and welcome to this new series of videos, which I am calling Pictures of the week. I am a picture editor for a national newspaper in the UK and I see thousands of pictures every week from photographers and agencies from all around the world.
Many are similar – they cover the same news and sports events, but some stand out as exceptional. In this series I want to show you pictures
that you may not have seen in the newspapers, magazines or websites that you use. so the first one here is a cracker.
Surfing pictures are always dramatic and dynamic, but because there are so many variables, it
is really difficult to compose a great picture that gives wider context.
Surfing photographer Stu Gibson has managed to shoot this fantastic picture, which has
just won the Nikon Surf photo competition this year. Shot at Shipstern bluff, off Tasmania,
he has the surfer coming straight down the barrel towards us- literally cutting his way
between the enormous natural energy of the sea and the immoveable cliffs set on the right.
It is this framing, in this context that makes this a great picture. The surfer is in the
eye of the storm, in control as he is being driven remorselessly by this overwhelming
natural power to the rocks. Now, Stu shot this on a full frame Nikon D4 with a 16mm lens. We can see some of the lens
distortion on the cliffs the right, but you don’t notice any in that huge wall of water
on the left. He shot at an F10 aperture ensuring that there is a solid depth of field, making
the whole frame sharp enough for a natural view and for the viewer to be instantly immersed
in the shot. This next picture was taken at the bahrain
grand prix meeting. Clive Mason is really good all round sports photographer who works
for the Getty agency. Getty have different media clients all around the world – newspapers
, magazines, TV and websites. so Clive needs to produce a vast range of work to cover this
event – feature pictures of the drivers and teams, details of practice, fans and of course
the race itself. This isn’t really a picture that would work in newspapers because of space
restrictions and paper quality, but it would look fantastic in a magazine. There is a juxtaposition here between
the fixed and static image of the car in the bottom corner and the dynamic motion of the
rest of the image in the lower third. Whilst the foreground colours mix and blur, the night
sky is a constant, leaving the viewer intrigued. You know what it is – a formula one car, but
the image leaves you to image where why and how. This third photo is by Zikri Maulana and is of Traditional fishermen catching fish
with their nets in Indonesia. It is actually a clever use of silhouette, which allows the
photographer to take a wide shot – showing the beach, the fishing boat and the sea, without
worrying too much about detail. The single line of men gives a perspective that suggests
that the centre of the picture is to the left making the viewer more inquisitive about what
could be just beyond the frame. Feature and travel photography can sometimes merely record
what the photographer sees rather than try to engage the viewer with the experience.
This is a really evocative shot, suggesting much more than is actually in the picture
and is a clever use by the photographer of what is quite a limited set of components. A great sports picture captures a split second in time, sucks the viewer into the action
and encourages them to guess at what could have happened next. And Charlie Crowhurst
has got a super picture here. This frame freezes time at the exact pivotal moment with the ball in mid flight
and both players committed. You cant look at this shot and not wonder how the next few
moments will unfold. We are in exactly the same position as the crowd in the background
who are bewitched by what is happening in front of them. Will they celebrate a goal
or mourn a lost chance? At that split second, either is possible. And finally this lovely picture by Glasgow
News and PR photographer Martin Shields. This is a PR picture shot for the RSNO – the Royal
Scottish National Orchestra. Pr pictures are usually taken to supply to newspapers and
media outlets in order to promote an event, a product launch or something more general
like company results. To be honest, many Press Relations officers are pretty poor when it
comes to organising anything for the photographer to photograph. They seem to think the photographer
will just magic up a great image out of nothing. But this picture is a combination of great
forethought and planning by the PR and some skilled photography by Martin.
This picture was to promote a Scottish Tour by the RSNO of Harry Potter themed concerts,
and the PR not only booked a Harry Potter look-a-like, but also an owl. Now the owl
is really important here, because it stands out so well against
the background and the dark robes of the model. So Martin must have been delighted that he
had so much to work with. However his skill is required to make the picture come together. It is shot in a
church, which is very dark, and he is dealing with two people in dark clothes. Whilst the
Model and the owl are the main components of this picture, He also has to feature the
cellist in the background, who of course visually represents the RSNO. Martin had to set up
three flash guns, one to his right, to illuminate Harry Potter and the owl, one to his left
closer to the cellist to illuminate her – you can see the reflection of that flash in her
cello, and one behind the cellist to make the her stand out from the dark church background.
Balancing all that light, whilst making sure that the church windows and other details
were still visible and contributed to the picture, shows a photographer who really understands
how to use lighting. and all those elements together create a picture,
which is eye catching and tells the message.\cf0 I hope you liked the pictures chosen for this week. Please look in the description for links
to the photographers to see more of their work. I will see you next time.