Edward M. Fielding is a fine art photographer, artist, writer and designer who lives with his family and westie "Tiki" in the Upper Valley region of New Hampshire. Fielding is on the teaching facilty of the AVA Gallery in Lebanon, NH and the author of "the Quotable Westie" and other books.
Fielding's work has been featured in magazines and on book covers around the world.
Website - http://www.edwardfielding.com
Buy open edition prints and products - http://edward-fielding.pixels.com/
Buy limited edition collectors prints - http://www.zatista.com/store/artist_profile/items/4857/Dogford-Studios#seller_id=13212&page=1&sort=Closest+Match&country=
Rights Managed Stock Portfolio on Arcangel - http://tinyurl.com/hhbv8xj
A still photograph is just that a non-moving photograph but many artists have explored ways of capturing or implying motion with still images. Here are some examples:
Fixed Camera – Moving Subject
Mounting the camera on a tripod and using a slow shutter speed, you can blur a moving subject to show motion.
Jan Groover’s famously known for her still life photographs, used slow shutter speeds in her early work that often used motion blur and sequencing to show motion.
Night time city images are great subjects for motion blur as well as starry night time sky photographs in which star trails can be captured.
Panning – Moving camera
Camera moves faster that the shutter speed can freeze the motion. Panning can be used to track a moving object and cause the background to blur.
Sequences – multiple images over time
Showing a sequence of photographs is another way to convey motion with still images. Fine art photographer Duane Michals often used sequence and multiple image in his work.
Sequences can also be captured using high speed cameras to slow down motion that is too fast for the human eye to see other wise.
Eadweard Muybridge figured out a way to capture moving subjects so they could be studied such as how a horse manages to gallop.
Muybridge is known for his pioneering work on animal locomotion in 1877 and 1878, which used multiple cameras to capture motion in stop-motion photographs, and his zoopraxiscope, a device for projecting motion pictures that pre-dated the flexible perforated film strip used in cinematography.
He produced over 100,000 images of animals and humans in motion, capturing what the human eye could not distinguish as separate movements.
Time Lapse – animating still images
Time lapse is a series of still images that are played back in sequence like frames of a motion picture.
Extreme Strobe Photography or Stop Motion
Extremely fast strobe lights can be used to capture very fast motion like a bullet. Faster than any shutter, the image is captured with a burst of light at the right moment.
Rather convey motion, stop motion freezes motion as if time stood still for the photograph to be taken. Harold E. Edgerton famously pioneered stop motion photography.
Multiple Exposure – combining multiple images in a single photograph
Any image from Edward M. Fielding’s portfolio of 5,000 images can be purchase as a print on paper, canvas or matted and framed with your choice of over 100 different types of frames and mats. In addition they can be ordered in some of the latest mediums of metal or wood.
Metal is shiny, saturated and eye popping with an almost 3D effect when lit properly. Save this for colorful photographs. Think shiny sports car.
Wood is flat, unsaturated and gives a vintage feeling. Think woodie surfing wagon.
De-saturated colors because the natural wood tone provides the “whites”
Each print is a “one of a kind” due to the the natural grain in the wood. No two are exactly alike.
Metal is pretty much waterproof and is great for wet areas like a bathroom.
Floats on the wall
Looks great with lots of light shining on it – almost 3D
The clock is ticking to get this black and white fine art photograph of a vintage farm tractor in Springfield, New Hampshire by Edward M. Fielding at a special price for a large 20 x 24 inch museum quality stretched canvas print, perfect for that modern farm house interior decor or a gift.
This promotion will last for five days and is limited to the first 20 buyers. Good luck!
Compact Cameras – The best one inch compact cameras on the market for professionals and advanced photography enthusiasts who appreciate high quality image making as well as total control over their images yet need a compact camera when the big camera is just to difficult to carry.
Sony’s RX100 compact camera line up leads the industry in top of the line one inch sensor based compact cameras with nearly all the features of a DSLR.
Sony DSC-RX100M III Cyber-shot Digital Still Camera
Absolutely stunning picture quality, compact enough to take anywhere. Now your photos maintain soft background defocus even when zoomed in with the improved f1.8-2.8 24-70mm Carl Zeiss lens. There’s even a pop-up electronic viewfinder for eye-level framing and a 180 tilt screen for 20.1MP selfies. Lastly, the ultra-fast BIONZ X processor adds speed and accuracy for stills as well as beautiful HD video.
