Photography Workshop Glasgow
Burrell Collection : Composition & Image Manipulation
The Burrell Collection is running a couple of (free) photography workshops; one this month and one in June (2011).
Saturday 28th May 2011 : Composition
Saturday 4th June 2011: Manipulating Images
Both workshops start at 2:00pm and run until 4:00pm. They're free and it's advisable to book. Here's a link... link
Burrell Collection
2060 Pollokshaws Road
Glasgow
G43 1AT
Scotland
Tel : 0141 287 2550
Showing posts with label Photography Tuition. Show all posts
Showing posts with label Photography Tuition. Show all posts
Friday, 19 February 2010
Pinhole Camera Photography Project
Part IV of IV : Developing the Final Print
So far you've read about the historical significance of pinhole photography, we've constructed the camera itself and you've seen how to create a negative image on photographic paper. If you're new to this four part blog you'll probably want to read the other three before this one.
In this part (the last part) we are about to make a final print using the contact print method. You will also need an extra piece of equipment for the darkroom; a 60 watt light. You could use a table lamp but remove the shade first.
DARKROOM AND SAFELIGHT ONLY : ACTIVITY
In the darkroom take out a sheet of photographic paper. With the shiny/emulsion side facing up place the paper on top of the camera. The emulsion side of photography paper feels more glossy/smooth than the reverse.
DARKROOM AND SAFELIGHT ONLY : ACTIVITY
Take the dried negative and place it face down on top of the unprocessed sheet (emulsion to emulsion).
DARKROOM AND SAFELIGHT ONLY : ACTIVITY
Place the square sheet of clear acrylic (included in the kit) on top.
DARKROOM AND SAFELIGHT ONLY : ACTIVITY
Use the elastic bands to hold everything in place, making sure they're not covering the back of the negative print. The negative and new sheet of photographic paper need as good contact as possible.
PART DARKROOM AND SAFELIGHT ONLY : ACTIVITY
Hold the top of the camera towards your 60 watts light; no nearer than 4 feet. Keep your fingers away from the paper. Switch on the light for 2-3 seconds (my negative is slightly underexposed so I switched on for only 2 seconds to compensate). You could open the darkroom door instead if it's bright outside.
DARKROOM AND SAFELIGHT ONLY : ACTIVITY
Now develop the contact print (the sheet of photographic paper under the negative) in your darkroom chemicals (following the steps in Part III).
And here (on the left) is the final print. The negative image is on the right. My positive print is still a little underexposed; so maybe 1 second under the 60 watt bulb would have been enough. But that's the nature of this type of photography. You need to keep a record of exposure times and adjust them with each new print until you have a well exposed image. When you look at the final image remember you have used historical photographic techniques. And you have a final print not dissimilar to photographs produced by the pioneers of modern photography.
Tips and Problems
Your darkroom chemicals ("developer" and "fixer") have a limited life after they're mixed. "Developer" will last about a day and goes from pale brown to brown. "Fixer" may last a few days and goes from clear to a very pale yellow.
Underexposed images are pale and need more exposure time (at camera or contact print stage).
Overexposed images are dark and need less exposure time (at camera or contact print stage).
If your paper remains white check the paper was loaded the right way round.
If your paper is black check the camera for a light leak.
I wanted this series to be as real as possible so documented actual results of the first run. I'll revisit the process over the next few weeks and see how far I can improve the image.
Useful Pinhole Photography Links
f295 - on line community of pinhole photography enthusiasts.
Pinhole Photography : History, Images, Cameras, Formulas
Pinhole Photography Theory
On line gallery pinhole camera images
Pinhole Camera Kit Supplier
Flights of Fancy
3 Linglie Mill
Level Crossing Road
Selkirk
TD7 5EQ
Borders
Scotland
Tel : 01750 22142
Fax : 01750 22147
So far you've read about the historical significance of pinhole photography, we've constructed the camera itself and you've seen how to create a negative image on photographic paper. If you're new to this four part blog you'll probably want to read the other three before this one.
In this part (the last part) we are about to make a final print using the contact print method. You will also need an extra piece of equipment for the darkroom; a 60 watt light. You could use a table lamp but remove the shade first.
DARKROOM AND SAFELIGHT ONLY : ACTIVITY
In the darkroom take out a sheet of photographic paper. With the shiny/emulsion side facing up place the paper on top of the camera. The emulsion side of photography paper feels more glossy/smooth than the reverse.
DARKROOM AND SAFELIGHT ONLY : ACTIVITYTake the dried negative and place it face down on top of the unprocessed sheet (emulsion to emulsion).
DARKROOM AND SAFELIGHT ONLY : ACTIVITYPlace the square sheet of clear acrylic (included in the kit) on top.
DARKROOM AND SAFELIGHT ONLY : ACTIVITYUse the elastic bands to hold everything in place, making sure they're not covering the back of the negative print. The negative and new sheet of photographic paper need as good contact as possible.
PART DARKROOM AND SAFELIGHT ONLY : ACTIVITYHold the top of the camera towards your 60 watts light; no nearer than 4 feet. Keep your fingers away from the paper. Switch on the light for 2-3 seconds (my negative is slightly underexposed so I switched on for only 2 seconds to compensate). You could open the darkroom door instead if it's bright outside.
DARKROOM AND SAFELIGHT ONLY : ACTIVITYNow develop the contact print (the sheet of photographic paper under the negative) in your darkroom chemicals (following the steps in Part III).
And here (on the left) is the final print. The negative image is on the right. My positive print is still a little underexposed; so maybe 1 second under the 60 watt bulb would have been enough. But that's the nature of this type of photography. You need to keep a record of exposure times and adjust them with each new print until you have a well exposed image. When you look at the final image remember you have used historical photographic techniques. And you have a final print not dissimilar to photographs produced by the pioneers of modern photography.
Tips and ProblemsYour darkroom chemicals ("developer" and "fixer") have a limited life after they're mixed. "Developer" will last about a day and goes from pale brown to brown. "Fixer" may last a few days and goes from clear to a very pale yellow.
Underexposed images are pale and need more exposure time (at camera or contact print stage).
Overexposed images are dark and need less exposure time (at camera or contact print stage).
If your paper remains white check the paper was loaded the right way round.
If your paper is black check the camera for a light leak.
I wanted this series to be as real as possible so documented actual results of the first run. I'll revisit the process over the next few weeks and see how far I can improve the image.
Useful Pinhole Photography Links
f295 - on line community of pinhole photography enthusiasts.
Pinhole Photography : History, Images, Cameras, Formulas
Pinhole Photography Theory
On line gallery pinhole camera images
Pinhole Camera Kit Supplier
Flights of Fancy
3 Linglie Mill
Level Crossing Road
Selkirk
TD7 5EQ
Borders
Scotland
Tel : 01750 22142
Fax : 01750 22147
Wednesday, 17 February 2010
Pinhole Camera Photography Project
Part III of IV : Exposing & Developing The Negative Image
In the first post of this series I covered the historical significance of pinhole photography and in Part II we constructed the camera itself. In this post (Part III) we'll expose and develop a negative image on to bog standard photographic paper.
Talking of bogs; a quick word about darkroom and safelight requirements. Before we can load photographic paper into the camera we need a room that's completely dark. Even the smallest amount of white light can spoil the paper. I'm using an internal loo but in winter almost any room can be used at night with curtains closed. Running water nearby is useful but not essential. I always have the "developer" bath on the left, "fixer" bath in the middle and clean water bath on the right. Knowing where everything is before you turn the light out is important for anything you plan to do in the dark.
We are not working with negative film so we can use a red safelight in the darkroom. I'm using a homemade red safelight put together from a small torch, rubber band and a sheet of red cellophane (the cellophane is included in the kit).
Wrap the cellophane around the torch head and rubber band around the cellophane. (n.b. the power of the torch bulb should be no higher than 7 watts and it should be no nearer than 4 feet from where you are working). You'll quickly get used to working in low (red) light; just give your eyes a minute or two and they'll soon aclimatise.
Now it's time to create the pinhole itself. Push the needle through the hole in the outer box (as near to the centre possible) and into the internal black card box. Make the hole as clean as possible, turning the needle to round out the hole. Be careful not to make the pinhole larger than the needle itself.
