Bella Photography Magazine by Kat Hogg

Contributors:

WELCOME!

Meet the team!

Editor Welcome to the second issue of BELLA PHOTOGRAPHY! In this issue you‟ll find many of the regular features we introduced you to in Issue 1, as well as some new features as well! One of the new features we‟re particularly excited about is the Exhibition Space (page 15). It‟s YOUR chance to show off any photos you have taken! The „Beginner‟s Class‟ will look at how to use the settings on your camera to achieve better photos (page 20). We got lucky again – we have an amazing interview with Photographer Ryan Russell for you (page 22). You‟ll be kept busy with yet more Tips and Ideas (page 7) – remember to show us your results! We tell you about the myriad of simple pleasures toy cameras offer in The Lomographer (page 27). Photography challenges are always fun. Check out page 29 for this issues Competition! Also in this issue, street photographer Markus Hartel contributes to the Issue 1 discussion, and we discuss representation in photography (page 38) and invite you to join in.

Kate Hogg

Bella-photography@hotmail.co.uk

Writers Kate Hogg

Bella-photography@hotmail.co.uk Robin Mulder

(mulder.rc88@gmail.com) Thomas Mathieson

(http://www.thomasmathieson.co.uk)

Photographers Kate Hogg

(kate_hogg@hotmail.com) Rebecca Connolly

(rebecca.connelly@virgin.net) Sophie Abel

(08007025@qmu.ac.uk) Kati Reinikka

(kati9111@hotmail.com) Thomas Mathieson (http://www.thomasmathieson.co.uk)

Jessica da Costa

(da_costa_jessica@hotmail.com)

Artists Cat Hill

(cshill86@yahoo.com)

Front Cover Cover design: Kate Hogg Cover photograph by Kati Reinikka –

winner of Competition #1!

Contents

Your View: Reader’s Letters 05

Your Questions Answered 06

TIPS and IDEAS 07

Photojournalism 08

DIARY OF A PHOTOASSISTANT 10

Exhibition Space 15

Beginner’s Class 20

Interview with Photographer: RYAN RUSSELL 22

The Lomographer 27

Competition 29

Book Review 32

On Location 33

Discussion 38

Got an idea for

Bella Photography? Send it to bella-photography@hotmail.co.uk

Photograph by Kate Hogg. Sculpture at Dean Gallery, Edinburgh

Your View: Reader’s Letters

We would love to hear why you love photography, what you think of the magazine, any ideas you have - or anything else you might want to tell us! Send us your letters and we‟ll publish them on our Reader‟s Letters page! Thanks to everyone who wrote nothing but compliments regarding issue 1!

“Love it. You should be very proud” - Sophie Abel via Facebook “I loved it! I agree with Sophie, you should be proud!" - Kati Reinikka via Facebook “Oh Kate, it‟s great!!! Well done you!” - Eleanor Pryde via Facebook

"Wow the magazine looks great! I just had a look very cool" - Rebecca Connelly via Facebook

“Looks great!"

Cayleigh Gardener via Facebook

“I especially like the photo of your little smiley face next to the Photographer [Lindsey Byrnes] lol" - Barbara Prater via Facebook "Amazing work! Get it on forums and twitter etc etc! Congrats"- Rory Penman via Facebook (Editor‟s note: the magazine is already on Twitter! Follow @BellaPhotoMag)

“WOW!! Love the mag - well done, you must have put loads of work into that!! What a coup getting an in-depth interview with Lindsey, and the beginner's tips article is a great idea. Hope you gave yourself a big pat on the back?” - Thomas Mathieson via Facebook Photograph by Kate Hogg

YOUR QUESTIONS ANSWERED

In each issue we‟ll also answer any questions you have, whether it is about your camera or kit or how to improve a photograph you‟ve taken, we‟re here to give you advice and guidance on whatever query you might have… Q: How often are you going to produce it? It must take loads of effort in organizing and writing and research etc! A: The magazine will hopefully be published quarterly. And yes it does require a lot of work but it‟s all worth it!

