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by Chris Page If you are brave sole and willing to step into the Dark Woods then NFT Photography is an interesting place to explore.  However, keep on guard for Hobgoblins who are out to steal your stock, they seem to be hiding behind every tree on the trail. This is my account of my first journey into NFT’s, its not a guide to NFT’s as there is plenty of other out there that explains all the nuts & bolts, such as; https://opensea.io/learn/nft Over the past few years I had noticed a growing number of messages left on my Facebook & Instagram pages from unknown people asking if my photographs were available to purchase as NFT’s.  Not knowing anything about NFT’s I said no, but was intrigued as to what this was all about. I did a bit of digging but was none the wiser, that was until I found a photographer on Youtube that had an Idiots guide to the black arts of NFT’s.  Looking back he made it all sound really simple and streight forward, however his enthusiasm in the subject prompted me to venture forth. Eventually in February 2024 I decided to dip a toe into this world to see for myself what it was all about. It’s a world with a language all of its own that takes time to understand, and a lot of research is needed to navigate your way into it.  It’s the world of Cryptocurrency, something that I had never considered dabbling in before, but there is a first time for everything, so I began to step over the line. There was firstly a few things that I need to do to get going; 1 - Platform; a place to display and trade your NFT Photography collection.  The one that seemed to be a good platform to start with for me was OPENSEA, so I created an account with them. 2 - Crypto Wallet; this is a diffrent platform/account where your money is held and you can convert your £ into a Cryptocurrency.  I ended up using COINBASE; this was then interlinked to OPENSEA so that the two accounts could communicated between each other. 3 - Money; none of this is free and there are fees to pay all along the way. So you need to have a pot of cash in your Crypto Wallet.  I eventually exchanged £200 into Ethereum currency to get me going.  You have to be prepared to loose this! 4 - Images; you need to decide what photographs you are willing to trade and in what form they are being offered to buyer.  I went with five images I had created in my Wistman’s Wood collection and to have these available as TIF Files. I prepared the set of five with the Metadata showing that these are NFT Versions. With all the above in place I was ready to get going, however there was many delays and hurdles still to come.  As a first timer I was surprised how clunky the process was, not a smooth ride at all.  Firstly, once I deposit my money into the Wallet I had to wait seven days until I could convert these to Ethereum’s to pay the OPENSEA fees.  When finally clear and transferred  £50 worth of the cryptocurrency into my OPENSEA account I found out the fee had gone up and this was not enough, so had to deposit more funds and wait another seven days. The reason I eventually worked out was that the OPENSEA fees are in Ethereum currency and these fluctuates in value all time; so fees one hour are the equivalent to £40 and the next hour they are £60, wait a bit then they are £50 - its a movable feast! After about three weeks of messing about with cryptocurrency exchanges and transfers I eventually managed to pay the fees that enabled me to create a Account [ https://opensea.io/OPENPHOTO-NFT ] and a NFT Collection [ https://opensea.io/collection/chris-page-nft-collection ].  Believe me there was a number of times I was ready to walk away from it all, but held on despite the frustration. The frustration continued…….When creating the individual photo NFT’s in the Collection I found that there was an upload limit that would not allow me to use the 307.8 MB TIF Files that I had prepared for sale.  I was going to just use a smaller JPG image for upload on to OPENSEA and then create a download link from my website so that buyers could receive the TIF File.  So I generated a new NFT veiwing page on my website which had a protected download link to each of the photographs.  The idea being that once sold a buyer would receive the passcode to download the purchased photo TIF File.  I don’t know if this is an acceptable way of trading but that is what I have done to get things underway, I may have to change this at a later date.  This is my website NFT link [ https://www.openphoto-studio.com/nft-collections ]. In creating the collection you have to set a price (ethereum) for the photo NFT’s, which buyers can buy outright or make offer on.  I was not going to start with a low price, best to start out high and negotiate down if need be. So I set 1 ETH  for each photo NFT ( current value $3,543.98 ).  Also you can set a resale commission back to the creator if the purchaser sell it on. I have set this at 10% every time it is sold on.  Again I don’t know if I have created a competitive deal here or not, but can always change this at a later date if need be. So finally everything live and up and running.  Now What?  You need to tell the World ! I created some posts on my Facebook & Instagram pages that these NFT’s are now available.  