want some shoreline at the bottom of my

photo to give an idea of the size of the pond?

(image left). The choice is yours to make, but that

choice will have a statement to make about your

scene. The mountains in the

background are of course

beautiful, but a good sky can

lend so much to a picture.

The sky can be as important as

the foreground. A sky can be

very dramatic and impact your

image a great deal. For a sky to

be dramatic, you need clouds

and the more threatening the

better as this shot of a barn on

Casey Rd near Libertyville

shows. (image right).

Remember that lines can direct

your eye to a point of interest.

Roads provide wonderful lines,

here straight to some mountains

in New Mexico. (Photo 11 NM

Highway) or curved as in this

Wyoming scene. (Photo 12

WYO Hwy). Diagonal is good or

any angle except one running

straight through the center of the

photo.






Let’s not forget Nature, or what I consider Nature as opposed to Landscapes.

Here I think we should focus in on something in the natural world. How about

smoothing a small waterfall to give it a soft touch with the feeling of motion as in

this Kentucky road side shot. (image right). Again your choice, but giving your

photo the suggestion of movement is a good idea.

A close-up of almost anything

alive is always fun, especially

when the subject is causing your

heart to race, as this Bull Snake

in New Mexico did to me (image

left). It was giving a wonderful

display of being a rattlesnake and

convinced me until I knew it was

just a bull snake.

Nature doesn’t have to be of plants or animals, it can show the violence of Earth

and Sky as in this shot of a Geyser in Yellowstone. Here there is the drama of

the gushing spray and the threatening clouds above (image right). Notice also

the lines of the geyser’s spray, almost pointing you to the clouds above.

In many cases, it’s a good idea to

shoot with lens wide open so you

isolate the subject from the

background as in this shot of a

Pronghorn antelope on

Wyoming’s wide open plains

(image left).

So, is this a Landscape or Nature Photo of a group of elk in Kentucky (image

right)? I’d have to say Nature because in my mind you can’t see to the horizon.

But that’s just my opinion.

While there are many overlaps in Landscape and Nature photography, there are

distinctions. Either way you are outside enjoying the wide world about you.

You may be interested in a Google+ Landscape Photography Community.

https://plus.google.com/communities/116871042716967304935

The objective of the community is to be able to showcase the Natural World around you. We highly encourage you to promote

your own work and contribute to the knowledge of the other community members. Enjoy & Share.






Landscape Photography Presented by the Nature Photographers Network™

Landscape photography is both challenging and an extremely rewarding genre of nature photography.

Rarely does blind luck alone lead to captivating or evocative landscape

photography. Snapshots of the landscape taken from a car window or the side of

the trail seldom translate into images that stir the soul or the imagination. Planning,

scouting, perfect timing and a little bit of luck, all contribute to getting consistent

successes.

The good news is that landscape photography doesn’t require any highly

specialized equipment like wildlife or macro photography, for example. In fact, a

camera body and a kit lens is more than enough to get started. The closest

essential piece of equipment that is extra is a good, sturdy tripod. Landscape

photography is often all about using small apertures and relatively long shutter

speeds in low light, so stabilization is essential.

More than any other type of photography, landscape photography requires the

greatest attention to the direction, intensity, and color of the available natural light.

Choosing or waiting for the right light and paying attention to how it falls on the land

is essential to creating powerful and meaning landscape images. Patience is a

personal trait that will serve you well.

In addition to light, close attention to composition is paramount to good results.

Keeping the primary focal point from the center, using the Rule of Thirds, and

incorporating the use of lines in the composition, all can contribute to the perceived

flow, balance, and aesthetic value of the image. These suggestions are simply

guidelines and often must be broken to be successful, but they are good places to

start.

Landscape Photography can be difficult to truly master, but the rewards of each success are often the most powerful and

inspiring images.

The Nature Photographers Network™ is an international cooperative network of amateur and professional photographers

dedicated to the art and technique of nature photography.

Enhance your nature photography skills by learning from some of the most talented photographers in the field today while

sharing your own skills and passion with fellow nature photography enthusiasts!

http://www.naturephotographers.net/landscapephotography.html

The NPN website is intended to serve as an online resource for nature photographers of all skill levels, from beginner to

professional. Our focus is on the art and technique of nature, wildlife and landscape photography.