Q: Hi Bella Photography, I often take photos of my friends but I often find someone is always out of focus – do you know how I can overcome this? A: If you use an SLR, DSLR or prosumer camera, crank up your aperture so it‟s as wide as it‟ll go (so, a small f-number). If you use a compact then try shooting in „landscape‟ mode as the camera will automatically set the depth of field for you so that as much of the landscape is in focus. Set to „portrait‟ mode, the aperture is set to a high f-stop so the “background” is blurred – including what may be people‟s faces! Let me know how you get on, and good luck!

Q: I‟m really new to photography and was wondering if you had any tips on what equipment to buy? I own a Canon Powershot Pro1, but that‟s all so far. Thanks! A: It largely depends on what type of photography you‟re interested in. Speaking in general terms though, the first things you might consider buying are:    

Spare Li-ion battery for you Canon Powershot Pro1 camera Camera bag - If you‟re planning on growing as a photographer, you may want to buy a better camera bag than you currently need so that you‟re prepared for potential extra items Memory cards – remember to check the size. 2gb is good for most situations but if you plan on shooting videos for example, you may want a larger size. Lens cloth for cleaning finger prints and so on

Some other pieces of equipment you may want to look into are: external flashes, memory card readers, tripods, and photo editing software (such as Photoshop Elements or GIMP.) This answer is of course specific to the type of camera you own – if you were to upgrade to a digital or film SLR, for example, the list would be different.

Let us know what you think, at: bella-photography@hotmail.com

www.twitter.com/bellaphotomag

www.facebook.com + search bellaphotographymagazine

TIPS and IDEAS In each issue, we‟ll give you some advice and projects to try out. Have fun!

TIPS:

IDEAS:

>If your light source above the subject, try placing a reflector below their face. The light will bounce off of it and get rid of any shadows you don’t want – Golden reflectors give warmth, white makes it lighter while silver makes the area a lot lighter.

>Find as many ‘framed’ photo opportunities as possible. Examples of places are: under bridges, through windows, or under tree branches.

>Be open to other people’s ideas

>If the scene you’re shooting has a busy background which you can’t get rid of, try using Portrait mode, which has a shallow depth of field so that the background will be blurred and therefore less distracting. >Use the Sports setting on your camera to freeze movement, or the Fireworks setting to blur movement. Or, experiment with shutter speeds – for example 1/250 will freeze movement while 3 full seconds will create a blurred, soft image. > When you talk to people you look into their eyes, so create the same in your photographs: zoom in on your subject’s eyes, focus, and then zoom back out. >Use your subject’s natural environment to give the viewer more information about the subject. The familiar surrounding will also help your subject feel more relaxed, too.

We‟d love to see your results! Send them to bella-photography@hotmail.com and check out the next issue – your photos may be in there!

>Experiment with the scene modes in your camera. The ‘sports’ mode is usually used to freeze action and is obviously good for shooting sports. Try freezing the action of a waterfall using ‘sports’ mode, or alternatively you can try the ‘fireworks’ mode which takes longer taking your photograph. The result of your waterfall will be clear: the water will appear frothy and smooth. The movement will be much more evident. >You can also try panning with the action. Using a long shutter speed (or the ‘fireworks’ mode) follow the movement of your subject with your camera. The subject will stay in focus while the background is blurred. >Try isolating bright colours in a scene against dull colours. This will emphasise the shape and draw the viewer’s eye to it. >Alternatively you could try photographing a scene of similar colours with a small area which is a contrasting colour. Again, this will draw the viewer’s eye to where the opposing colour is.

Applying Photography Basic Tips And Tricks

Journalism:

Robin Mulder

Photojournalism can be one of the most daunting sectors of photography. Unlike shooting for recreation or for art, photojournalism comes with a deadline, unpredictable lighting conditions, and an editor to impress. As the photographer, your job is to capture moments that tell the news story in picture form. Without preparation your shoot may go awry. Make sure you have enough battery power and/or digital space or film. It can‟t hurt to bring extra batteries with you. If you arrive to the event and discover your battery is low, you will spend the entire time obsessing about this, and you may miss what would have been the perfect photograph. On the way to your assignment, think about what you want to accomplish. How will the photo compliment the article? How can you grab the readers‟ attention? Is there a specific theme or emotion that‟s important to telling this story? Does your editor need you to take photos of any particular person or thing?