Low and behold I am now getting messages from unknown people again saying they want to buy my NFT’s.  I tell them that they can only purchase them from OPENSEA,  no no no they don’t want that, they want to buy direct and sent me the money NOW,  just open a transfer link and fill-in your wallet details.  Was I born yesterday!   You can spot these scammers a mile away, they send the same kind of message every time, they go something like this; "I Love your artworks it's outstanding and fantastic do you have any outgoing sales? Your art are really attractive to me and would love to purchase some as NFT send me a Dm so we can negotiate". This is a potential scammer that try to make contact through messages or DMs on social media platforms, privately or publicly. Recently, more phishing attempts have occurred through social media DMs using fake accounts from those pretending to be interested buyers. From there, they may try to get the target to share sensitive information, send ETH, or email information to a malicious email address.  To stay protected check out: https://opensea.io/learn/web3/how-to-stay-protected-in-web3 So here I am, do I think NFT’s are going to work for me?…………only time will tell, it’s a new world which I am prepared to stand on the edge to see how it evolves.  I have spent time and a couple hundred quid to venture into the Dark Woods to see if there are any genuine buyers in there, rather than all those nasty Hobgoblins lurking around on social media out to scam you. To find out more about "Wistman's Wood" and the Photographic Art of Chris Page visit www.openphoto-studio.com Explore & Discover a World of Photographic Art

by Mike Rossi Creatures of the Wood It all started with the twinkling of coloured lights coming from a stack of chopped Tasmanian Blue Gum logs – glints of yellow, blue, and red flickered across my eyelids. They say curiosity killed the cat but in my case, the experience enlightened my mind. Research told me the Blue gum (Eucalyptus globulus) is a relative of the rainbow eucalyptus (Eucalyptus deglupta) which explains the myriad of colours I saw. A tree depends on its bark to live. In the bark, there are three channels providing food. The first layer called the Phloem carries the sugars from the leaves down to the rest of the tree. Next is the Xylem which carries water and minerals the opposite way, up to the leaves. Sandwiched between these two layers is the Cambium which produces cells for the Xylem and the Phloem. Over the next few months, I photographed in close-up various selected pieces of bark. The raw files revealed a zoology of wildlife as well as an astrology of comets and stars. I also noticed the camera sensor, like an x-ray had pierced through the outer layers and revealed many more colours. Blue was the glaucous powder the bark relies on to sunscreen the tree from harsh sunlight and wind. Blue is also the starch the tree needs to live. Red was Carotine – food that travelled up the roots. Green was Chlorophyll being transported down from the leaves. Other bark layers take on orange, red and yellow hues; chemicals to ward off insect attacks. Some colours like browns, and yellows are due to tannins, lignins and suborn. These reflect different wavelengths of light, which explains the variations of colour you see. Blue gum trees have thin barks which they shed and replace from time to time revealing more colours. To find out more about "Creatures of the Wood" and the Photographic Art of Mike Rossi visit www.openphoto-studio.com Explore & Discover a World of Photographic Art

by Chris Page In reverse order as listed on [YouPic].com. Let me know which ones you like! #20 Hoenderkop by Mike Rossi - 529 views #19 Medway Nights by Chris Page - 559 views #18 A Town Called Duck by Frankey Craig - 584 views #17 Folkestone Pier Head Lighthouse by Chris Page - 585 views #16 530 ft Below by Chris Page - 591 views #15 Turkey Kiss by Mike Rossi - 600 views #14 Blue Ridge Mountain Mill by Frankey Craig - 618 views #13 Lock Linnhe by Chris Page - 638 views #12 Stoer Head Nightfall by Chris Page - 661 views #11 When Poseidon plays with Neptune by Chris Page - 664 views #10 Coruisk Rock by Chris Page - 693 views #09 Blue Boat Plockton by Chris Page - 704 views #08 Sophie's Kitchen by Mike Rossi - 723 views #07 Deep Sea Diver by Chris Page - 725 views #06 Reflection of Beachy Head by Chris Page - 820 views #05 Watching Over Granny by Mike Rossi - 844 views #04 Wrecked on Rum by Chris Page - 919 views #03 Kilnave Chapel by Chris Page - 936 views #02 On Tour by Chris Page - 1041 views #01 Street Racing in Naledi by Mike Rossi - 1145 views Explore & Discover a World of Photographic Art www.openphoto-studio.com