© Richard Bernabe

© Richard Bernabe

http://www.naturephotographers.net/landscapephotography.html


All images © Anderson Japanese Garden

Photo Excursion: Saturday, June 7

Anderson Japanese Garden By Debra Olsen

This garden is a hidden gem in the heart of Rockford. If you are looking for

something different to shoot, then attend this excursion. Very beautiful and

tranquil, it has been voted the highest quality Japanese garden in North America.

You will receive a map before going out to explore the grounds. The trails are

mostly light gravel and there will be some climbing of stairs.

You may want to buy some fish

food when purchasing your

tickets – the Koi fish are

gorgeous!

Have fun and enjoy the peaceful

environment.

www.andersongardens.org

There is no parking fee, but there is an $8 Adult or $7 Senior (62+) entrance fee.

If you will be attending, a carpool has been set up. We will meet at the Northeast corner, Lower Level Sears at Westfield Mall/

Hawthorne in Vernon Hills at 7:00 am, leaving no later than 7:15 am. If you plan on meeting us there, we will meet at the main

entrance at 9:00 am. The garden is located at 318 Spring Creek Rd, Rockford, IL. No tripods are allowed in the garden during

touring hours, but monopods are permitted. Also, commercial photography is permitted. All attending are responsible for liability

and travel arrangements. The photo excursion is subject to weather, no rain date. If you will be attending, please email

[email protected]. Include in your email if you will be carpooling or meeting at the location as well as your

cell phone number.

Please note: We are appreciative of those who volunteer to drive for the carpool. If you are carpooling with someone, please

consider offering to help with gas expenses if you are able to do so. Thanks!

*Note from Larry Chua: If you are a member of the Chicago Botanic Garden or one of the area gardens you might want to bring

along your membership card. You will be able to get in free with their RAP (Reciprocal Admissions Program).


http://www.andersongardens.org

mailto:[email protected]


PSA : Significant Update to Nature Photo Definition

The same definition for nature and wildlife categories will now be used in competitions and exhibitions by three major

international photographic organizations.

June 2014 -- Three of the world’s largest international photography organizations have defined a common definition for nature

and wildlife photography. The Photographic Society of America (PSA) which represents 6500 members and 470 camera clubs,

the Fédération Internationale de l'Art Photographique (FIAP) which represents more than 85 national associations and The Royal

Photographic Society (RPS) with over 11,000 members will all use the same definition for nature and wildlife categories for their

respective competitions and exhibitions.

The new definition will come in to effect from 1 January 2015.

The introduction of a common definition is primarily intended to provide clarity to competition entrants. In addition, it will support

efforts by all three bodies and their affiliated organizations to clamp down on those entering ineligible images or who set out to

abuse the rules.

Commenting on the new definition John Davis / Riccardo Busi / Derek Birch, President of PSA / FIAP / RPS said: “The

development of a common definition for nature and wildlife photography will be an important step in helping photographers, many

of whom enter competitions internationally, know what the rules are. It will also provide organizers with a very clear definition

when they need to deal with the problem of ineligible images. We would encourage other competition organizers to adopt the

definition.”

Nature Photography Definition

Nature photography is restricted to the use of the photographic process to depict all branches of natural history, except

anthropology and archaeology, in such a fashion that a well-informed person will be able to identify the subject material and

certify its honest presentation. The story telling value of a photograph must be weighed more than the pictorial quality while

maintaining high technical quality. Human elements shall not be present, except where those human elements are integral parts

of the nature story such as nature subjects, like barn owls or storks, adapted to an environment modified by humans, or where

those human elements are in situations depicting natural forces, like hurricanes or tidal waves. Scientific bands, scientific tags or

radio collars on wild animals are permissible. Photographs of human created hybrid plants, cultivated plants, feral animals,

domestic animals, or mounted specimens are ineligible, as is any form of manipulation that alters the truth of the photographic

statement.