When you arrive, consider your lighting conditions. Adjust your camera‟s settings and take a few test shots. Keep in mind that a shade too dark is better than a shade too bright. Bright photos look terrible in print, and you can always add brightness to images in Photoshop. Now you‟re ready to work. Much of photojournalism involves taking photos of strangers. To many beginning photographers, the thought of this is terrifying. They are commonly afraid of bothering people and being screamed at. The truth is, you are going to tick somebody off. But it‟s not going to be the end of the world. Going home without good photos is not an option, so make light of the situation. The only way you‟re going to get over the anxiety is to do it! It will get easier over time. Make people feel comfortable by smiling and not getting in their personal space. If someone gets upset, simply apologize and leave the situation unless your editor requires their photograph. In that case, apologize and say that you need their photo. Blame your editor if you must! Try to not use photos of un-required people that you‟ve upset. Perspectives play a huge role in how you want readers to perceive your subject. If you‟re shooting an important person such as the CEO of a company, shooting upwards makes them appear powerful and in charge. It then makes sense that shooting downwards makes prominent people appear shorter and weaker.

How your subjects appear applies to children, animals, and architecture as well. Kneeling low to get on the same level as a child or an animal will give the subject less inferiority and more personality. Buildings can take on interesting shapes and a new elegance depending on how you tilt your camera and what angle you focus on. Just like the CEO, a small, modest church can take on new authority if shot from below. Many starting photographers make the mistake of submitting blurry photographs. A photograph should only be blurry if your intent is to show motion. Unintentional blurriness can happen if the camera is of low quality or if the photographer is moving, especially at a slow shutter speed. Sometimes low-grade cameras show a preview of a high-quality photo, only to be blurry when thrown up on a computer screen.

You don‟t have to spend big bucks to ensure a non-blurry photo. Purchase a notable brand, such as a Sony or Canon. Test your camera‟s reliability before you go into the professional world. If you see blurry photos after raising the shutter speed and keeping perfectly still, don‟t use that camera. If you‟re stuck with a bad camera, keep shooting until you get a good shot, no matter how long it takes. Your editor will expect a good photo, and you don‟t want your time to be wasted either. Keeping still isn‟t always easy. If lighting calls for a slow shutter and you don‟t have a tripod, you can make what is called a “human tripod.” Spread your legs apart and keep your feet firmly on the ground. Use one hand for clicking, while the other holds the camera from underneath. These are the basics to starting your venture in photojournalism. Keep the basics in mind and you will continue to improve. Give your work a purpose, prepare, give proper light, show off your subjects, and stop moving!

DIARY OF A PHOTOASSISTANT In October 2010 photographer and BELLA PHOTOGRAPHY editor Kate Hogg had the privilege of working with artist and friend, Cat Hill, on a typography poster project. 5 October 2010: My train leaves Waverly Station in eight minutes. I‟m feeling so excited - in just under an hour and a half I‟ll be in Carlisle! I have with me:         

DLSR (Nikon D40x) Spare batteries – both are fully charged Battery charger Plenty of memory cards - ranging from 1gb-8gb Compact camera, just in case (a small Samsung, 10MP) Spare AA batteries for the compact camera Camera bag! Laptop (for Photoshop) Laptop charger

The first issue I encountered here was that the colours of water (white/grey) matched the colours of the letters, and though you could tell them all apart, a higher contrast would probably work better.

I experimented with shutter speeds in particular here – it seemed appropriate as the word being photographed was “patience”.

Cat has spare lenses and a tripod, saving me having to bring mine. 7pm: I went for a walk around Carlisle town centre and took note of potential locations. It turned out Cat had already thought of the same locations plus more though! 6 October 2010: We got up early today, planning to spend the entire the day taking photos. I am in heaven! Cat‟s brief was to produce a new typeface using wire, and make a poster out of it including an appropriate quote, word, and the alphabet to show what each letter of the font would look like. Cat wanted hers to look organic even though wire is manmade. We chose “Breathe” as it reflected the quote well. All of our potential locations were covered, even though we spent quite a long time at each place. Location #1: “Fountain”

Shutter speed: 1/4000

We then experimented with placing the words in amongst flowers which were growing by the fountain. This also wasn‟t ideal as there wasn‟t enough room for the words! However, here at least the letters were protected from the wind, unlike by the fountain.

