An Ever Changing Thing

As this Tidewatcher project (finally!) reaches completion, there are shots that have been removed and new ones that have been added. While not exactly drastically changing the end result, these alterations have tightened up the whole story and fleshed it out a little better; and a bit more concisely. We'll soon see if all the time and side-tangents this project has taken actually pay off, and a "new idea" has really been born. Stay tuned...

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Playing With Dramatic Light

I have this image that keeps recurring in my mind. It involves the cold blue feeling of a dark winter and the glowing orange of a firelight. So far it seems to keep eluding me, although I think this is largely because every attempt I have made to capture this "mood" has been done in a hurry, or in the rain, or some other situation that forced me to run through it rather than walk it out. This shot is one such version. I may need to go back with a slightly different lighting setup and try some more. Perhaps in a different location.

The Light on The Street is...

I love night photography. Something about a photograph made at night embodies the Cinematic. Traditional still portrait photos are shot in airy, well lit studios. Movies have night scenes on location. I want my images to look like movies. For me, that often comes down to creating the look of night, rather than capturing it using only whatever light is available and adjusting the camera accordingly. Over the last few years, I have noticed a number of films where much of the action takes place in a night-scape lit by the orange/amber glow of sodium streetlights. While I had never been a fan of that light in real life, I decided to try my hand at creating the look for a photo project. Since using real sodium streetlights would mean either a very high (and grainy) ISO, or long, long, long shutter speeds, I determined pretty early on that I would be using flash. I will spare you all of the technical details of why using flash to repli...

Entitled to Title?

For me, part of the fun of sitting in that darkened multiplex has always been in waiting to see the title of the feature presentation appear on screen. From the visually arresting intro of any given James Bond film, to the three hour wait before those plain white letters labeled the last shot of Inception , the titles have a certain magical quality to them. An aura that is part of the movie-going experience. So, that having been said, I have been toying with the question of whether "Single Shot Cinema" images should contain titles; and if so, where? After all, the whole idea is to mimic the feel and texture of a motion picture, using a single photograph. So why not have titles? The key is not to have them overpower the image. Locating them in the bottom corners, or in the letterbox margin seems to be the most logical solution, for the most part. ...

C. M. Franke | Photography

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