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Peter Geldart Contact

United Kingdom
I have been an amateur photographer for most of my life, having owned a lot of different types of film camera, and spent quite a few hours in "wet" darkrooms, processing B & W, and Cibachrome. I bought my first digital camera in 2006.

Since joining TE, I have been very impressed by all the help, useful criticism and workshops that I have received from other members worldwide.

I believe that honest criticism is the only way to learn anything. I hope that other members will be as honest in their critiques of my photographs as I hope to be when critiquing theirs.

My TrekLens account

January 2008

September 2009.

I have started doing workshops using simple diagrams, which I have drawn using the very useful free software FastStone Image Viewer, to explain what I think about members pictures with regard to composition.

For anyone interested in this project, I have started a theme to include my workshops, and also those of other members, which have been done along the same lines.


There isnt always time to consider the rules of composition when taking photographs - one often has to seize the moment. Most good photographers have an intuition about what makes a good photograph, without consciously thinking about any rules.

The thirds rule is very good guidance in composition, but of course, like all rules, it shouldnt be slavishly obeyed. A lot of good pictures result from going against the rules.

Most cameras have an optional thirds grid in the viewfinder, and I find mine very helpful. I always use it when I have the time to consider composition, before I take the shot.

The thirds grid in the Crop Board of FastStone Image Viewer [freeware] is extremely useful when assessing the composition of ones own, and other peoples' photographs.

If I find I my images dont need to be cropped, and I dont regret not having included more around the edges of my shot, I reckon I'm getting things right.

The famous photographer Henri Cartier-Bresson

believed in composing his photographs in the viewfinder, not in the darkroom. He showcased this belief by having nearly all his photographs printed only at full-frame and completely free of any cropping or other darkroom manipulation.

Indeed, he emphasized that his prints were not cropped by insisting they include the first millimetre or so of the unexposed clear negative around the image area resulting, after printing, in a black border around the positive image.

Cartier-Bresson exclusively used Leica 35 mm rangefinder cameras equipped with normal 50 mm lenses or occasionally a wide-angle for landscapes. He often wrapped black tape around the camera's chrome body to make it less conspicuous. With fast black and white films and sharp lenses, he was able to photograph almost by stealth to capture the events. No longer bound by a huge 45 press camera or an awkward two and a quarter inch twin-lens reflex camera, miniature-format cameras gave Cartier-Bresson what he called "the velvet hand [and] the hawk's eye. "He never photographed with flash, a practice he saw as coming to a concert with a pistol in your hand."

Cartier-Bresson worked exclusively in black and white, other than a few unsuccessful attempts in colour. He disliked developing or making his own prints. He said: "I've never been interested in the process of photography, never, never. Right from the beginning. For me, photography with a small camera like the Leica is an instant drawing.

From Wikipedia.
Member Since
Canon PowerShot A430, Canon Z70w, Disposable camera, FujiFilm FinePix S9600, Olympus OM-10

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