Location #2: “Little Piece of Paradise” The ground was very light here and the sun was shining, so light bounced off of the ground - meaning I had to compensate by adjusting the exposure accordingly. We also tried placing the words in the shade – the shade worked well as a diffuser, but the sun moving meant we had to move everything every so often.

Location #2 turned into three locations as it was especially beautiful, so we moved Cat‟s letters around, balancing them on rocks, laying them on the ground and hanging them from shafts of wood and from branches of trees.

Shafts

Hung from tree branches gave the overall image an unusual context and I found the lighting very appealing against the metal and tissue paper. However, as a final image the wording would not stand out enough so it was not chosen for the final image.

Using the rocks worked extremely well as we both agreed it gave the image a fairytale feel. It also added a serene feel to the overall image which ended up being the added bonus which resulted in Cat choosing it for her final poster. I also experimented by moving the word around the frame a lot, experimenting with angles, various f-stops, and so on. I had done this with every photograph, but this location allowed me to do so far more than the others. Here there were no cars, walls, people etc to contend with, meaning there was more scope. I really enjoyed teaching Cat a few tricks as well!

We then moved to a small man-made pool of water. This time we experimented with plunging some of the words completely into the water. The ground acted as an unwanted reflector again and no amount of exposure compensation seemed to help. Therefore the overall image was not satisfactory.

A higher angle worked better. The viewer can read all of the words!

Location #3: Steps by River First of all we placed the letters on top of wooden poles which were at the edge of the walkway, and then placed the letters in front of the poles. When the word(s) were placed on top it worked quite well, but placed in front of the poles did not work as there were too many distractions. The green of the poles against the brown/green tones of the wall behind meant the letters didnâ&#x20AC;&#x;t stand out as much as we would have preferred.

Next we moved the letters to some nearby steps. The steps were already a dark colour but Cat enhanced it by splashing water over the steps, darkening them so the letters stood out far more. Cat had suggested I lie on the ground; however the angle proved to be too low.

However, we still preferred the fairytale scene as there were plants around and the fairytale aspect added more depth to the image.

Unfortunately the light started to fade so we packed up feeling happy and went to treat ourselves to a hot chocolate! Over 500 photos were taken, which is usual for me when Iâ&#x20AC;&#x;m working on a project like this. The majority of them were photos I felt proud of but for valid reasons they werenâ&#x20AC;&#x;t chosen for the final. The photographs which were chosen can be seen across the page. I am pleased to say both Cat and I got really great feedback for our work!

EXHIBITION SPACE New! And itâ&#x20AC;&#x;s all yours!

Photographs on this page by Rebecca Connelly

Rebecca Connelly Rory Penman

Both photographs by Kati Reinikka

Both photographs by Jessica da Costa

Both photographs by Sophie Abel

Beginners’ class By Kate Hogg

Landscape mode: usually represented by a small symbol for mountains, this mode has a deeper depth of field so more of the photograph is in focus.

Take a seat class, take out your textbooks cameras we‟re going to have fun today!

Beach/snow mode: adjusts aperture so less light gets to the sensor / film, and so there is less contrast caused from the bright sun bouncing off of the sand / snow. It is represented by a symbol of a sun/snowflake.

So you want to know how to use your camera properly!? Well, you‟re in luck!

SCENE MODES: Macro mode: usually represented by a picture of a flower on the camera dial or menu. This is perfect for close-up subjects.

Portrait mode: usually represented by a small head, this is perfect for taking pictures of people as it focuses on the closest object to the lens and blurs everything else.

Twilight mode: represented by a moon and either mountains or a small head – again, the mountains and head represent portrait or landscape mode, and the moon beside them mean this mode is perfect for low-lit conditions.

Sunset mode: enhances colours to make sunsets look even more spectacular.

Museum/stage modes: turns off flash and compensates lighting in-camera. Document mode: focuses on print or handwriting, and is represented by a symbol of a piece of paper. Child mode: is perfect for children and pets, as it gives them a softer look. It is usually represented in your scene modes by a symbol of a toddler. Backlight mode: When there‟s light behind the subject, this mode will compensate by making your subject lighter so it isn‟t silhouetted against the backlight. Sometimes this is done by turning on the flash. It is represented by a person with a sun shining behind them.

