Student Gallery for Foreign City Courses

A gallery for students to show off

pictures taken during courses in foreign cities

I hope you like the gallery, and that it will encouraged you to go out and explore the world with your camera in any weather and at any time of day. If you have been on this course please feel free to add a few of your best pictures from the day, using this uploader below. Size your images to 800 pixels in the longest dimension first.

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Please do leave me a comment below.

I run regular street photography classes around London, both during the day and at night, so why not join me and a very small group of other photographers for some instruction and inspiration – and a lot of fun?

I can help to improve your photography whatever your level of experience. Find out more in the Events and Courses section.

See me on Facebook at www.facebook.com/demolder

Follow me on Twitter at @damiendemolder

Tonal Contrast for Emphasis

Tonal contrast for emphasis. Street photography courses in London. Damien DemolderSmoking at the Bank – Tonal contrast for emphasis

If you asked twenty people in the street ‘What’s the best colour to make a white object stand out?”, they would probably all say ‘black’ (except those who know that black isn’t a colour!). It is obvious, isn’t it? But in the heat and excitement of the moment the street photographer can easily forget the most obvious principles and miss the opportunity to make a scene into an effective piece of communication.

This picture is clearly about the whisps of smoke that appear above the man’s head. We know that because they are probably the first things we notice when we look at the picture. They are the first things we notice because they stand out, and they stand out because the difference between their brightness and the deep dark shades of the doorway represent the strongest tonal contrast in the scene.

Tonal contrast: brain v camera

When I saw the potential of the shot I’m not sure where the smoke was, but it stood out because my eyes and brain were able to separate the smoke from whatever background it was against, but the camera can’t do that on its own. When I came to take the picture I adjusted my position so that the light toned smoke would be against a dark toned background – not against the stone wall or the pillar in the distance. It is this slight shift in my position, and the differences in the tonal values of subject and background that make the shot work. Had the smoke appeared over the wall of the Bank the picture wouldn’t have worked at all.

The reason I moved was because I had thought all that through in the seconds between seeing and taking the shot. I didn’t just get wow’ed by the smoke, I thought about the best way to get the message to you that the smoke rising from the man’s head looked cool with the light shining through it. And it is that few seconds of thinking that make the difference and which are so often missing.

Contrast, depth of field and saturation

The shallow depth of field helps, of course, as does the soft light of the rainy day that allowed the camera’s dynamic range to capture the full scale of the tonal values of the scene. I exposed for the smoke, not for the man’s jacket, because I didn’t want it to appear pure white and featureless.

It was a muted sort of morning, and there are no strong colours in the scene. I’ve desaturated the image it a little more to give it a stronger monochromatic atmosphere. I also cropped square for a classic feel that suits the moderate tones and colours.

Smoking is of course pretty bad for the health of humans, and as prices and prohibition increase fewer and fewer people are doing it. That’s great for the lungs of the nation, but one day scenes like this will be rare. Go out and make the most of smokers while we still have some.

Panasonic Lumix DMC-GH3 with Taylor Taylor Hobson 2in f/2 Telekinic lens

 

I run regular street photography classes around London, both during the day and at night, so why not join me and a very small group of other photographers for some instruction and inspiration – and a lot of fun?

I can help to improve your photography whatever your level of experience.

You can also follow me on Facebook or on Twitter:
http://www.facebook.com/demolder
https://twitter.com/damiendemolder

Lighting for 3D effect – orange pillar

OLYMPUS DIGITAL CAMERALighting for 3D effect – orange pillar

It is through directional lighting that we appreciate the three-dimensional qualities of the things around us. Very early on in primary school art classes we learn to draw a cube and shade one side black and another grey; I was amazed how it jumped off the page, and repeated the exercise over and over. Of course we understand how all this works when we have a pencil in our hands, but it is another thing to apply the same principles when out with a camera.

Depth through layers

This image has a sense of depth through the different layers created by the lighting of the scene, and these make the man stand out clearly from the foreground and the background. As a silhouette he could be a cardboard cut-out, except that the light falling on his left foot suddenly lets us know he is in fact a 3D object.

The single bulb that lights the scene creates a definite mix of 2D and the 3D objects, and the contrast between them makes one stand out from the other. The heavy side lighting on the pillar describes very clearly its cylindrical form, and because of the strength of this impression the flat cut-out top half of the man’s body stands out. That he is sharply defined, with jet-black hair, eyebrows, lips and nose, against one of the lightest areas of the scene, our attention is drawn immediately. The figure jumps off the page by being 2D against a 3D background, and then by his 3D foot against the 2D background of the pavement.

Understanding the scale

We know exactly how far into the scene the man is, as we have his shadow to mark the position for us with engineer’s precision on the pavement – the grid of which lends us the front-to-back measures of the stage he is striding across.

There is further mix of 2D and 3D elements on the rear wall, where the long straight shadow of the door catch breaks the flat plane of the image background with one small but significant area of relief.

Atmosphere of mystery

I rather like that the fact we only have an outline of the figure makes his identity something of mystery. We get some clues, but not enough to really know much about him. He evades our detection, just as he bypasses the CCTV camera mounted on the wall in the background – that focuses only on a very empty dark door where there is clearly nothing going on. The mystery is continued by the dangerous deep orange night-time glow of the ambient street lighting.

The right person in the right place

When I saw this scene I knew I would be able to get something out of it, so I lined up the shot and waited for the right person to walk in to it. What makes this chap work is that he is in full hurried stride, giving a clear sense of his outline shape. This stride coincides with the moment right before his outline breaks the brightest edge of the pillar, so his darkness is at maximum contrast and he doesn’t interfere with that powerful long straight line. That he doesn’t intersect that line is critically important – we rely on the strength of his outline to identify what he is, and if that outline is complicated by external elements the message becomes less clear. And rather nicely, his shadow leads us from the lower left corner in a powerful diagonal straight to the subject of the photograph.

Olympus PEN E-PL5 with Panasonic Leica DG Summilux 25mm f/1.4 ASPH
f/2.5 and 1/150sec @ ISO 1600

I run regular street photography classes around London, both during the day and at night, so why not join me and a very small group of other photographers for some instruction and inspiration – and a lot of fun?

I can help to improve your photography whatever your level of experience. Find out more in the Events and Courses section.

See me on Facebook at www.facebook.com/demolder
Follow me on Twitter at @damiendemolder

 

Please do leave me a comment below.

Create 3D pictures with a sense of depth. Damien Demolder

 

Photographing graphic shapes

Photographing graphic shapes Damien Demolder in London. Panasonic Lumix DMC-GH3

Photographing graphic shapes – creating a frame

Most built-up areas are created using three basic shapes and the variations on them; rectangles, triangles and circles. Alongside those basic shapes we have the lines that define their edges and demonstrate their existence. When we recognise these shapes, and acknowledge that they are the foundations of the city structure, we can begin to make the most of them in our pictures. And when we do that, we tap into an awareness that can create really powerful images.

This picture is all about shapes and the lines that create them. The shapes of the world this man lives in are hard-edged and rigid, while his own shape is rounded, organic and soft – so he stands out against the foreground and the background. That act of standing out makes us aware that he is the subject, but only in the sense that his presence makes the hard/soft contrast possible – and it is that contrast that helps us to notice the hardness, rigidity and geometry of the world around him.

The frame

I shot this through a vast metal sculpture at Liverpool Street station’s Broadgate Circle entrance, in London. Looking between the great sheets of metal, I liked the way a giant doorway could be formed and the way the soft light of the overcast morning was bleeding into the deep dark shadow inside the structure itself.

The viewer’s first thought on seeing the image is probably that we are looking through a four sided aperture, but the four-sided idea comes only from the fact that the triangle made by the converging edges of the metal sheets meets the top of a wall that leads into another darkness in the distance. The two dark areas can play the trick of fooling us that they are one – and the overall visual effect is that they are as between them they contain our attention and hold all the action.