No techniques that add, relocate, replace, or remove pictorial elements except by cropping are permitted. Techniques that

enhance the presentation of the photograph without changing the nature story or the pictorial content, or without altering the

content of the original scene, are permitted including HDR, focus stacking and dodging/burning. Techniques that remove

elements added by the camera, such as dust spots, digital noise, and film scratches, are allowed. Stitched images are not

permitted. All allowed adjustments must appear natural. Color images can be converted to grey-scale monochrome. Infrared

images, either direct-captures or derivations, are not allowed. Images used in Nature Photography competitions may be divided

in two classes: Nature and Wildlife. Images entered in Nature sections meeting the Nature Photography Definition above can

have landscapes, geologic formations, weather phenomena, and extant organisms as the primary subject matter. This includes

images taken with the subjects in controlled conditions, such as zoos, game farms, botanical gardens, aquariums and any

enclosure where the subjects are totally dependent on man for food.

Images entered in Wildlife sections meeting the Nature Photography Definition above are further defined as one or more extant

zoological or botanical organisms free and unrestrained in a natural or adopted habitat. Landscapes, geologic formations,

photographs of zoo or game farm animals, or of any extant zoological or botanical species taken under controlled conditions are

not eligible in Wildlife sections. Wildlife is not limited to animals, birds and insects. Marine subjects and botanical subjects

(including fungi and algae) taken in the wild are suitable wildlife subjects, as are carcasses of extant species. Wildlife images

may be entered in Nature sections of Exhibitions.



Year End Specialty Awards By Terry Ferguson

Nominations for the Year End Specialty Awards are due at the June Member's Meeting (June 5th). The Board will then choose

the winners and make the presentation at the Year End Party in August. Members can nominate another member by presenting

the nomination in writing to the President by the June meeting. The Board will then select a winner. The winner does not have

to be one of the nominations and the award may not be given if it is determined that no one meets the requirements. The

Specialty Awards are:

Ambassador Award

The Ambassador Award is awarded to an individual who brings value to LCCC by best promoting the club as an

ambassador for new members, presenters and activities.

Achievement in photographic competitions is not considered in making this award.

The winner of this award may not be awarded the Contribution Award, Distinguished Service Award or Will Fletcher

Award in the same given year.

Contribution Award

The Contribution Award is awarded to an individual who has added value to LCCC based on a single significant

contribution.


The winner of this award may not be awarded the Ambassador Award, Distinguished Service Award or Will Fletcher


Distinguished Service Award

The Distinguished Service Award is awarded to an individual for outstanding contributions and overall service to

LCCC. It honors the dedicated service to the club in furthering interests in photography, the club, CACCA and/or

PSA.


The winner of this award may not be awarded the Ambassador Award, Contribution Award or Will Fletcher Award in

the same given year.

Will Fletcher Award

The Will Fletcher Award is awarded to an individual who best exemplifies the spirit and efforts of Will Fletcher in

mentoring or teaching members of LCCC.


The winner of this award may not be awarded the Ambassador Award, Contribution Award or Distinguished Service




A Brief History of Photography

Part 7 - The Dawn of Color By Mike Kukulski

While the advancement of photography steadily progressed from daguerreotypes, through calotypes, wet plate collodion, dry

gelatin plate, on to celluloid film, one aspect of this progress was a constant – the images obtained were monochromatic or gray

scale, exhibiting a tonal response from white through gray to black. All of these methods failed to address a key limitation posed

by the silver-based emulsions they all shared. They did not capture the natural world as the human eye perceived it – in color.

The photographic community was keenly aware of this limitation from the start.

The first approach to add color to images was via hand coloring or tinting to the

images after development. Daguerreotypes were colored via direct hand painting

on the gilded or varnished daguerreotype, or by applying transparent tints to

selected portions of the image and fixing them by heating the plate. These print

coloring efforts continued with later paper-based print images, via various

methods of tinting or hand coloring the developed prints. While these means

could impart at least an artistic aesthetic, if not a greater sense of realism to many

images, it is obvious they could not be counted on to faithfully record the actual

colors of the original scene.