High ISO: for use in darker conditions, however watch out for „noise‟ (digital) or grain (film). ISO 100 is best for brist sunny days, while ISO 3200, for example, would be used for very low-lit conditions, however noise would be more noticeable here.

COLOUR MODES: Natural colour: it does what it says on the tin!

Sepia: when an image is made of entirely brown tones it is called „sepia‟. Photos look old fashioned and have an antique feel to them. Therefore it‟s a good idea to try to get rid of any modern/ man-made things in your photos, for example, lamp posts.

High colour: great for photos filled with bright colours as it brings them out so the colours are even more vibrant.

ZOOM: Optical zoom: the greater the number, the greater the zoom. The more zoom you have, the closer you can get to the action! Digital zoom: use this as little as possible!! When you zoom you‟ll see a small strip showing how far you‟ve zoomed optically. There will be a vertical line towards the right of the strip – once you‟ve crossed this, you‟ve crossed into digital zoom. Digital zooming causes „pixilated‟ images which means you‟re image won‟t be as crisp as it was in optical zoom.

SHOOT MODES:

Low colour: colours.

dulls

down

Black and White: also known as monochrome. The image is made up entirely of grey tones. See

also:

sepia.

Panorama: this is where you take three photos (usually left to right, though some cameras give you the option of right to left) to make one long photograph. The camera stitches the images together so the „seams‟ are invisible. You can take two or three photos to make the final image longer or shorter as well. This is perfect for landscapes as you can fit more in the image. BestPic: Multiple photographs are taken in a very short period of time (for example 10 photographs are taken over a period of one second). This is perfect for sports photography where you want to get that perfect shot. SELF TIMER: times can either last from 2 seconds to 10 seconds. The obvious advantage of this is you can then include yourself in the photograph as well.

OTHER THINGS CONSIDER!

LIGHTING: Lighting is what photography is all about. You can control lighting far easier in a studio, where you can set up lights, reflectors, and so on. Outside, the lighting is always changing! Use trees, lamp posts, and other manmade objects / natural elements to help control lighting. Midday can be the Photographer‟s worst enemy while sunrise or dusk can prove to provide softer lighting white is far easier to work with. Remember to set your camera accordingly to get that perfect shot. EXPERIMENT until you feel confident with your cameras settings. Try out your modes, and remember, rules are made to be broken! Try different lighting situations and so on. If you have greater control, try out different ISO amounts, shutter speeds and f-stops. (c)Photographs by Kate Hogg, Rebecca Connelly and Jessica da Costa

Interview with photographer

Ryan Russell

Interview with photographer

Ryan Russell We first discovered band photographer Ryan Russell when we came across his contribution to Tegan and Sara‟s books, “On”, “In” “At” (Russell‟s work is featured in “In”). On closer inspection we found out that Russell has a long list of completed projects: long lists of magazine publications, record labels, companies and celebrities, as well as separate projects prints for sale - to name a few! Incredible. Kate Hogg had to find out more...

Tell us a little bit about yourself?

What‟s your favourite camera accessory?

I'm Ryan Russell. I take lame photographs of nonband stuff and rad photographs of bands.

My camera bag

How did you first get into photography? A band I did a website for need content for the website so I bought a cheap camera to take to their shows.

What steps did you take to get to where you are now? Baby steps and times the two-step.

“Even if I can‟t fix lighting in a bad situation, I can identify why it‟s happening. Everyone should know why even if they can‟t fix it”

Anything journalistic style is my favorite. It's just a person with a camera in a place trying to tell a story.

How would you describe your style? Very stripped down, on the fly type photos

Deciding if I am taking this photograph for me, or for someone else. Some photos are shot because you love the scene, others because you think it'll speak strongly to another person. When you're showing work online and such you always want to have shots that you yourself love but you also want to shots that have people coming back to your site.

What inspires you to take photographs?

some

What‟s your favourite type of photography and why?

What‟s the best and worst thing, in your opinion, about being a photographer?