20.9 MP 1″-type Exmor R CMOS sensor
24-70mm equivalent F/1.8-2.8 lens
Continuous shooting up to 10 FP
Pop-up electronic OLED viewfinder with 1,440,000 dots
ISO 160-12800, expandable ISO 100, 125, and 25,600
3.0 inch tiltable TFT LCD with 1,229,000 dot
1080 60p/24p HD video with full exposure control (MPEG-4/AVCHD)
Steady-Shot image stabilization
Rear control dial and customizable front control ring
Built-in WiFi and NFC for sharing and remote camera control
Sony Cyber-shot DSC-RX100 IV 20.1 MP Digital Still Camera
Inside the compact RX100 IV is the world’s first 1-inch stacked back-side illuminated Exmor RS CMOS sensor (1) — a remarkable advance in image shooting possibilities. Use it to reveal the wonders of up to 40x super slow motion (3), super-high-speed 1/32000 sec. Anti-Distortion Shutter, and handy 4K movies (2). Now Explore super-speed imaging beyond human vision.
High resolution 4K movie recording with direct pixel readout and no pixel binning, Super slow-motion movie3 HFR (High frame rate) up to 960 fps (40x)
Super-speed Anti-Distortion Shutter at max. 1/32000 sec. up to 16fps, Bright F1.8- F2.8 ZEISS Vario-Sonar T* lens (24-70mm), Fast Intelligent AF thanks to the new Exmor RS CMOS sensor
Retractable XGA OLED Tru-Finer viewfinder and Sharp 3″ multi-angle LCD, Simple connectivity to smartphones via Wi-Fi and NFC w/ camera apps, Dual record of 16.8MP photos while shooting movie w/ auto settings
Enhanced pro-video functions and NTSC switchable
Sony Cyber-shot DSC-RX100 V 20.1 MP Digital Still Camera w/ 3″ OLED
Introducing a new level of AF performance and speed to today’s compact camera market. The RX100 V boasts the world’s fastest AF speed1 (0.05 sec.)2, world’s fastest continuous shooting1 speed (24fps)3 with world’s most AF points 315 for a compact camera.
World’s fastest1 (0.05 sec.) hybrid AF system (contrast + phase)
World’s most – 315 phase detection – AF points on a compact camera
World’s fastest continuous shooting speed 1 at 24fps3 w/ AF/AE tracking
20.1MP 1″ Exmor RS stacked back illuminated CMOS sensor w/ DRAM
4K movie w/ direct pixel readout, no pixel binning and fast hybrid AF
Optical Zoom: 3.6x
Abstract artwork for sale – Open edition reproductions of “Phantom Lik” by visual artist Edward M. Fielding are available for purchase in sizes up to 22 x 30 inches as matted and framed artwork, canvas, wood, acrylic, metal prints and more.
Artist Statement generated via artybollocks.com
My work explores the relationship between emerging sexualities and counter-terrorism.
With influences as diverse as Nietzsche and John Cage, new tensions are created from both explicit and implicit structures.
Ever since I was a pre-adolescent I have been fascinated by the endless oscillation of relationships. What starts out as vision soon becomes debased into a tragedy of greed, leaving only a sense of nihilism and the dawn of a new understanding.
As spatial replicas become transformed through studious and critical practice, the viewer is left with a clue to the edges of our era.
Actually this piece came about after some playful time generating fractals.
A fractal is a curve or geometric figure, each part of which has the same statistical character as the whole. Fractals are useful in modeling structures (such as eroded coastlines or snowflakes) in which similar patterns recur at progressively smaller scales, and in describing partly random or chaotic phenomena such as crystal growth, fluid turbulence, and galaxy formation.
Grist Mills – Before flour came in convenient sized bags and in a zillion versions like wheat, whole-wheat, bleached, gluten-free, rye, potato, rice, pastry, corn meal etc.
In the old days you had to grown your own grain, harvest it, dry it, separate the grain from the plant and take it to the local grist mill to have it ground into flour bay a water powered contraption between two giant stone disks called mill stones. How much stone dust do you think people back then ate?
A gristmill (also: grist mill, corn mill or flour mill) grinds grain into flour. The term can refer to both the grinding mechanism and the building that holds it.
Whole communities sprang up around the available water sources and grist mills were such an important part of every day life that many have survived today and even more mill stones are around decorating people gardens or used as front steps.
Here is a collection of some of the mills I’ve photographed around New England.
Located on Granby Road (just off Route 102) in Guildhall, Vermont, the Old Guildhall Grist Mill. In Guildhall was the Bailey Grist Mill was built below what is reputed to be the first wing dam built in the Connecticut. It was in operation until 1844. According to a petition submitted by one Enoch Bartlett to the Council and Representatives of the State of New Hampshire in 1780, the iron work, mill stones, gears, and other building materials, were plundered from a mill located on Dean Brook in Northumberland and transported across the Connecticut River for use in the Bailey mill.