by Chris Page Wistman’s Wood, Dartmoor had been on my photographic bucket list for sometime, but never seemed to be in the area to make a visit. With yet another year passing me by I decided to make a dedicated trip in November 2023. The weather had not been good, rain and wind had been storming into the West Country for weeks on end, however the temperature had been mild and delaying the Autumn colours reaching their climax. With one eye on the forecaster I was looking for a short brake in the weather where I could make over night journey to capture the woods in early morning dramatic light. Every time a possible time slot seemed to came up it was dashed away by yet another forecast of heavy rain and storms arriving. By no means do I consider myself a fair weather photographer, but equally you have to respect Dartmoor. It’s not the kind of place to take chances, conditions can change very quickly leaving you in tricky situations you would rather not be in. Finally a window of opportunity opened, unfortunately not for a sunrise shoot, but the weather was due to break late morning and looked fair for the rest of the day. So with a five hour drive from Kent and an hour or so walk to reach the woods I set off at 4:00am. The car was loaded with lots of camera gear and plenty of different clothing options for whatever I found on my arrival. However it did not take me long to decide that I would have to travel light when making the trek over the moorland to the woods. I opted to use just one camera, the Hasselblad X1DII with only a 45p mm lens attached, it’s the smallest and lightest lens I have for this camera. I did not want to use a back pack full of gear, so I used a small weatherproof camera case, spare battery and my light weight travel tripod. That’s all I was going to take, so I would work with what I had. By the time that I arrived at the small parking area that gives you access to the West Dart Valley the weather had cleared of rain. The sky was now blue and a bright sun was shining over the moors, that was not what I was after, but things do change, so I set off hoping that it would. It’s easy going at the start, a cinder track running up to a farm where you then climb up to the open moorland. Once up here the scenery open up and you can see the expanse of moorland in front of you. The so call path now comes and goes, it is peppered with granite rocks sticking out of peat bog that was sodden from the weeks of rain. I am glad I had my big waterproof walking boots on as I spent most of the time tramping through the dark brown muddy puddles. You soon begin to realise that the half hour walk in Summer is going to take twice as long in November. Eventually at the top of a rise an old stone wall comes into view, and beyond this you get your first real sight of Wistman’s Wood nestled on the side of the river valley. The breeze has now come up and clouds start to rush across the sky dimming the sun as they pass, this is more like what I need for photography. I begin my final climb up the rugged path towards the outer most tree line of the woods. Festoons of dead mans beard hang from the these outlying trees which are sparsely spaced on the side of the rocky hill side. As I work my way around the perimeter it becomes ever steeper and you begin to look down into the dark depths of the woods. Granite boulders covered in moss create a natural inhospitable barrier; it shouts “Do not Enter”. The trees become closer and closer together with contorted limbs twisting and turning in every direction. It’s a mad chaotic confusion which sends your vision whirling. I stop, sit down on a large rock and try to refocus on single spot to find composition in the mayhem. With the wind blowing, branches swaying, leaves flickering and the light coming and going in the frantic movement, it's time to rethink how I am going to photograph this! My preferred way and the one I was planning to do was to photograph at a low ISO, slow shutter speed, a medium to high aperture stop and with the camera mounted on the tripod, but this was not going to work with what was in-font of me. I played around with the camera settings to find a suitable combination for the conditions; ISO 3200 - 1/90 sec - f13 - no tripod. Not ideal, but workable with the medium formate Hasselblad and its 45p mm lens. So I began to start shooting these mysterious Dwarf Oaks in this incurable setting, with its boulders, mosses, lichens and autumn colours. From my elevated position I continued my clamber around the edge of the woods looking for compositions where I could lose the sky out of the shot and pick up the burnt colours of bracken from hillside on the other side of the valley. I had a vision of what I wanted to achieve and knew I would be lucky to get one or two images that got anywhere near to it (got three in the end). I finally arrived at the far end of the woods and then retraced my steps back to get the view point from the other direction. After a hour or more I was done, and on cue the rain started falling as I walked back over the moors towards the car. On leaving I felt that now I known something of what to expect from this beautiful place that I should plan another trip, tackle it in a different way, what that is I have yet to decide, but I know there is more that I could captured from Wistman Woods given another chance. About Wistman's Wood A fragment of Ancient Temperate Rainforest on the banks of the West Dart River Valley, Dartmoor. It is a site of Special Scientific Interest and is a National Nature Reserve, being one of the highest Oakwoods in Britain at 1,350ft. The Oak Trees here are distinguished by their dwarf habit, and rarely reach more than 15 ft in height. The trees also developed highly contorted forms with procumbent trunks, and their main branches tend to lie on or