What tip would you give an amateur who is having lighting issues during a shoot? Depends on the issue, but you should always know why something is doing something. Even if I can't fix lighting in a bad situation, I can identify why it's happening. Everyone should know why even if they can't fix it.

Just things I see. Everything in my world is very mathematical and geometrical based visually. I see patterns and such and those patterns look cool together so I take a photo of it.

What advice would you give someone who wants to pursue photography?

Don't worry about pursuing it or not pursuing, just go shoot photos and enjoy what you do.

What is the best way to move for amateur to professional photography? Those terms are all subjective, just be a photographer.

Do you have a favourite thing to photograph, for example people/scenery and why? Pokemon, cuz I gotta catch um all.

What is it like doing photography shoots for bands like Paramore and Tegan and Sara? It's awesome. Rad people, rad shows and good times.

When did you get into Lomography and how did you first become interested?

I think 2003. A girlfriend at the time show me a "Supersampler" online and I was like that's crazy and loved Lomo ever since.

Do you have a favourite Lomography camera? Or which Camera is your favourite?

The Lomo LC-A. I tell everyone to get one. Mainly because I'm endorsed by them and want to continue getting free stuff. No really the LCA is great.

Thanks Ryan!

http://www.ryanrussell.net/ www.etsy.com/shop/ryanrussell

Photograph by Ryan Russell: Death Cab for Cutie

Join for free today! Open to all Facebook: Photography Society QMU Twitter: @QMUPhoSo

Lomo-lover Kate Hogg explains why you should love toy cameras too... Everything lomography „simplicity‟.

about screams

The price of an analogue camera is pretty simple: it‟s inexpensive (perfect for getting into photography) because there are no added buttons, dials, or anything that is not absolutely needed. This frees you of the stress of having to worry about setting the correct shutter speed or aperture, or spending a fortune on complicated equipment. Which means all you focus goes entirely into what made you fall in love with photography in the first place: taking the actual photograph – are you sold yet?!

At its most simple, the camera is as straightforward as it could possibly get. It comes with a shutter release button, a view finder, a dial to wind on the film, and a window on the back which tells you if you‟re have chosen 12 square shots or 16 rectangular shots. You can choose from portrait to infinity mode, with small and large group sizes in between (there are rumours that these modes mean nothing though...) There is a weather guide to help you set the aperture – „sunny‟ mode sets the aperture to f11 while „cloudy‟ mode changes the aperture to f8. The Diana series has a third aperture: f22 (so less light is let through).

The design is as uncomplicated as it could get. It‟s almost entirely constructed of plastic (so don‟t leave it out in the sun. It melts!) Even the lens is plastic, meaning images look softer (also known as, out of focus...) Colours radiate though – this is one of the things lomo-lovers can really show off about. The plastic body is extremely lightweight. The design is what causes those famous light leaks in lomographs. Some lomographers prefer not to have these creative additions to their lomographs though. To overcome this you can buy black tape to cover any seams where light might get in – over the back window, the door hinges and edges, and so on. But...why would you want to get rid of such a gem? Light leaks can look creative and add to the dreamlike quality of your photos. An external flash can be attached, as can filters, allowing you to get even more creative with your photography. Lomography cameras can be attached to any tripod, too.

If you crave creativity, you can get colourful with different choices of body colours, and you can even buy colour flashes and filters. There are also different 120 film types (red-scale, anyone?), lens types (fisheye fun! And Twin

lenses!) And there are also bags, t-shirts and badges so that your inner fashionfreak is kept happy, too.

Simple and fantastic. And this is exactly why people are listening!

qBut, these toy cameras have great personality on their own, without the needed for any accessories.

(c)Lomography cameras: www.lomography.com (c) Photograph above (title) of Kati Reinikka, by Kate Hogg

Competition!

Each issue we‟ll present you with a new competition. The winner‟s photo will be put on the front cover. Other entries may be shown in the EXHIBITION SPACE. For the first competition, we asked you to take photos in monochrome. The results can be seen in this issue and on the winning picture has been used on the front cover. For the next challenge, we want you to take photographs using the theme of colour. You choose the colour. Have fun! Rules: 1. The photograph must be taken by the entrant (no stealing photos from the internet!) 2. Self portraits must also be taken by the entrant – for example, using the self-timer setting. 3. Entrants can enter up to three photographs.