More photographs of old grist mills from around New England can be found on Edward M. Fielding’s online portfolio of fine art photographs from around New England and beyond – https://edward-fielding.pixels.com/art/mill
Aperture – ISO or sensor sensitivity, shutter speed and aperture are the three basic controls the photographer has over photo exposure. ISO controls how sensitive the sensor is, shutter speed controls the length of time the shutter is open during exposure and aperture is the size of the opening on the lens.
But aperture is much more that that as it effects the depth of field in an image. Depth of field or DOF is areas that are not in focus in an image. Every modern lens is capable of sharp focus at a single plane. Changing the aperture can change how much of the image appears to be in focus.
Depending on the focal length of the lens and the aperture, images can look in focus from front to back or you can totally blow out the background into a creamy, smooth backdrop in which you can barely make out the shapes. That smooth, out of focus area is typically described as “bokeh” and different lens designs create different bokeh effects. Often professional photographers prefer a certain lens for this effect especially for portaits. Landscape photographer looking for as much overall sharpness usually are not as interested in bokeh.
In photography, bokeh (originally /ˈboʊkɛ/, /ˈboʊkeɪ/BOH-kay — also sometimes pronounced as /ˈboʊkə/BOH-kə,Japanese: [boke]) is the aesthetic quality of the blur produced in the out-of-focus parts of an image produced by a lens. Bokeh has been defined as “the way the lens renders out-of-focus points of light”.
Aperture is measured in “fstops”. Smaller numbers mean larger openings. Such as f1.2 lets in more light and creates more out of focus area than say a f16.
Recently on the campus of the Rhode Island School of Design in Providence I was given to opportunity to experience what is happening inside a camera and the effects of aperture.
A large inflatable camera obscura was set up and groups of ten or so entered the airlock chamber, the outer door was zipped shut and then were lead into the inner dome-like chamber. After adjusting to the light, a hole in the side of the tent was uncovered and projected on white surfaces of the dome were live, upside down images of the streets around the camera obscura, demonstrating how what we see is reflected light bouncing off objects.
The four inch opening produced a bright image but a fuzzy one. Various smaller apertures were demonstrated which produced a sharper yet dimmer image. A lens was used on the larger opening to focus the light, demonstrating need of lens design. One wants as much light as possible yet needs lenses to focus that light.
Using Aperture Artistically
Too often beginner photographers seem focused on sharpness. Reading lens reviews endlessly looking for the sharpest of the sharp lens. Meanwhile professional wedding, fashion and portrait photographers invest in certain camera systems just to have certain lenses which produce amazing out of focus areas.
Sharpness in a photograph is often determined by a fast shutter-speed, a steady hand or tripod, more then the actual lens anyway. The sharpest lens ever produced hand held at a slow shutter-speed won’t produce sharp images.
Unless you are shooting sports, race cars or other moving objects, aperture choice is the most often used setting for artistry in photography. Aperture determines how much of the image you want to be in focus and how well you want to define the subject using selective focus.
In this still life photograph of baseballs, fine art photographer Edward M. Fielding uses a large aperture to throw the baseballs in the background into soft focus to pull the views eye to the main subject.
A traditional landscape photograph typically strives for a deep depth of field from front to back so smaller f-stops (higher numbers like f/11 – f/16 – f/22) are used. Ansel Adams used a view camera and lenses with very small apertures such as f/45 and up to f/64 and even started a movement called the Group f/64. DSLRs lenses typically don’t stop down this far. Also such small apertures let in such little light, long exposures and a rock solid tripod are must. Some lenses create diffraction issues at their smallest apertures and you have to watch out for dust spots as the increased depth of field betrays a dirty lens or sensor.
Landscape images don’t have to always be created with front to back sharpness. Artistic used of shallow depth of field with landscapes should also be considered such as in the following examples.
Notice how the subject of the images stands out from the background. If a shallow depth of field wasn’t uses, the clothespin or swing might have been lost in the background.
Aperture and lens choice
The effects of aperture will differ from various lens choices. Wide angle lens (24 mm and wider such as a 17mm) will have greater depth of field through out the aperture range then telephoto such as a 100 mm, 200 mm or 400 mm.
Some wide angle lenses have such a deep DOF field that you can set it at f8 and not even have to focus because just about everything will be in focus. On the downside, its nearly impossible to get a bokeh background.
Long lens inherently have a short depth of field so you have to be extra careful to focus on the eye of a bird for example, but you get a beautiful soft background.
Close focusing lenses such as macro lenses working close to subjects will also have a very shallow DOF, sometimes as small as a few millimeters.
Type of camera will also effect the DOF effect as mirror-less cameras such as micro fourth thirds cameras or small point and shoot cameras have the lens closer to the sensor than a full frame DSLR so its harder to get extreme DOF using mirror-less systems.
