Dungeness, Kent No 2.jpg


 

Ethics

(Revised May 2019)

My code of photographic ethics is adapted to the types of photography I enjoy:

1. Environment

I do not trespass on private property, restricting access to public rights of way, permissive paths, access land, other areas where the public is permitted (including by payment) and the foreshore.

I aim for authenticity by photographing the world as it appears before me. In creating a composition I permit myself to:

  • remove litter or other unnatural material,

  • a limited amount of “gardening” by removing dead material and/or bending living natural material;

but do not permit myself to:

  • add material, or relocate it within the composition,

  • break or tear sensitive living material.

N Ladkin_.jpg

For example I will remove a sweetie paper or other rubbish from the composition, remove distracting dead branches, or bend aside distracting live branches. However I will not introduce or relocate a branch or leaf to assist the composition. 

I am aware of my age and physical limitations and avoid situations where I put myself at risk or at the risk of requiring rescue. 

2. Social

I treat all people with respect, for me this involves:

Not making portraits of identifiable people, restricting the case where identifiable people appear in my images to where they appear in the background. Where a person is the subject of the photograph I will not include head and shoulders in the composition.

3. Landscape

There are very few undiscovered locations for landscape photography and countless examples of images made at well known locations. I try to avoid parodying images made by others.

3. Post Processing

a. Representational Photography

The aim of  post processing is to represent the composition as I saw it - but importantly this includes the emotional content - the reason for making the image in the first place.

However the brain is able to see many things at the same time that the camera cannot record - it has almost infinite focus and huge dynamic range. Moreover it will gloss over unwanted elements in the scene. 

Post processing thus includes cropping and normal global and local adjustments of exposure, contrast,  brightness, tone, saturation, sharpening and digital noise. Cloning out of distracting elements is permitted. 

Other ordinary photographic techniques, exposure bracketing, panoramic stitching and focus stitching are permitted. Some of these mitigate the limitations of the camera. Conversion to black and white and other techniques such as long exposures or very short exposures go beyond what the brain can see but are culturally mainstream.  

I do permit the cloning out of distracting material (see above - it is often a nice case as to whether it is better to bend aside a distracting branch or remove it later in post processing). However I do not permit myself to (nor do I want to learn how to) relocate elements within the composition, or introduce new elements - e.g swapping skies.

b. Impressionist (non-representational) photography

I do not have the ability to pre-envisage the final image and often I will want either to simplify or to over-dramatise.

I am increasingly drawn to using a photograph as data from which an image can be drawn using the data in the file and experimenting to see what happens.

I have recently enjoyed experimenting with in-camera multiple exposures. Currently I restrict this technique to making multiple exposures in the same location to emphasise colour, texture and complexity. Or I will achieve similar effects by blending different photographs in software.

The range of post processing techniques is wider and includes blending and similar techniques.

 

About

Taking up contemplative photography on retirement in 2009 I have enjoyed a steep learning curve covering three separate ares:

  • Camera skills,

  • Digital post processing, something I have found far from intuitive having very little background around computers and software,

  • Understanding what motivates the desire to make fine art images, how I see the world around me and what I am trying to communicate.

 

I initially ventured into photography from a desire to record hill walking memories. I soon found that one interferes with the other but this lead to an interest in landscape photography - still a major interest for me. Like many other photographers I started by looking for the large vistas. More recently I am much more interested in more intimate images, and tend towards black and white for the larger image. I am developing an interest in Intentional Camera Movement as a way of communicating the intricacies of more complex situations.

My interest in Urban photography and other things that catch my eye are described further in notes accompanying the  relevant portfolios.

I am firmly an amateur so am entirely self driven in terms of moving my photography forward. I find that I have a demanding taskmaster.

My home is in East Anglia, England, but I am drawn to the more remote areas of the UK for contemplation and landscape photography - but to London for the buzz of urban photography. 

 

 

Happened Upon - the garden patio

The crown at Bag Steinigidh, Scarasta, Isle of Harris. Whilst making this photograph I was drawn to the white pebble which resisted all the efforts of the wave action to dislodge it - see the White Pebble in the Intimate Landscapes gallery