A Bit about Colour in Photography: Since colour is not actually an object in itself, the theme of colour can potentially be huge. Colours can complement or contrast each other. Including clashing colours in the same scene can add drama. Including similar colours means the image will look more harmonious. Isolating a colour can enhance that part of the scene and colours can recede or advance, depending on their „temperature‟. Warm colours (yellows, oranges, reds) stand out and so seem like they are advancing towards the viewer. Cool colours (purples, blues, greens, etc) recede. Knowing how colours work can enhance your photography and also makes for a fun project!

Black and White: Some say neither black nor white are actually colours. They do not appear on the colour wheel, however they do still appear as tones in our photographs, both in monochrome and colour. White is said to represent innocence, safety, cleanliness and virginity. Black can represent death and lonliness.

Yellow: For most people, yellow represents happiness – sunshine and daffodils come to mind. For this reason it can represent nature as a whole, as well as health. It is a strong colour and is often seen together with blue as the two complement each other. Orange: Orange is seen as the colour for enthusiasm. It brings to bring images of autumn leaves and pumpkins and so can represent the seasons and hunger. Pink: Love and femininity are two things often represented and enhanced by the colour pink. Sunsets often cast a pink colour over everything. It is also used to represent gay pride. Red: Anger, confidence, passion. Red is the strongest colour and can dominate a scene. It can work well if your aim is to grab a viewers attention – particularly if red is used only for the object you wish to draw the viewers eye to. However it can also be distracting so try to be aware of any red in the frame. Purple: Perhaps the most mysterious of them all. Winter scenes, royalty, religion, mystery, change, enlightenment, unkindness, superiority, bereavement and sexual frustration are some of what purple is seen to represent.

Blue: Blue is probably the most representative of all the colours. It represents a long list of things, both good and bad. A few of which are: loneliness, tranquillity, cold temperatures, understanding and seriousness.

Green: freshly grown plants, woodland and fields of grass come to mind â&#x20AC;&#x201C; healthiness and life are what green represents. However green may also show envy, ecological living, and calmness.

Brown: In contrast to green, brown brings to mind images of rot; dead leaves and mud.

Send all entries to bella-photography@hotmail.co.uk

Capture your world through Lomography â&#x20AC;&#x153;Be fast, be open-minded, be communicativeâ&#x20AC;? -Diana F+book

Book Reviews Each issue we‟ll review three Photography books for you.

Plastic Cameras: Toying with Creativity (Paperback) Author: Michelle Bates

ISBN: 0240808401 What are plastic cameras? How did such low-tech devices become so popular? Where do they come from? What are some of the more popular types of toy and plastic cameras from the past and present? Where does one go to find out MORE?! These are some of the questions answered in this phenomenal book. It‟s also packed full of stories of people who incorporate plastic cameras into their photography careers, and intriguing lomographs to inspire you to get shooting – I went out and shot an entire roll after leafing through it, so be prepared!

John Hedgecoe's Complete Guide to Black & White Photography Author: John Hedgecoe ISBN: 1402728123 In his introductory sentence, Hedgecoe acknowledges before anything else that black and white photography is a minority interest today – however he then goes on to completely sell it. Without a doubt I recommend John Hedgecoe as an author – all of his books are excellent. I first bought an earlier publication of this book, second-hand book, which was published in 1994. Even though it was a little out of date, it still made for a fascinating read and most of it was still relevant. In this particular book, Hedgecoe covers topics and techniques such as how to convert colour into black and white, in the dark room and with the computer, as well as tonal range, texture, contrast, framing, movement, and filter effects. He also applies these to different types of photography, which I found immensely helpful.

The Perfect Portfolio Author: Henrietta Brackman ISBN: 0817454012 If, like many, you feel daunted by the prospect of putting together your portfolio, this is the book fir you. Not only does it help you with the direction you may want to take with your portfolio, it goes further and explains how exactly having a powerful portfolio can boost your career, and how your clients might be thinking. Through organising your photography into subjects, choosing the best and leaving out the rest, then going further and picking out which ones have the highest chance of selling...and finally arranging the lucky chosen so they „flow‟, you can get yourself an amazing portfolio. It‟s also littered with photographs to illustrate her point, too.