Composition and shooting position

I had to position myself quite carefully to ensure that I made the most of the shapes and lines on offer here. To get the full impact of a structure and its angles it’s important to have some sort of baseline that grounds us and lets us know we are standing straight and upright ourselves. In this picture that levelling anchor is the group of lines on the steps – that travel left to right parallel to the bottom edge of the frame. These, whether we recognise it immediately or not, let us know we are upright and perpendicular. When we know that, we can appreciate the relationships of all the other lines and shapes in the picture – that they really are off at an angle, and that it isn’t just us leaning over ourselves.

The lines of the steps are a strong visual element as they contain so much contrast themselves. The treads are lit from above, while the risers are comparatively dark. The combination makes a series of black and white lines, running like those on a sheet of ruled writing paper. They are powerful and influence our perception of the scene. That they are straight, and that our brain knows that, allows us to see the slope of the path, the diagonal of the handrail, the man’s upward journey and the angled edges of the sculpture.

The right man

I shot quite a few images from this position, as I experimented with composition and the different types of people using the path. Once I was satisfied with the camera angle and my exposure, I just had to wait for the right person. While it is easy to project what you think the right person will look like before they arrive, we should always be ready for whatever comes along. Here I knew I wanted a ‘city person’, and a suited worker would fit the bill, but with the light-toned background I had expected to be making a silhouette of someone in black. It didn’t occur to me that Colombo would come by, with a pale raincoat and newspaper – but he did, and I’m very grateful for that.

Panasonic Lumix DMC-GH3 with Taylor, Taylor and Hobson 2in f/2 Telekinic lens via a C-Mount adapter

 

I run regular street photography classes around London, both during the day and at night, so why not join me and a very small group of other photographers for some instruction and inspiration – and a lot of fun?

I can help to improve your photography whatever your level of experience. Find out more in the Events and Courses section.

See me on Facebook at www.facebook.com/demolder
Follow me on Twitter at @damiendemolder

 

Please do leave me a comment below.

 

Photographing graphic shapes Damien Demolder in London. Panasonic Lumix DMC-GH3

Photographing graphic shapes Damien Demolder in London. Panasonic Lumix DMC-GH3

 

 

 

One-to-one classes with Damien

 

One-to-one photography and

CAMERA-SKILLS CLASSES WITH DAMIEN DEMOLDER

 

One-to-one tuition for all levels of experience. Sessions fully customised to your needs

£499 – including lunch and refreshments

My one-to-one days are designed around each individual student’s needs and are tailored to fill specific gaps in knowledge or experience that we identify before the day starts.

The day usually begins with a chat about the type of photography we will be doing or the techniques and modes we’ll be using. Then, to put into practice what we’ve discussed we go on to a series of great locations to so we can both be sure that the lessons stick and are really learnt in a concrete way.

Damien Demolder's one-to-one photography courses
The whole time I’ll stand next to you delivering instructions and instant assessments, in a friendly and constructive way that so you can see exactly what your mistakes and successes are. By the end of the day you will have thoroughly grasped the concepts and skills covered and you will be a much better photographer and a wider experience and a more open mind to future progress.

Working on a one-to-one basis is an ideal way to fast-track your photography skills and your understanding of how your camera works. You get all the attention and you can ask all the questions you like – in the comfort that there are NO silly questions, and that everyone has to start somewhere and from a position of hardly any knowledge.

I have 15 years practice teaching photography, from writing practical and technical articles for Amateur Photographer magazine, Photo Technique magazine and DP Review, as well as from working with countless individual students. I am fully familiar with every brand of camera, having tested and used DSLR and compact models from all manufacturers over the last decade and a half. So I’m in a perfect position to help you to understand how to find your way around your camera if you are a beginner, or how to get more out of it and your manufacturer’s system if you are a more experienced user.

Understand and control basic and advanced settings and photographic skills
• Apertures and shutter speeds
• Exposure modes
• Exposure metering
• Depth of field
• Editing techniques

Visual Concepts
• Composition
• Framing
• Subject placement
• Camera angles

One-to-one classes take place in London, and students can request a weekday or a weekend. Please email me for more information, available dates and with details of the areas of photography you’d like to learn about.

You can see a galleries of former student’s work in the One-to-One Students’ Gallery and in the One Day Street Photography Classes Gallery.

 One to one photography lessons with Damien Demolder

Damien Demolder’s Street Gallery

A small selection of Damien’s
street photography work

I hope you like the gallery, and that it will encourage you to go out with your camera in any weather and at any time of day. Please do leave me a comment at the bottom of the page.

I run regular street photography classes around London, both during the day and at night, so why not join me and a very small group of other photographers for some instruction and inspiration – and a lot of fun?

I can help to improve your photography whatever your level of experience. Find out more in the Events and Courses section.

See me on Facebook at www.facebook.com/demolder

Follow me on Twitter at @damiendemolder

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Taking pictures in the rain

SAMSUNG CSCTaking pictures in the rain – let the details tell the story

You would think there was a law against taking pictures on a rainy day, as hardly any photographers ever do. They look out the window, see the drips and drops falling from the heavens, and decide automatically that it is a day for doing something else. But one of the things they are missing out on is a chance of getting unique images – with all the other photographers indoors anything you shoot on a rainy day is going to be an exclusive!

And rain happens – it is part of the experience of life, so we should be photographing it. This shot was taken on a rainy morning in London when the commuters were rushing to work, heads down and brollies up. If you are at all nervous of taking pictures of people in the street a rainy day is great, as no one is going to bother stopping to ask what you are doing.

As I walked along behind this person I enjoyed how the water was forming into big droplets on the umbrella material, and how those droplets were sparkling in the light, and I wanted to make a picture to show that. Obviously the person under the brolly was moving pretty quickly, so I set myself an ISO of 1600 and an aperture of f/2 so I could get a motion-stopping shutter speed – in this case 1/2500sec. Then I set my AF point to the lower third of the screen and followed the brolly trying to walk in time with the person under it. When we walk we naturally bob up and down, so getting in rhythm with the subject is important if we are going to avoid motion blur. I knew I was pretty safe though, with that very fast shutter speed, but the timing was important so I could get the focus point exactly where I wanted it on the moving subject.

I was happy to shoot at f/2 because I knew I didn’t have to get the buildings in the background in focus for people to know what they are. You mightn’t recognise Old Broad Street, but it is enough to see that this is a city scene and you get the sense of the old buildings and the new glass tower block in the distance. Also the narrow depth of field would make the droplets the only part of the picture in focus, so you would know that they are the subjects and what I want you to look at.

It was a pretty grey day in a pretty grey place, so rather than turning the picture black and white I just de-saturated it a bit and then overlaid an orange tone to give it a warmer feel.
It might sound odd to describe to someone else that this is a picture of an umbrella, and it wouldn’t sound very exciting, but it is a picture about the atmosphere of the place at that time. Often it is the small details that can describe an atmosphere more fully than a wider shot of the whole street, as details are filled with clues and you force the viewer to look at them.

I hope you like the shot, and that it has encouraged you to go out with your camera next time it rains. Please do leave me a comment below. I run regular street photography classes around London, both during the day and at night, so why not join me and a very small group of other photographers for some instruction and inspiration – and a lot of fun?

I can help to improve your photography whatever your level of experience. Find out more in the Events and Courses section.

My next street day is on 18 February 

See me on Facebook at www.facebook.com/demolder
Follow me on Twitter at @damiendemolder

 

Taking pictures in the rain - London

Colour balance for fluorescent lights – Under Southwark Bridge

8413845800_34b7ff6238_cColour balance • Exposure compensation • High ISO

Daylight is the ultimate light source and its almost infinite combinations of characteristics and properties make it an endlessly variable, changeable and exciting type of illumination. And consequently it is by far the more popular form of lighting for most photographers. Your camera is set up to deal with daylight by default and all your systems expect it unless you intervene with a different manual instruction.
Photographers are so used to using daylight that when the daylight fades cameras are put to bed to await sunrise the next day, or portable sunlight is loaded with batteries and slipped into the hotshoe – a flash gun.
When you put your camera away after sunset you miss the opportunity to enjoy the multitude of different coloured lights humans use to brighten their world during the night, and to capture the atmospheres those coloured lights can create.