between the large granite boulders on the forest floor. The tree branches are characteristically festooned with a variety of mosses and lichens. Wistman's Wood has been mentioned in writing for hundreds of years. It is likely to be a left-over from the ancient forest that covered much of Dartmoor c. 7000 BC, before Mesolithic hunter/gatherers cleared it around 5000 BC. The oldest oaks appear to be 400–500 years old, and originated within a degenerating oakwood that survived in scrub form during two centuries of a colder climate. The name of Wistman's Wood may derive from the dialect word "wisht", meaning "eerie/uncanny" or "pixie-led/haunted". The legendary Wild Hunt in Devon, whose hellhounds are known as Yeth or Wisht Hounds in the Devonshire dialect, is particularly associated with Wistman's Wood. This year visitors to Wistman’s Wood were advised to “walk around” the wood and not among the trees. This is to protect its delicate ecosystem and avoid any damage to its trees, lichen, and mosses. Explore & Discover a World of Photographic Art

Five Key Ingredients by Chris Page. Photographic Competitions have never really been my thing over the years, but every now and again one comes up that sparks my interest. This year I was tempted to put forward some entries in the Edinburgh Photographic Society International Digital Exhibition 2023. There is a total of six categorise, of which you can submit up to four photographs in each. I decided that four of the categories suited my style of work - Colour - Black & White - Landscapes - Creative. That was the easy bit, now I had to make a selection. Plucking out individual photographs from the thousand taken over the years is difficult, you naturally firstly aim towards those that you like, but are these the best for competition? I collated a draft set of 16 images that fitted into the four categories onto a review sheet and emailed this to my longtime photographic friend Mike Rossi to run his (very) critical eye over them. Mike emailed his reply, with a brutal thumbs up and thumbs down of my draft selection; COLOUR 1-No / 2 -No / 3 -No / 4 -Yes BLACK & WHITE. 5 -Yes / 6 -Yes /7 -Yes / 8 -Yes LANDSCAPES 9 -No / 10 -Yes / 11 -No / 12 -Yes CREATIVE 13 -Yes / 14 -Yes / 15 -No / 16 -Yes If you going to ask for someone's option you have to be prepared to take it, even if it goes agains yours. I value Mike's steely views of what would catch a Judge's eye, and also the fact that he knows my photography and what's in my portfolio. So we chatted over the phone a few times, and after some coming and going, in's and out's, we finally arrived at the photographs to be submitted. In going through this process I realised we were making our selection based on some key criteria that needs to be found in each of the photographs. They didn't need to tick every box, but did need to satisfy the majority of these requirements over and above the technical quality of the image. So here is my list of the five key ingredients you need to find in your photographs for entry into a competition. PERSPECTIVE - does your photo have depth between the foreground and distance. INTEREST - are the multiple points of interest to take you around the image. INTRIGUE - is there something going on that makes you stop and take a second look. BALANCE - within the composition is there a sense of balance. STORY - can you create a story around the image. This is on guarantee that you photographs will get selected, but it is a starting point to help you make your selection. Remember that even if your images don't get picked by a Judge it does not mean they are bad, it's all down to the "Eye of the Beholder". On any other day in front of a different Judge you may be successful with exactly the same photographs, so keep on going! Here is my final sixteen. COLOUR CATEGORY SELECTION PERSPECTIVE - not a great amount, but it is there between the boys and the empty office above. INTEREST - four boys and the sign are the focal point, but there are bandings of other interest. INTRIGUE - what are the good times around the corner that the boys are heading to. BALANCE - the banding of the image and colours gives this an unusual balance that works. STORY - the story is what will the boys find waiting for them around the corner. PERSPECTIVE - big perspective between the foreground rock and the sunrise on the horizon. INTEREST - the lighthouse is the focal point, but there are lots of different textual interest. INTRIGUE - a very calm image, although there is a quiet intrigue with lighthouse structure. BALANCE - full of balance between all the different elements and colours of the image. STORY - no really story, it's more of a textural feast for the eye. PERSPECTIVE - a short perspective which is visually increased with the depth of the shadows. INTEREST - multiple points of interest all around the image, no real single point to latch onto. INTRIGUE - why is there a painted boy on this wall and who owns the two bikes. BALANCE - graphical balance between all the elements and the harsh angels of the shadows. STORY - walks down the stairs and opens the door, stops and talks to the boy, then rides off. PERSPECTIVE - sweeping light perspective from right to left, cut through by the dark bridge. INTEREST - packed with