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OPS On-line Exhibition 2014

The Society is pleased to announce that a presentation of photographs by the award-winning English landscape photographer Peter Watson has been selected as its 2014 on-line exhibition. Click this link to see the exhibition gallery.  

Peter Watson is a long established and highly regarded professional landscape photographer. His interest in photography goes back to his teenage years when he first captured black & white images which were sold in a local art shop. This early success encouraged him to pursue his hobby more seriously. He become interested in landscapes and began to photograph in colour.  In 1988 he became a professional photographer using a Tachihara large-format (5"x 4") view camera. He now uses mainly Mamiya medium format digital equipment.

Peter is a contributing photographer to several picture libraries and his work is internationally published and exhibited.  He also undertakes commissions for clients, primarily architectural and travel photography.  He holds practical photography workshops throughout the UK and has written several practical photography books including Light in the Landscape: A Photographer’s Year, Seasons of Landscape and Views Across the Landscape.

This exhibition consists of rural landscape images taken over the past twenty years. They depict a variety of different landscape locations and have all been personally selected by the photographer.

More examples of Peter Watson's work can be seen at www.peterwatson-photographer.com.

All images are protected by copyright © Peter Watson 2014.

Understanding Colour Spaces

Colour gamutNot sure if you understand the significance of the various colour spaces? Can you honestly say that you are clear about the differences between Adobe RGB (1998), sRGB, Apple RGB and Wide-gamut RGB? Well, colour is a complex matter and you could spend the rest of your life studying the science of the subject. In an effort to help, and with the assistance of Bruce Lindbloom, we have introduced a 3-D gamut viewer which displays a variety of commonly-used colour spaces. The viewer even allows you to compare two three-dimensional RGB working spaces by drawing one inside the other. The whole display can then be rotated in any direction, or zoomed in and out, to help you focus on those crucial areas of difference. At last it is possible to visualize clearly how switching, for example from Adobe RGB (1998) to sRGB, imposes significant changes upon your images.

The 3-D RGB gamut viewer can be found here.

Vision

For photography to progress it is necessary to have an overall vision and reasonable clarity of purpose. Successful photographers understand the impact of an image. They visualize a message as the image is composed, and decide how it should be interpreted and conveyed to the viewer. Simple images suggest the most powerful messages, and are more likely to be understood when viewers re-interpret the visual information in the light of their personal values and beliefs. Only by developing such vision can we hope to produce an image that might, for example, come to represent a particular crisis or war.

A broader type of vision derives from clarity of purpose. Images accumulate as projects come and go, and it can eventually become difficult to see the wood for the trees. Those who view images inevitably detect uncertainty of photographic purpose arising in the mind of a photographer. Indeed, an image or photographic project without an identifiable visual message will probably fail. It will confuse those who view it, just as poorly composed letters leave readers unsure of what the writers intended. Without vision, clarity of purpose and the ability to interpret a subject we are lost.

It is all too easy to get stuck in a rut and follow the same unadventurous path, always framing similar pictures in the same way. At such times it is worth reviewing past work and asking how things might develop. Look for unexplored areas and identify consistent successes and failures. Ask what you saw in failed images, and how the subject might be approached more successfully. Objectivity is fundamental because exercises of this nature can be painful as well as stimulating and refreshing. Reviews may bring a photographer face-to -face with unseen aspects of their work, but consequent recognition of personal strengths and weaknesses may prove to be the catalyst for beneficial change.

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