Early photographic experimenters were teased with glimpses of what might be

possible. In 1840 Sir John Herschel reported a limited ability to record red, green,

and blue colors on silver chloride papers, but these colors could not be fixed and

faded to black under lamplight. Edmund Becquerel and Nièpce de Saint-Victor

attempted to record colors directly on daguerreotypes from late 1840-1860, via a

process called heliochromy, but these images too could not be fixed. In 1851, a

New York Baptist minister, Levi L. Hill, claimed to have developed a direct-color

daguerreotype process, called hillotypes, but his achievements appear to have

been made by accident and he could not replicate the process.

The real birth of true image capture of color began in 1861 through the

efforts of the famed Scottish physicist, James Clerk Maxwell (Maxwell’s

equations, and his theories of electromagnetism, are considered the

“second great unification in physics,” and lay the foundation for the fields

of special relativity and quantum mechanics). More relevant to our

interest, he published award-winning color theory papers from 1855 to

1872; he proposed that if 3 black-and-white photographs of a scene

were taken through red, green, and blue filters, by projecting the images

onto a screen using three projectors equipped with corresponding filters

an accurate color reproduction of the scene would be achieved. Maxwell

in fact demonstrated this in 1861 at a Royal Institution lecture on color

theory, with an image of a tartan ribbon. Because the photographic

emulsions of the time were orthochromatic, highly sensitive to blue light,

marginally to green light, and almost completely insensitive to red light,

the results were not perfect, but the theory was shown to be sound.



Figure 1: Hand-colored daguerreotype, sixth plate, ca. 1850. Courtesy of Cornell University Library

Figure 2: Tartan Ribbon, Photo of projected image by Thomas Sutton, 1861. Reproduced by permission of the Trustees of the Science Museum, South Kensington, London


Maxwell’s color theory was based on the additive theory developed by Thomas Young and refined by Hermann von Helmholtz.

Additive theory holds that red, green, and blue light is mixed to form any color in the visible spectrum; when mixed equally, they

appear as white light to the human eye. This theory is also the basis for how LED, LCD, plasma and CRT color video systems

work, as well as how digital camera sensors electronically record colors. This is known as the RGB color model.

In contrast to the additive process is the subtractive

method, where primary colors are subtracted from white

light by dyes or pigments. In photography, the red filtered

image is used to make a cyan dye image; the green filtered

image yields a magenta dye image; the blue filtered image

creates a yellow dye image. When these three dye images

are superimposed they produce a complete color image.

This is known as the CMYK color model, where the “K”

comprises a black component to compensate for

imperfections in the colored inks used in ink-jet and other

mechanical printing processes.

One of the best-known early photographers to employ these principles

was Russian photographer Sergey Prokudin-Gorsky, known for color

images made between 1909-1915 of the Russian Empire (over 3500

images) and his color portrait of Leo Tolstoy in 1908. Prokudin-Gorsky

made his images via a demanding process, each image made from

three exposures, one each with a red, green, and blue filter. These

three exposures needed to be perfectly registered to avoid color

fringing; these images could be taken in sequence with a tripod-

mounted camera, or via specially-designed triple image camera that

employed prisms, or beam splitters, to simultaneously record all three

filtered images on one plate. While the results, as in Prokudin-Gorsky’s

case, could be excellent, the technical demands were very high.

Numerous color process variants were developed in the late 1800’s

through the early 1900’s that utilized an additive screening process. These include the Dufaycolor (Diptichrome), Finlay, Paget,

and Joly processes. In these screening processes, a filter screen comprising the three additive primary colors, red, green, and

blue, was placed in front of a silver-based negative plate. The screens employed a variety of patterns or matrices to filter the

three primary colors; some patterns were parallel lines, others were crosshatched, etc. After exposure, the negative plate was

contact printed onto another negative plate to create a positive transparency (reverse-processed). This transparency could then

be viewed through a viewing filter that corresponded with the image-taking filter, which would yield an image rendering

reasonably accurate color. The primary disadvantages of these systems were the long exposure times required, image

degradation due to artifacts of the filters themselves (visible lines, etc.) and the exacting image and filter registration required to

render the colors correctly.

In 1907 the French Lumière brothers began marketing their patented Autochrome Lumière color plate photographic process.