DARKROOM AND SAFELIGHT ONLY : ACTIVITY
Take out a sheet of photographic paper. With the shiny/emulsion side facing the front of the camera slide the sheet of photography paper fully down the back of the camera. You will be able to detect which is the emulsion side; it will feel more glossy and smooth. Put the lid back on and wrap the two elastic bands around the camera to hold the lid in place. Don't forget to close the photographic paper pack before turning on the whitelight or opening the darkroom door.
Now we're ready to shoot. Exposure times will be longer than you're probably used to, between 15 seconds and 10 minutes at a guess. So the cat, dog, goldfish, kids or F1 racing are definitely no-nos (a Scunthorpe United defender should be no problem though).
I'm shooting the view from my bathroom. It's not ideal weatherwise, that would be a sunny/high contrast day. It's a very dull day, so I'm going to give it about a 3 minute exposure. I know what your thinking. Your thinking "About?? Surely there's a more accurate way than using About!?". Well there is and here it is....the pinhole is the aperature ok? The focal length is the distance from the pinhole to the photographic paper ok? So if the hole is one inch wide and the focal length is three inches, the ratio is 1:3 ok? Therefore our aperture would be f/3 ok? You just need to measure your pinhole and apply the formula ok? Nope? Well you did ask. Try these guideline exposures instead - Bright Sun : 15 seconds, Overcast : 60 seconds, Dull : 2 minutes, Interior light : 5 minutes.
Long exposure times mean there's no way you can hand hold the camera. So you need to position it somewhere solid (a chair, table, wall, ground). When it's in position place a finger on top and open the shutter. Close the shutter when the desired time is up.
You don't need to mix (i.e. dilute with water) the "developer" and "fixer" in the darkroom with only the safelight on. They are, however, temperamental and best used at room temperature. Remember to use rubber gloves when handling them.
DARKROOM AND SAFELIGHT ONLY : ACTIVITY
Remove the camera lid and take out the photographic paper. Using the tweezers, slide the paper into the "developer" (shiny/emulsion side down) for 10 seconds. Turn the paper over and gently rock the bath (agitate) back and forth to remove trapped air bubbles. Watch the negative image appear on the emulsion and allow it to go a little darker than you think is ok (you need to compensate for the effect of the red safelight). It should take between 1 and 2 minutes.
Next, we need to stop the development process. Lift the paper out of the "developer" and put it into the "fixer" (again shiny/emulsion side down) for 10 seconds. Turn it over and agitate (the bath not you) for about two minutes. It's now safe to put on the whitelight.
Finally. We need to wash off the chemicals. Place the negative face down in the water for 10 seconds then turn over (the paper not the bath or yourself) and agitate for a further 1-2 minutes.
And that's it. To dry the negative print you can hang it on a line (inside not outside next to your laundry) with a peg or just lay it out on a suitable surface. Our own negative turned out slightly underexposed (too light). It's probably due to in-camera underexposure but could also be down to insufficient time in the "developer" bath. We can try compensate for this in the final step - "Part IV : Developing the Final Print".
Useful Pinhole Photography Links
f295 - on line community of pinhole photography enthusiasts.
Pinhole Photography : History, Images, Cameras, Formulas
Pinhole Photography Theory
On line gallery pinhole camera images
Pinhole Camera Kit Supplier
Flights of Fancy
3 Linglie Mill
Level Crossing Road
Selkirk
TD7 5EQ
Borders
Scotland
Tel : 01750 22142
Fax : 01750 22147
In the first post of this series I covered the historical significance of pinhole photography and in Part II we constructed the camera itself. In this post (Part III) we'll expose and develop a negative image on to bog standard photographic paper.
Talking of bogs; a quick word about darkroom and safelight requirements. Before we can load photographic paper into the camera we need a room that's completely dark. Even the smallest amount of white light can spoil the paper. I'm using an internal loo but in winter almost any room can be used at night with curtains closed. Running water nearby is useful but not essential. I always have the "developer" bath on the left, "fixer" bath in the middle and clean water bath on the right. Knowing where everything is before you turn the light out is important for anything you plan to do in the dark.
We are not working with negative film so we can use a red safelight in the darkroom. I'm using a homemade red safelight put together from a small torch, rubber band and a sheet of red cellophane (the cellophane is included in the kit).
Wrap the cellophane around the torch head and rubber band around the cellophane. (n.b. the power of the torch bulb should be no higher than 7 watts and it should be no nearer than 4 feet from where you are working). You'll quickly get used to working in low (red) light; just give your eyes a minute or two and they'll soon aclimatise.