Aperture and Lens Cost
Canon sells a 70-200mm f/4 for $1099 and a 70-200mm f/2.8 for $800 more. Why? Because there are professional photographer who want and need that extra wide aperture and it cost more to make lenses with larger glass.
If you are a landscape photographer shooting at the smallest aperture possible, you don’t need to spend extra on the f/2.8 version. But if you are a portrait or wedding photographer wanting maximum boken, then the extra $800 is worth the price.
It’s the same with Canon’s 50mm lens line up. You can get a really inexpensive basic 50mm f/1.8 or normal lens for $125.
But for professionals wanting more shallow depth of field, Canon makes a $350 f/1.4 version.
And has found enough demand for an even more extreme shallow depth of field so they offer a $1,300 f/1.2 version.
And, you wouldn’t be buying these lenses for landscape photography on a tripod. You pay for the wide open apertures when you want to blur out the backgrounds. You aren’t paying for “more sharpness”, you are actually paying for the unfocused area of the image.
Corbin covered bridge was build over the Sugar River in Newport, New Hampshire to provide access to Austin Corbin II’s mansion just up the lane from the covered bridge.
Corbin was born in Newport in 1827 and attended a one-room schoolhouse. He put himself through Harvard Law School before heading to Iowa where he soon switched from law to more lucrative land speculation and banking. Later he invested in railroads and made a fortune.
A self-made millionaire, and known as the “Father of the Banking Industry”, a robber baron of the gilded age, Corbin like many of his peers like to hunt and when his Long Island estate ran out of room for his collection of deer, elk, and antelope, Corbin decided to build his own wildlife preserve back in New Hampshire.
This was the industrial age when many New England farmers gave up their hard scrabble farms for a life of toil in the factories, farm land could be snatched up cheap and Corbin ended up buying two mountains full of property to house his private hunting grounds. By 1889 he had acquired between 265-373 deeds. The final cost of the land averaged $5 per acre. That same year, the preserve was registered with the State of New Hampshire as the Blue Mountain Forest Association, a limited membership proprietary hunting club.
The animals which would include deer, elk, wild boar and even a herd of American Bison (saved from the brink of extinction from over zealous buffalo hunters in the west) enclosed by a 36 miles long and 12 feet high, with three feet of underground fencing to keep the boar from tunneling out. Keep in mind that this as a time of great deforesting of New England where just about every tree was chopped down to make why farms, sheep grazing, paper making and firewood. Deer were nearly extinct in the region. Hunting at this point was like the European model, only to be had in private reserves stocked by the wealthy landowners. White tail deer, now common again in New Hampshire, had to be imported from Canada.
Corbin Park is what the locals call it but the real name is Blue Mountain Forest Association and to this day it is a limited membership proprietary hunting club. Officially it’s called the Blue Mountain Forest Association, but everybody who knows about it calls it Corbin Park. It’s near the border with Vermont and it’s huge, though its exact size seems to be something of a mystery. Regardless, at somewhere between 24,000 and 26,000 acres this park is actually bigger than something like 60 percent of New Hampshire towns. Something to the order of 35 members pay big bucks to hunt exotic animals with in the parks 26 miles of chain link fence.
The Corbin Covered Bridge is a wooden covered bridge over the North Branch of the Sugar River on Corbin Road, approximately 1 mile west of NH 10 in Newport in Sullivan County, New Hampshire, United States.
It is a Town lattice truss bridge
Originally built in 1845, destroyed by fire in 1993 and subsequently reconstructed
Consists of one span with a total length of 96 feet (29 m).
The total width of the bridge is 18 feet (5.5 m), and has a single lane road.
The bridge rests on stone abutments.
The bridge passes 12 feet (3.7 m) over the water. Its sides are sheathed, the usual means by which the truss elements are protected from the elements.
The bridge was listed on the National Register of Historic Places in 1976 but was removed when destroyed by fire.
Farm to Table Decor – Farm to Table restaurants and markets need to look no further than this new collection of canvas prints from fine art photographer Edward M. Fielding for wholesome, farm fresh goodness.
Available as framed art, prints, canvas or even wood prints, the collection of tractor, food, farms, barn and more.
“It’s difficult to think anything but pleasant thoughts while eating a homegrown tomato.” -Lewis Grizzard
A good coach can save a game, a great coach can save a life
A customer recently requested this special saying for some very special coaches so we created a line of photographs featuring the saying “A good coach can save a game, a great coach can save a life”.
The fine art photographs of vintage footballs with the special coaches message can be ordered as coaches gifts as fine art framed photographs for their coaches office or den. Or ordered on products. Several versions are available. More special football coach gift ideas can be found here – https://edward-fielding.pixels.com/art/football