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News & Events

News & Events

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THE POWER OF COMPOSITION 1

Whilst editing an image I found ...

... one of the many examples that illustrates the power of composition in respect to images and pictures.
This is not a rare occurrence: very often a slight adjustment of composition by cropping and or zooming/englarging can present a completely different picture aesthetically.

This image provides an exceptionally good example because from one version to the other the actual subject of each is different.
This image is of subject that is provided by a couple at the drinks bar interacting with one another.

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THE POWER OF COMPOSITION 2

This image is in fact a portrait of the girl herself, who happens to be talking to someone who's face is obscured.

With anything more than a glance it can be seen that the aesthetic of the two pictures as a result of the slight difference in cropping is changed quite remarkably.

In order to view these images at larger size please go to the Parties page ... and click on images 3 and then 4. This will bring up the images at the larger size.

Parties page at "https://www.photosbyrock.co.uk/gallery/events-parties.php?pg=1&show=00307995#&gid=null&pid=3"

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A runner up in the 2008 Duracel Image Competition

This image was a runner up in a national photographic competition seeking pictorial examples of 'Recharging'.

The image is of a squirrel that, in air temperatures upwards of 105 deg. F (40 deg. C) had been on the lawn in front of the apartments in Dallas, Texas, for some time whilst regurgitating and eating in the open under a withering sun unshaded.

After some time the squirrel went into the shade and found a place on top of a garden fence to lie on and to cool off: hence 'Recharging' after playing in the tintense heat!

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Hanging in the Getty Images Gallery

This is a picture of the squirrel recharging it's battery actually hanging in the Getty Images Gallery, London, in April 2008.

The Getty Images Gallery, London, can be found here: www.gettyimagesgallery.com

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Upgraded Nikon Mid range zoom lens to 24-70mm f2.8 VR

It is very important to match the resolution of the lens to the resolution of the sensor so that the lens is equal to or better than that of the sensor.

The problem when a lens is of lower resolution than the sensor is that always an image at it's sharpest, where the subject matter is positioned at the point the lens was focused on, appears blurred when zoomed and viewed close enough on the computer screen to discern the limit of sharpness.

The Nikon D800E body with a sensor size of 37MP as my main camera body, the older lens being the 28-70mm f2.8 SW mid range zoom designed in the later days of film and earlier years of DSLR provided images that were matched to the lower resolution of film and thus caused the problem of blurred sharpness.

The change from the old mid range zoom lens to the 24-70mm f2.8 SW VR was a real revelation and revolution when the upgrade was carried out, and so the upgrade from the 17-24mm f2.8 SW lens to the later digital resolution 14-24mm f2.8 SW followed very quickly!

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EQUIPMENT INVENTORY


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MF Technical (view) Camera

Linhof 679CS

Linhof Normal Bellows 679

Linhof Wide Angle Bellows 679

Linhof recessed lens boards

M 679cs / Techno Universal Rapid Slide Changer

Linhof Flexshaft set

Universal RSC Adapter Plate V Fit

Linhof focusing viz viewer with bellows and magnifier

Linhof Fresnel Screen M 679

Standard Compendium Lens Shade M 679

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35mm MF digital lens

Rodenstock Apo-Sironar digital HR 1:4 35mm Copal No. 0 shutter

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45mm MF digital lens

Rodenstock Apo-Sironar digital HR 1:4.5 45mm Copal No. 0 shutter

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135mm MF digital lens

Rodenstock Apo-Sironar digital HR 1:5.6 135mm Copal No. 0 shutter

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MF Digital back

Phase One H20

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DSLR

Nikon D800E camera body


Nikon ME-1 microphone (not shown)

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DSLR prime lens

Nikon 85mm 1:1.4 ED AF-S lens

This is a prime lens and is the classic focal length for portraiture and portrait work, and with the fast (large maximum aperture) there is maxium opportunity for isolating subject from background.

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DSLR zoom lenses

Nikon 14-24mm 1:2.8 AF-S ED lens
Nikon 24-70mm 1:2.8 AF-S ED VR lens
Nikon 70-200mm 1:2.8 AF-S GII ED VR2 lens

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SLR teleconverter

Nikon AF-S Teleconverter TC-17EII

This increases the effective focal length of a compatible lense (such as the 70-200mm f2.8 VR lense shown above) by a factor of 1.7.
This effectively causes the 70-200mm lense to give the performance of a 99-350mm lens.

This much lighter weight for trasportation than the equivalent unconverted lenses would weight.  However there is a donwside in that the lense brightness (speed) is reduced.

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DSLR zoom lens

Nikon 70-300mm 1:4.5-5.6 AF-S ED VR lens

This is a slower lens with greater range of focal lengths, lighter in weight and thus more suitable for travel than the full speed f2.8 70-200mm.

This is a very useful tourists lens, but not now often used due to the presence of the 70-200mm accompanied by the 1.7x teleconverter.

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Film 35mm

Nikon F5


Nikon F100

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SLR Lenses

Nikon 50mm 1:1.4 D lens


Nikon 60 mm 1:2.8 D micro lens


Nikon 85mm 1:1.4 ED AF-S lens

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Large Format

Sinar F3 camera
Standard bellows
Wide angle bellows
Range of flat & recessed lens boards
Phase One Light Phase FlexAdaptor for 4" x 5" Cameras
Phase One Haselblad V adapter
Sinar Viewer

Film MF and 5”x4”:
120 roll film 6x7 film holders
5”x4” sheet film holders

Large Format Lenses (film):
Rodenstock Apo-Grandagon 1:4.5 f=45mm Copal Press No. 0 shutter
Rodenstock Apo-Grandagon-N 1:4.5 f=65mm Copal No. 0 shutter
Rodenstock Apo-Grandagon-N 1:4.5 f=75mm Copal No. 0 shutter

Tripods:
Gitzo systematic 4 series
Gitzo systematic 3 series
Gitzo levelling head
Gitzo 3geared centre column
Slick
Manfrotto

Panorama mounting:
Node point 2 plane
 

Lighting:
Nikon SU800 Commander
3x Nikon Speedlight SB800
2x Nikon Speedlight SB900
2x Westcott Spiderlight 5