Now it's time to create the pinhole itself. Push the needle through the hole in the outer box (as near to the centre possible) and into the internal black card box. Make the hole as clean as possible, turning the needle to round out the hole. Be careful not to make the pinhole larger than the needle itself.
DARKROOM AND SAFELIGHT ONLY : ACTIVITYTake out a sheet of photographic paper. With the shiny/emulsion side facing the front of the camera slide the sheet of photography paper fully down the back of the camera. You will be able to detect which is the emulsion side; it will feel more glossy and smooth. Put the lid back on and wrap the two elastic bands around the camera to hold the lid in place. Don't forget to close the photographic paper pack before turning on the whitelight or opening the darkroom door.
Now we're ready to shoot. Exposure times will be longer than you're probably used to, between 15 seconds and 10 minutes at a guess. So the cat, dog, goldfish, kids or F1 racing are definitely no-nos (a Scunthorpe United defender should be no problem though).I'm shooting the view from my bathroom. It's not ideal weatherwise, that would be a sunny/high contrast day. It's a very dull day, so I'm going to give it about a 3 minute exposure. I know what your thinking. Your thinking "About?? Surely there's a more accurate way than using About!?". Well there is and here it is....the pinhole is the aperature ok? The focal length is the distance from the pinhole to the photographic paper ok? So if the hole is one inch wide and the focal length is three inches, the ratio is 1:3 ok? Therefore our aperture would be f/3 ok? You just need to measure your pinhole and apply the formula ok? Nope? Well you did ask. Try these guideline exposures instead - Bright Sun : 15 seconds, Overcast : 60 seconds, Dull : 2 minutes, Interior light : 5 minutes.
Long exposure times mean there's no way you can hand hold the camera. So you need to position it somewhere solid (a chair, table, wall, ground). When it's in position place a finger on top and open the shutter. Close the shutter when the desired time is up.
You don't need to mix (i.e. dilute with water) the "developer" and "fixer" in the darkroom with only the safelight on. They are, however, temperamental and best used at room temperature. Remember to use rubber gloves when handling them.DARKROOM AND SAFELIGHT ONLY : ACTIVITY
Remove the camera lid and take out the photographic paper. Using the tweezers, slide the paper into the "developer" (shiny/emulsion side down) for 10 seconds. Turn the paper over and gently rock the bath (agitate) back and forth to remove trapped air bubbles. Watch the negative image appear on the emulsion and allow it to go a little darker than you think is ok (you need to compensate for the effect of the red safelight). It should take between 1 and 2 minutes.
Next, we need to stop the development process. Lift the paper out of the "developer" and put it into the "fixer" (again shiny/emulsion side down) for 10 seconds. Turn it over and agitate (the bath not you) for about two minutes. It's now safe to put on the whitelight.
Finally. We need to wash off the chemicals. Place the negative face down in the water for 10 seconds then turn over (the paper not the bath or yourself) and agitate for a further 1-2 minutes.
And that's it. To dry the negative print you can hang it on a line (inside not outside next to your laundry) with a peg or just lay it out on a suitable surface. Our own negative turned out slightly underexposed (too light). It's probably due to in-camera underexposure but could also be down to insufficient time in the "developer" bath. We can try compensate for this in the final step - "Part IV : Developing the Final Print".
Useful Pinhole Photography Links
f295 - on line community of pinhole photography enthusiasts.
Pinhole Photography : History, Images, Cameras, Formulas
Pinhole Photography Theory
On line gallery pinhole camera images
Pinhole Camera Kit Supplier
Flights of Fancy
3 Linglie Mill
Level Crossing Road
Selkirk
TD7 5EQ
Borders
Scotland
Tel : 01750 22142
Fax : 01750 22147
Monday, 15 February 2010
Pinhole Camera Photography Project
In Part I of this series of posts I covered the historical significance of pinhole photography. In Part II we'll construct the camera itself.
Here's the sides of our pinhole camera. The camera shell is made out of an MDF type material. We chose to glue our camera together but you don't have to.
First we assembled the sides and base.
After attaching the base panel we screwed on the "shutter" over hole in the front panel.
Next is the internal black card box. This will help light-proof the camera and help create a square image on the photographic paper inserted (later) into the rear of the camera.
The black box is glued together using the folded tabs.
Notice the black box has a side missing?
Well the side with the hole should face the rear of the camera when you drop it in. It's also useful to glue a strip of paper onto the top of the black box. This will make it easier to remove the box and photographic paper in the dark-room.
Now place (don't glue) the lid onto the top of the camera.
Wrap elastic bands around the outer shell (for extra light security) and we have our very own Pinhole Camera.
In Part III we'll make the pinhole itself (in the internal black box through the hole under the "shutter"), we'll insert photographic paper inside the camera and we'll expose our first image.
To come - "Part III : Exposing & Developing The Negative Image" and "Part IV : Developing the Final Print".
Useful Pinhole Photography Links
f295 - on line community of pinhole photography enthusiasts.
Pinhole Photography : History, Images, Cameras, Formulas
Pinhole Photography Theory
On line gallery pinhole camera images
Pinhole Camera Kit Supplier
Flights of Fancy
3 Linglie Mill
Level Crossing Road
Selkirk
TD7 5EQ
Borders
Scotland
Tel : 01750 22142
Fax : 01750 22147
Sunday, 14 February 2010
Pinhole Camera Photography Project
During this half term school break I'm building a pinhole camera my daughter received (from me) for Christmas 2009. The camera kit is made by the Scottish Borders based company Flights of Fancy (Flights of Fancy is the wholesale/trade arm. The website for retail customers is The Other Branch).
I know what you're thinking. You're either thinking "what's a pinhead camera?" or you're thinking "who wants to mess with smelly chemicals; isn't that why we have digital photography?". Well firstly it's a pinhole camera and not a pinhead camera. And secondly the pinhead .. oops .. pinhole camera is a perfect way to teach the principles of photography.
Historical Importance of Pinhole Photography
Pinhole photography is the simplest form of photography; where the lens is a basic pinhole. In the history of photography it was the important stepping stone from camera obscura to lens camera; its' principles are those which underly photography itself.
Pinciples of Pinhole Photography
The pinhole camera has an infinite depth of focus (unlike lens cameras). This means everything in the image (whether it's 2 feet from the camera or 2 miles from the camera) will be in focus (the scientific explanation of this is Circles of Confusion). The image will appear upside down and back to front (inverted) on the inside rear of the camera.
Recording & Processing the Image
To record the image in our pinhole camera all we need is a piece of photographic paper placed on the rear wall of the camera. This will create a negative image on the paper (after processing in the darkroom chemicals). The print (positive image) is created with another sheet of photographic paper using a process called contact printing.
I'll blog our progress in three further parts. "Part II : Building The Camera", "Part III : Exposing & Developing The Negative Image" and "Part IV : Developing the Final Print".
Useful Pinhole Photography Links
f295 - on line community of pinhole photography enthusiasts.
Pinhole Photography : History, Images, Cameras, Formulas
Pinhole Photography Theory
On line gallery pinhole camera images
Pinhole Camera Kit Supplier
Flights of Fancy
3 Linglie Mill
Level Crossing Road
Selkirk
TD7 5EQ
Borders
Scotland
Tel : 01750 22142
Fax : 01750 22147
Thursday, 21 January 2010
Digital Photography Workshop : The Basics
House for an Art Lover, Glasgow : 21 February 2010
My next photography workshop will be on Sunday 21 February 2010 at House for an Art Lover.
This workshop is aimed at anyone taking their first steps into dSLR photography. Lunch is included and there's a £30 discount if you book early. More details of the workshop and how to register can be found here link to workshop
Look forward to seeing you.
House for an Art Lover, Glasgow : 21 February 2010
My next photography workshop will be on Sunday 21 February 2010 at House for an Art Lover.
This workshop is aimed at anyone taking their first steps into dSLR photography. Lunch is included and there's a £30 discount if you book early. More details of the workshop and how to register can be found here link to workshop
Look forward to seeing you.
Thursday, 10 September 2009
New Arts Centre : Glasgow
Trongate 103 : A Centre for the Arts and Creativity
A new and exciting arts centre opens its doors this Saturday (12th September 2009) in Glasgow's Merchant City.
Trongate 103 (on Argyle Street) incorporates galleries, workshops, artists' studios and production space. This is the official pitch:
"... a place to see art, make art, enjoy art and just be creative. Trongate 103 opens the doors to individuals from all backgrounds to develop and enhance their creative abilities and interests through access to a wide range of art forms including film, photograph, printmaking, video, painting, ceramics, new media, kinetic sculpture and public art".
Trongate 103 is in a refurbished six storey Edwardian warehouse. It sounds like a fantastic new arts facility and is another must-see cultural centre for visitors to Scotland.
The venue also features Cafe Cossachok (Scotland's first and only authentic Russian Restaurant). I wonder if there's a discount if you say you're from Stepps?
A new and exciting arts centre opens its doors this Saturday (12th September 2009) in Glasgow's Merchant City.
Trongate 103 (on Argyle Street) incorporates galleries, workshops, artists' studios and production space. This is the official pitch:
"... a place to see art, make art, enjoy art and just be creative. Trongate 103 opens the doors to individuals from all backgrounds to develop and enhance their creative abilities and interests through access to a wide range of art forms including film, photograph, printmaking, video, painting, ceramics, new media, kinetic sculpture and public art".
Trongate 103 is in a refurbished six storey Edwardian warehouse. It sounds like a fantastic new arts facility and is another must-see cultural centre for visitors to Scotland.
The venue also features Cafe Cossachok (Scotland's first and only authentic Russian Restaurant). I wonder if there's a discount if you say you're from Stepps?
Opening Day : Saturday 12th September 2009
Admission Free
Mon-Sat : 10:00 - 17:00
Sun : 12:00 - 17:00
Trongate 103
Glasgow
G1 5HD
tel : 0141 331 4474Admission Free
Mon-Sat : 10:00 - 17:00
Sun : 12:00 - 17:00
Trongate 103
Glasgow
G1 5HD
Friday, 27 February 2009
We Are Moving
Next Monday, March 1st 2009, we'll be moving to a new location. At the moment I do not have the new telephone number so please use my mobile number (07899 804600). I'll post the new landline number on my website just as soon as we are connected.
We are moving back towards Glasgow. This is an exciting new development and I hope the location will be more accessible to more of my clients. My photography tuition continues to grow in popularity and after the move I will be holding courses in the conference facilities over in the xScape complex at Braehead. More details to follow.
I will be continuing with the ever popular pre wedding shoots and will be holding these in Pollok Park and the Glasgow Science Centre. These are shoot locations I used several years ago, so it will be good to revisit them.
Speak soon.
Next Monday, March 1st 2009, we'll be moving to a new location. At the moment I do not have the new telephone number so please use my mobile number (07899 804600). I'll post the new landline number on my website just as soon as we are connected.
We are moving back towards Glasgow. This is an exciting new development and I hope the location will be more accessible to more of my clients. My photography tuition continues to grow in popularity and after the move I will be holding courses in the conference facilities over in the xScape complex at Braehead. More details to follow.
I will be continuing with the ever popular pre wedding shoots and will be holding these in Pollok Park and the Glasgow Science Centre. These are shoot locations I used several years ago, so it will be good to revisit them.
Speak soon.
Tuesday, 24 February 2009
Personal Work
One of my ongoing personal photography projects is "Glasgow Through Rainy Windows" (working title). Here's a few recent images, taken with a Canon compact camera I always carry. I was sitting at traffic lights at the time.
And here's a favourite wedding venue image from last year. It's the House for an Art Lover over at Bellahouston Park, Glasgow. It was taken on a Nikon D3 with the wonderful 14-24mm f2.8 lens.
Thanks for looking.
One of my ongoing personal photography projects is "Glasgow Through Rainy Windows" (working title). Here's a few recent images, taken with a Canon compact camera I always carry. I was sitting at traffic lights at the time.
And here's a favourite wedding venue image from last year. It's the House for an Art Lover over at Bellahouston Park, Glasgow. It was taken on a Nikon D3 with the wonderful 14-24mm f2.8 lens.
Thanks for looking.
Monday, 24 November 2008
Portrait Work Changes
The photography workshops I started this year have been very successful and very enjoyable. However, I underestimated their success and I need to find more time to dedicate to this side of my business. Something has to give and that something, I'm afraid, is my portrait photography.