On Location Thomas Mathieson

In common with many countries that enjoy largely dry and sunny climates, the scooter is a very popular mode of transport in Turkey. The role of these machines often extends far beyond simple movement of people however.

Some of the loads carried seem more fitted to the traditional donkeys of yesteryear. Boxes and bags of groceries stuffed into footwells are commonplace, unless a pre-school aged child is stood there of course.

These aren't the most "interesting" loads that I have seen on my travels throughout the country, but I think they would all be worthy of a slot on one of the "caught on camera" traffic cop shows in the UK or US...

A scooter rider transports an adult-sized bicycle complete with handlebar basket along a main road

On Location Thomas Mathieson

I did mention the "kid in the footwell" scenario, right?

Ditto... Oh, and you will never become rich trying to sell helmets in Turkey

On Location Thomas Mathieson

Teamwork - a female passenger holds onto the plastic packaging of two rugs whilst her partner navigates the traffic.

Neatly stacked boxes, symmetrically tied bags and a fully loaded passenger make maximum use of the freight carrying capability.

On Location Thomas Mathieson

Looking slightly more ill-at-ease than many of his countryfolk, this rider manages to make progress with FIVE (full) cooler bottles.

On Location Thomas Mathieson

Not all of the "objects" transported are inanimate...

DISCUSSION: “To Be Seen or Not to Be Seen?” from issue 1 Here, street photographer MARKUS HARTEL contributes to the discussion with some of his own thoughts...Here is his input on street photography and visibility, or rather invisibility Traditionally street photographers use rather short lenses, Henri Cartier-Bresson was known to be fond of a 50mm field of view (FOV) and Garry Winogrand decided to shoot with a 28mm in order to get close, yet to capture the whole subject and get a person in full length into the frame. On the other hand William Klein stated that his work was shot with all sorts of cameras and focal lengths and that it didn't matter much at the end of the day. While I agree with that sentiment, I dislike the flat look of shots taken with a long lens and I think it also shows the photographer's detachment with his scene. I personally prefer to photograph with a 28mm FOV to get close to my subjects and to capture the intimacy a long lens can not portray. Shooting from the hip has some credibility, but in the end the photographer's control is rather limited and many shots could be saved by using the viewfinder. Of course, I would also shoot "from the hip" i.e. without using the viewfinder when necessary. Visibility is a big issue for me and I prefer to be seen, yet I'd try to get away unnoticed at the same time. How does one achieve this? Simply by having the camera visible at all times, or at least raise the camera to chest level when I approach my subject and quickly use the viewfinder to compose and click. then I'd oftentimes nod, smile, or simply walk away - most of the time my subjects don't even realize that they just were photographed. I think being sneaky by using a long lens or trying to "sneak" a shot shows in the result, or will even make your subject suspicious of your activity, and that may even be the reason that so many street photographers get into trouble. So yeah, blending in is very important, as in "belonging to the scene" and one has a right to be here as a photographer, but I'd try to avoid to hide or be sneaky at all costs, unless the space doesn't allow me to do so for any reason. Common sense should direct the photographer's approach at any moment - know your rights and don't step over any boundaries - simply don't shoot when security personnel or the police is around in a precarious moment. You're right about disturbing the moment, in order to achieve the most candid results, yet I feel the need to let people know that I'm photographing them - I do this by having my camera visible at all times. Blending in is a great idea, but try to do it in a natural way, and stick around for a while, people will get used to the presence of a camera eventually. Also, learn how to set your gear properly in advance and be prepared for changes in your environment and learn about people's behavior - ask yourself "what are they going to do next?", this will give you the required preparedness and speed for that great candid shot. Oftentimes sticking a camera into a stranger's face is about the photographer‟s conscience and the subjects don't even think about the issue or realize that they're being photographed.

Thank you for your contribution to the discussion Markus If you, the reader, have any further thoughts on this discussion, send your thoughts in to any of the following: Facebook:“bellaphotography” / Twitter: @BellaPhotoMag / e-mail: Bella-photography@hotmail.co.uk In the next issue, we’ll be discussing Women In Photography: