Street smarts
Our apprentice views London through the ultra-wide-angle lens of urban pro Ben Moore
Ben Moore is part of a growing contingent of social-media savvy professionals who have pushed the boundaries of urban photography. He’s cultivated a career snuffing out the most photogenic cityscapes in London and beyond. And, armed with the very latest Nikon mirrorless tech, a drone and tens of thousands of Instagram followers, he’s the epitome of the modern photographer.
It wasn’t by happenstance then that we paired Ben with retired newspaper journalist Michael Becket. Michael’s been
taking photos for more than 70 years so, in a bid to challenge his skill set, Ben was tasked with turning his apprentice’s photographic world on its head.
LEADING LINES
The photographers started their journey among the modern office blocks of More London. Ben pointed down the corridor of modern buildings and noted Tower Bridge at the very end, its Victorian Gothic architecture contrasting against the minimalist development.
“The paving and buildings form leading lines that direct the viewer straight towards Tower Bridge,” he said. Michael framed the shot as Ben gestured towards the paving: “Use the line that runs through the middle as a guide to centre your feet. We want a symmetrical composition.”
Ben glanced at Michael’s screen. “That’s too bright, try boosting the shutter speed.”
Michael noted that despite the small patch of blown-out sky, the rest of the exposure was suitably balanced. “Generally speaking I tend to go for P (Programmed Auto), although I have used Manual before,” he said.
“Using P, the camera has captured the most balanced exposure it can,” said Ben, “but we want full control of our settings so we can use the camera as a creative tool. Boost your shutter speed to 1/2000 sec to expose for the highlights and I’ll show you.”
Michael followed the pro’s advice and took the shot. “It’s very dark,” he said.
“We can bring out a little more detail in post,” said Ben, “but doesn’t that look like a more interesting image?”
As they strolled through More London and over London Bridge, Michael was beginning to enjoy the freedom of Manual.
“There’s a great lookup spot here,” said Ben as they entered the ornate 19thcentury architecture of Leadenhall Market.
They stopped beneath an intersection and gazed up. A trio of lights hung from the ceiling and emitted a warm glow that complemented the red and gold decor. The pro pointed his Z 9 directly at the ceiling and captured an image to show Michael.
The apprentice carefully placed his D850 on the floor – lens facing up – and fired the shutter. “The problem with that method is that the floor isn’t completely level,” said the pro. “This image hinges on being 100% symmetrical.”
Michael agreed but explained that he was attempting to get as low as possible to frame a wider composition. Ben noted that straightening the composition in post would require the image to be cropped anyway. “You could potentially lose everything you’ve gained,” he said. “Get down on one knee. You’ll be able to frame a slightly wider composition then, while still maintaining full control over your framing.”
Michael knelt down and used his D850’s tilting screen to line up the shot.
Ben pressed the DISP button a couple of times to activate the grid overlay: “That will help you line up the horizontals and verticals. Take your rucksack off too, otherwise you’re fighting against it.”
Michael took another shot and nailed the composition. Ben zoomed into Playback to observe the focus. “Let’s try focusing on the ceiling instead of the lights. At f/5.6 the lights will be sharp enough, and it’s the intricate ceiling we want sharpest.”
Both apprentice and pro fought through tired knees to land the final shot, but it was worth it. Michael had captured a perfectly square, perfectly focused Super Shot #1.
A HEAD FOR HEIGHTS
Ben and Michael walked across Leadenhall Street and onto the neighbouring plaza. They subconsciously spun as they looked upwards, marvelling at the towering architecture that surrounded them.
The pro explained that an ultra-wide focal length of 14mm would be able to capture multiple buildings in a single shot.
Michael chuckled: “It has never occurred to me to take so many urban pictures at such wide-angle views...”
“My Z 14-24mm f/2.8 S is my go-to lens. Nearly all of my shots are wide and many of those are super-wide,” replied the pro.
Michael took a shot before Ben stopped him. “Try to review each shot and think how it can be improved. And here…” The pro flicked his apprentice’s Release Mode Dial to Ch (continuous high).
“That’s interesting,” replied Michael. “I was told to get it right with one shot.”
Ben agreed that was sound advice if you were using costly rolls of film, but made it clear that he had no problem filling memory cards and discarding the unwanted files. “As you press the shutter you’ll move slightly and this could soften your shot. If you shoot a continuous burst, you increase your chances of landing a sharp image.”
Michael’s rapid-firing shutter rattled as he heeded Ben’s advice before sifting through the Playback screen.
“That’s Super Shot #2,” said Ben. The apprentice had successfully squeezed in multiple high-rise buildings, all converging around the same cloudy patch of sky.
DOWN TO EARTH
Ben set their sights on the Gherkin next. He noted the pattern created by the diamond-shaped glass panels and how it extended to the huge angular entrances: “This is another composition that needs to be perfectly symmetrical. Look for something on the building that’s right in the centre and use it as a reference point.”
Michael was getting used to lining up his body and camera, and took little time to frame the scene in front of him.
“This time, I actually think that we’re a little too wide,” said Ben. “You’re framing what’s off to the side of the building, but it’s only the building that we really need.”
Michael zoomed in ever so slightly to 15mm and earned a nod of approval from Ben: “Now for the hard part…”
“I want you to capture a passerby as they stroll through the middle of the frame, but they need to be on their own and they need to be composed dead centre.”
First a chattering trio bustled by, then two pedestrians simultaneously entered the frame from opposite directions, before a seemingly endless wave of bodies crowded the frame. It took just about 15 minutes for Michael to get his chance, but when Ben prompted him to review the image, the composition wasn’t quite symmetrical.
“It’s not easy, is it?”
“No it’s not,” replied Michael.
“I’ve waited for more than an hour for the right opportunity before,” said the pro. “We don’t have that luxury today, but we do have a magazine team on hand.”
N-photo head honcho Adam agreed to assume the role of an oblivious passerby in the shot. Michael remembered to shoot a burst and on Adam’s second pass he captured his subject right in the centre of the frame and the composition was perfectly symmetrical. “I think that’s a well-deserved Super Shot #3”, said Ben.
Michael had spent much of his day looking up, but the next location would require him to look down. The pair entered a nearby building. “We’re going straight to the top,” explained Ben.
THE GARDEN AT 120
They stepped out onto a huge roof garden that boasted wide-ranging views. “I can’t believe this is open to the public,” said Michael as he sighted the sprawling city below through his viewfinder.
Ben was banking on a sunset and although the sky was overcast, he was optimistic. “We have no idea how long the sunset will last, so let’s prepare for it.”
Michael was interested in the Walkietalkie (Skygarden). The nearby landmark dominated the skyline, but Ben’s advice was to diminish it slightly with the wideangle end of the 14-24mm.
“It’s still the most prominent object in the frame, but at 14mm we can see more of the sprawling city,” explained the pro. “In fact, move the frame slightly to the left and you’ll just about squeeze in the Shard.”
The photographers stayed put as the overcast sky began to dissolve.
“Looks like you’re going to get your chance,” said Ben. “We’re shooting towards the sun so let’s switch on bracketing to help balance the image.”
Michael dialled in a three-shot bracket of one-stop intervals as Ben attached a LENSKIRT to the glass: “Place your lens through the opening and this will cut the reflections on the glass.”
Ben glanced at the bracket sequence: “You’ve cropped the top of the Skygarden.”
“It was just in,” chuckled Michael. Ben laughed, “Don’t get it just in, leave a good portion of sky above the building. It’s the subject – ensure it isn’t cropped.”
Michael readjusted his framing and in doing so captured Super Shot #4.
“Once those images are merged together in post, it’ll look great,” said Ben.
Golden hour descended into blue hour and lights flickered across the city. As the chill wind bit their hands the warm
embrace of a pub seemed too good to resist. But as they neared the lift, Michael noted the illuminated Isle of Dogs.
“Go get it,” said Ben. “Photographers, eh? There’s always one more shot.”
MICHAEL’S COMMENT Ben’s vertical views produced intriguing and attractive patterns in a way I had not tried, but that was only one part of it. Broadening one’s view and understanding is probably the best gift.
BEN’S VERDICT
When Michael switched to Manual he began to trust his judgement and experiment. I hope he feels inspired to push his creativity further in his own time as his shots speak for themselves.