As of today (oh crikey I sound like Ringo Starr) I'm only accepting portrait commissions from wedding clients (past, present and future brides and grooms), existing portrait customers and students from my photography courses. If you are looking for a portrait photographer and you're outwith these groups please consider one of these two superb portrait photographers. Both are based in Glasgow, Scotland :
Ken Sharp at kensharp.com
Deirdre Hannon at nofussphotography.co.uk
Talking of photography tuition....next year I'm introducing Portrait and Wedding Photography mentoring. This will include 3 full days of 1-2-1 tuition, the opportunity to second shoot with me at 2 weddings and 1 years telephone/email support. There will be a limit of 4 places a year and the cost will be £1,250. If you're interested please get in touch for more details.
Peace and Luv, Peace and Luv
updated 26/11/2008
One mentoring place has been taken for next year; there are now 3 remaining.
Friday, 7 November 2008
Photographing Fireworks
DigitalPhotographySchool.com
ePhotozine.com
FireworkPhotography.co.uk
Sorry I'm late for November 5th but if you're out photographing tomorrow please stay safe.
This week I've had emails asking for advice with photographing fireworks. So rather than reinventing the wheel here's some sites with good advice on the subject:
PhotographyReview.comDigitalPhotographySchool.com
ePhotozine.com
FireworkPhotography.co.uk
Sorry I'm late for November 5th but if you're out photographing tomorrow please stay safe.
Sunday, 2 November 2008
BBC Photography Portal
It would be easy to think nothing good is coming out of the BBC these days (what with the Ross/Brand Pantomime, the telephone phone-in scandal, and the fantasy editing of the Queen).
The BBC Website, however, is a different matter. I recently discovered their photography section and if you're looking to improve your photography, poke around the history of photography or just in need of photography inspiration I recommend you click here.
Sunday, 19 October 2008
Photography Tuition
Portrait, Weddings & Camera Basics
Last Friday I had the enthusiastic Fiona Neill over for 1-2-1 tuition. James (her boyfriend) came along as the model for the afternoon.
Here's a few images from the location shoot :
Thanks James you are a natural.
I currently offer 1-2-1 intuition and group tuition for a max. of 3 people. Half and full day courses are available. Lunch at nearby Amaretto (Bridge of Weir) is included with full day tuition.
As you know from the post I made in June this year, I recommend anyone looking for Photography Courses to check out evening classes at local colleges.
For details of my own tuition please call me on 01505 615124 or send an email to kim.mason@kfmphotography.co.uk.
Portrait, Weddings & Camera Basics
Last Friday I had the enthusiastic Fiona Neill over for 1-2-1 tuition. James (her boyfriend) came along as the model for the afternoon.
Here's a few images from the location shoot :
Thanks James you are a natural.
I currently offer 1-2-1 intuition and group tuition for a max. of 3 people. Half and full day courses are available. Lunch at nearby Amaretto (Bridge of Weir) is included with full day tuition.
As you know from the post I made in June this year, I recommend anyone looking for Photography Courses to check out evening classes at local colleges.
For details of my own tuition please call me on 01505 615124 or send an email to kim.mason@kfmphotography.co.uk.
Sunday, 29 June 2008
Photography Tuition
This morning the studio email inbox is again peppered with wedding photography enquiries, emails from Mr. Chumbawumba in Nigeria asking for my bank account info, lottery win notifications, details of saucy pills for saucy people and replica watch bargains. You could buy the last two and give someone a hard time; but I digress.
I also received more emails enquiring about photography tuition. I say to anyone looking for photography tuition "go check out evening courses at local colleges". Here, in and around Glasgow, you'll find courses for beginners through to improvers. If you're thinking of starting your own wedding photography business why not double it up with a business course? Furthermore, some colleges have the added attraction of their own (traditional) darkroom.
In Scotland you can get help with fees. If you open an Individual Learning Account you can claim up to 200(GBP) a year. It's available for anyone aged 18 or over and living in Scotland. You just contribute a minimum of 10 (GBP) per course.
If you don't fancy a classroom based course and you'd prefer 1-to-1 tuition; then give me a call.
Here's a few ideas for photography evening classes around Glasgow:
Normally offers a Beginners Black and White Photography course and a Black and White Photography workshop. Further details will be in their brochure; available August 2008.
Has a digital photography course. At the time of writing it is free.
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