Fluorescent strip lighting

I shot the picture shown here early on a January morning under Southwark Bridge in London. The sky was just coming alive, but under the bridge the world was lit only with artificial lighting – in this case fluorescent strip lights. We tend to avoid fluorescent lighting because it can be ugly and it often creates a sickly green cast, but it is important to appreciate that fluorescents come in many different colours, from white to yellow to red, as well as green. The light here was old and dirty, and its bulb emitted a deep yellow glow that felt strangely warm at that freezing blue hour.
What I wanted to capture at this scene was the haven of warmth that the light was creating in contrast with the dank, wet brickwork and the wrapped up people using the tunnel at that time.
The obvious shot from the direction I approached the scene was from the other side of the road – shooting square to the wall, with a people walking into the patch of light.

White balance

Fluorescent lighting with fluorescent white balanceI know most people would have used auto white balance, or even switched to fluorescent, without recognising that the colour of the light is an essential element in the atmosphere. I had the camera on the daylight setting, as I do for 90% of my pictures. The first image shown here was processed from raw with the fluorescent setting selected so you can see the colours that most people would come away with.
In this shot wanted to make the most of the symmetry of the structure, and with the light striking the subject at such an acute angle we only get an outline of the front of the body. It’s not a bad angle, and I quite like that lit rim of head, face and trousers, but to engage an audience I think we need a bit more than just that.

A different angle with leading lines

I switched to the other side of the road, returned the camera to daylight, and tried to guess the difference in illumination value between the faces passing me by and the background. I set –1.3EV of exposure compensation so skin tones would be the right brightness and to control the camera’s desire to render the detail of the background. As the subjects were moving I wanted a shutter speed that would avoid a lot of blur, and I needed a depth of field that would allow me to guess and pre-set the focus, but balanced with a nice soft rendering of the background. I closed the 25mm f/1.4 lens to f/2 which, with the exposure compensation and an ISO setting of 3200, gave me a shutter speed of 1/200sec – enough to freeze most of the movement but without creating a completely static-looking image.
And then I just waited for someone interesting to come by.

Colour combinations

In the final image it is the warmth of the light that delivers the atmosphere. The deep yellows scream out ‘artificial lighting’ so we know immediately we are underground or working at night. I love the rich reds of the brickwork that is pleasing and comfortable without taking away the sense of the dereliction of the filthy water-soaked walls.
I was lucky with the greens, browns and blues of the two guys in the scene, and their poses that seem to echo their status relative to each other – the more confident becoming the dominant figure by his looking into the lens in a semi-challenging manner.

Panasonic Lumix G5 with Leica DG Summilus 25mm / F1.4 ASPH  – ISO 3200 f/2 and 1/200sec

If you enjoyed this post why not join me for a street photography course? These happen in London during the day or the evening. Or perhaps a one-to-one session would suit you better. I can help to improve your photography whatever your level of experience. Find out more in the Events and Courses section.

See me on Facebook at www.facebook.com/demolder
Follow me on Twitter at @damiendemolder

 

Making the most of fluorescent lighting

Fluorescent lighting with fluorescent white balance

 

Student gallery from one-to-one photography courses

Damien Demolder's one-to-one photography courses

Student gallery from one-to-one photography courses

The gallery shown here is made up of pictures taken by students during Damien’s one-to-one photography courses that are tailored to meet the specific needs of each person, whether they are complete beginners of more advanced photographers. Each student is asked to load his or her best three shots from the day, and visitors can add their complements in the comments section.

These pictures will give prospective students an idea of the sort of quality they can hope to achieve by the end of the day. Remember those who come on this course are of very mixed experience when they arrive, but they all go home having learnt many new things.

This is an intensive learning course and Damien packs in a lot in the single day. Students get time to create their own work and express themselves as individuals, as well as considering the help and advice that Damien freely gives.

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If you have been on this course please feel free to add three of your best pictures from the day, using this uploader below. Size your images to 800 pixels in the longest dimension first.
‘[ngg_uploader id=2]’

 

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