The Autochrome was an additive mosaic screen plate process. The medium consisted of a glass plate coated in a random

mosaic pattern with a layer of microscopic grains of potato starch, dyed red-orange, green, and blue-violet. These randomly

distributed dyed grains acted as filters, with lampblack, a fine black powder, filling the spaces between the grains. This one-grain

thick layer was sealed, and then coated with a black-and-white panchromatic (sensitive to all colors of light) silver emulsion.

When exposed in the camera, the colored grains filtered the light before reaching the silver emulsion. The plate was then

reverse-processed into a positive transparency. Since the silver emulsion grains and the mosaic of starch grains remained in

precise alignment throughout the exposure and development process, when the transparency was illuminated, the grains of the

silver image acted as a micro-filter, allowing more or less light to pass through the adjacent starch grain, reproducing the original

distribution of the three colors.



Figure 3: Additive & Subtractive Color

Figure 4: Picture and filtered negatives of Alim Khan (1880-1944), Emir of Bukhara, 1911, by Sergey Prokudin-Gorsky



Because of the light lost through the filtering, Autochrome images required longer

exposures than equivalent monochrome emulsions, and were thus relegated to

static versus moving subjects.

Autochromes were not well suited for projection; the high heat of projector lamps

tended to discolor the plates. They were best viewed using devices called

diascopes, which used daylight, as from a bright window, to backlight the

Autochrome plate for individual viewing. Because they were especially designed

for daylight use, and because the starch grain colors do not coincide exactly with

the color filters used in modern color films or digital sensors, it is difficult to

accurately copy Autochromes today and keep the color faithful to the original

plate. While the starch grains were somewhat coarse, they imparted a painterly,

or pointillist effect, to Autochrome images.

Autochrome glass plates were manufactured through the 1930’s, when they

began to be supplanted by film-based versions. The technical advantages of the

chromogenic color film process spelled the end for the Autochrome, but French

loyalty for the process remained until manufacture of the final film version,

Alticolor, was discontinued in 1955.

Next Time: Kodachrome & Color Film

This is the seventh installment of an ongoing series on the history and

development of the art of photography. It is inspired by the History of

Photography class taught by Professor Jeff Curto in the College of DuPage

Photography Program. While not a slavish copy of his work, I freely admit to

following his general course outline and sharing many of the perspectives he has

developed. I would encourage anyone with a greater interest in this subject to

follow his course online via video podcasts, at http://photohistory.jeffcurto.com.

Sources:

A World History of Photography, 4th Ed, 2007 by Naomi Rosenblum History of Photography Podcasts, class lectures with Jeff Curto from College of DuPage http://photohistory.jeffcurto.com Wikipedia, “Color Photography”, http://en.wikipedia.org/wiki/Color_photography Filmmaker IQ, “The History and Science of Color Film: From Issac Newton to the Coen Brothers”, http://filmmakeriq.com/lessons/the-history-and-science-of-color-film-from-isaac-newton-to-the-coen-brothers/ COLOURlovers, “The History of Color in Photography”, http://www.colourlovers.com/blog/2008/04/30/the-history-of-color-in-photography Luminous Lint: For Connoisseurs of Fine Photography, “A Concise History of Color Photography”, http://www.luminous-lint.com/IaW/public/5/1/2/1/0/20/T/ Wikipedia, “James Clerk Maxwell”, http://en.wikipedia.org/wiki/James_Clerk_Maxwell Wikipedia, “Autochrome Lumière”, http://en.wikipedia.org/wiki/Autochrome_Lumière Color Theory, “Autochrome”, https://home.bway.net/jscruggs/auto.html EdinPhoto, Early Photographic Processes, “Color Photography from 19th Century”, http://www.edinphoto.org.uk/1_early/1_early_photography_-_processes_-_colour_photography.htm and “Autochrome: 1907-1940”, http://www.edinphoto.org.uk/1_early/1_early_photography_-_processes_-_autochrome.htm “The Autochrome: 100 Years of Color Photography”, by Mark Antman, reprinted from The Picture Professional, Issue 2, 2007, http://theimageworks.com/pdf/100years.pdf Smithsonian Magazine, “In Living Color”, by Robert M. Poole, Sept 2007, http://www.smithsonianmag.com/arts-culture/in-living-color-161118412/ The Ryerson Photographic Preservation and Collections Management Program, “Autochrome”, http://www.imagearts.ryerson.ca/topographica/Autochrome.html The Ryerson Photographic Preservation and Collections Management Program, “Process Summaries”, by Amanda Maloney, http://www.imagearts.ryerson.ca/topographica/Process%20Summaries.html Pictorial Media Archaeology, “Autochromes: The Art of Early Color Photography”, http://users.telenet.be/thomasweynants/autochromes.html InstitutLumière, “Lumière’s Autochromes”, http://www.institut-lumiere.org/english/lumiere/autochrome.html



Figure 5: Autochrome of Samuel Clemens in Oxford Robes, Dec.21, 1908. Photographer, Alvin Langdon Coburn

http://photohistory.jeffcurto.com

http://en.wikipedia.org/wiki/Color_photography

http://filmmakeriq.com/lessons/the-history-and-science-of-color-film-from-isaac-newton-to-the-coen-brothers/

http://filmmakeriq.com/lessons/the-history-and-science-of-color-film-from-isaac-newton-to-the-coen-brothers/

http://www.colourlovers.com/blog/2008/04/30/the-history-of-color-in-photography

http://www.luminous-lint.com/IaW/public/5/1/2/1/0/20/T/

http://en.wikipedia.org/wiki/James_Clerk_Maxwell

http://en.wikipedia.org/wiki/Autochrome_Lumière

https://home.bway.net/jscruggs/auto.html

http://www.edinphoto.org.uk/1_early/1_early_photography_-_processes_-_colour_photography.htm

http://www.edinphoto.org.uk/1_early/1_early_photography_-_processes_-_colour_photography.htm

http://www.edinphoto.org.uk/1_early/1_early_photography_-_processes_-_autochrome.htm

http://www.smithsonianmag.com/arts-culture/in-living-color-161118412/

http://www.imagearts.ryerson.ca/topographica/Autochrome.html

http://www.imagearts.ryerson.ca/topographica/Process%20Summaries.html

http://www.imagearts.ryerson.ca/topographica/Process%20Summaries.html

http://users.telenet.be/thomasweynants/autochromes.html

http://www.institut-lumiere.org/english/lumiere/autochrome.html


April Challenge - Let’s Go Outside By Linda O’Rourke

When I decided April’s Challenge to be “Let’s go Outside”, I thought we would finally be getting over winter. It was not to be… it

was cold, rainy and snow fell on April 14th. Mother Nature has decided to show us who’s Boss.

As you will see though, club members

found ways to go outside and they are:

Deb Olson found a couple of turtles

“Soaking up the Sun”

“Spring Run Off”, John Rouse was out

and about, viewing the rushing water

from our prolific 3rd snowiest winter.

Julie Boatright, “Crooked Path” What a

wonderful view. I feel as if I am walking

on the path, don’t you?

“Harry in Flight”, John Williams. I just

love these Birds, and John captured a

beautiful one.

Ken Mischke, “The Eastern Sky” Looks

like this was a beautiful morning.

Ron Hahn, ”Great Catch!” I think this one

sums it up. Baseball is upon us. Let’s go

Outside.

A Great Catch by all.

Please take a look at the Challenge

Gallery on the LCCC Website as there

are more images for your viewing.

To our new members, I encourage you to

give this a try! It is always fun to see

your images included in the Gallery and

there is no competition. Please submit

them to the Challenge Gallery through

the LCCC Website.

The May Challenge is “Spring Scenes”.

The April Gallery included several

nighttime shots that have inspired me for

June’s Challenge which will be “Dusk to

Dawn”. I hope this gives us all a purpose

to practice some evening shooting and/or

early morning as well.

Challenge images must be newly taken

images between the first day of the

assignment month and the end of the

given month. Up to ten images may be

submitted on a monthly basis by each individual.

Give it your best shot!

“The Eastern Sky”

“Great Catch”


© Ron Hahn

© John Rouse

“Spring Run Off”

© Deb Olson

“Soaking up the Sun”

© John Williams

“Harry in Flight”

© Julie Boatright

“Crooked Path”

© Ken Mischke

landscape and nature photography · 2015. 2. 17. · andrew carter, an australian landscape...

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