interest coming at you from all directions, which way should I look. INTRIGUE - why is there a deep sea diver painted on the wall, where are the lights going. BALANCE - a criss cross balance between the dark and light . STORY - a deep sea diver painted on the wall comes to life to go late night shopping. BLACK & WHITE CATEGORY SELECTION PERSPECTIVE - from the shadow of the woman to the clouds in the sky, layers of perspective. INTEREST - you have to get through the foreground to get to the submarine and beyond. INTRIGUE - full of intrigue, the woman rushing by, concrete tank traps, a submarine. BALANCE - layer on horizontal layer produces the balance to the image. STORY - there is a darkness to this story, is the woman being stalked by a Russian submarine. PERSPECTIVE - the movement of the water and the sweep of the railings gives this perspective. INTEREST - start with the dog, and then work your way slowly through each joined up bit. INTRIGUE - does this tied up dog belong to the boys, what are they and the dog looking at. BALANCE - a balance that pivots around the dog and the sweeping railings, moving on the water. STORY - a story about something in the water witnessed by two boys, while their dog see's what? PERSPECTIVE -figures in the foreground to the lighthouse at the rear gives this great perspective. INTEREST - take your pick, people, roof top and chimney stacks, topped off with a lighthouse. INTRIGUE - what are they gossiping about, don't they know there is a lighthouse in the back yard. BALANCE -produced between the group of people and the lighthouse, balanced by the steps. STORY - did you hear that the lighthouse keeper is seeing the woman at number 36, and she's........ PERSPECTIVE - perspective is created by the white lines of the car park, no real foreground. INTEREST - take your pick, people, roof top and chimney stacks, topped off with a lighthouse. INTRIGUE - why is the car park empty and the sky so dark, what's that brutal looking building. BALANCE - the building is the pivot point between the white lines going in each direction. STORY - once upon a time Covid happened and we all had to stay inside, apart from our dogs. LANDSCAPE CATEGORY SELECTION PERSPECTIVE - from the fishing boat in the foreground to the mountains above the loch. INTEREST - the detail of the boat and its sweeping ropes, to the backdrop of mountains and sky. INTRIGUE - why is this boat totally out of water and surrounded by mountains and forests. BALANCE - centre point is where the water and the mountains meet, allowing a off-centred boat. STORY - one day the moon stood still, the tides stopped, and I was left high and dry!. PERSPECTIVE - from foreground grasses to the church braking the flat horizon line. INTEREST - early dawn colours across the marshland and remoteness of the church. INTRIGUE - why would a church be built in such a place surrounded by marshland water. BALANCE - the water creates the balance on its way to the church, plus the top right brightness. STORY - Sunday morning and the church bell tolls, a rowing boat appears from the left. PERSPECTIVE - fingers of shrubs that rise up to the lighthouse on the cliffs INTEREST - the structure agains the sharp cliff edge and the line of the road leading up to it. INTRIGUE - why is this lighthouse so close to the edge of the cliffs. BALANCE - the tower creates the centre the image with everything else moving towards this point. STORY - the cliffs began to crumble, we moved the lighthouse back, but the cliffs began to crumble. PERSPECTIVE - it's a landscape, it's got loads! INTEREST - low side light from the sheep at the loch side up to the craggy slopes of the mountains. INTRIGUE - not a lot of intrigue, apart from what are these sheep eating? BALANCE - the V in the mountains created the balance, everything else revolves around this. STORY - there was once a sheep from the Isle of Skye named McBarr................fill in the rest! CREATIVE CATEGORY SELECTION PERSPECTIVE - moves left and right from a central pivot point. INTEREST - the wooden horse, artwork on the wall and the man holding carrots. INTRIGUE - why is there a wooden horse at the door and who is the man, artwork on the wall? BALANCE - split into three sections that is jointed together with the side light through the door. STORY - Every morning a wooden horse comes to visit the artist for his breakfast. PERSPECTIVE - layer after layer running out to the trees. INTEREST - a room with a view, someone at the window, man reading, a clock on the wall. INTRIGUE - who or what is at the window. BALANCE - like a stage set, with a number of points to lead you in. STORY - it's two minutes to six, a figure appears at window and makes a silent knock on the glass! PERSPECTIVE - the flowing lines of shadows and light create depth . INTEREST - textual interest and the scale of the dunes created by the shadow of the figure. INTRIGUE - who is standing on top of the dunes and the shapes created by the sand. BALANCE - the curves of the shadows and structure of the sand provides a flowing balance. STORY - with the late sun behind me I climb to the top of the sand dunes to find the sea. PERSPECTIVE - an abstract perspective. INTEREST - reflections of figures moving in different directions through a strange place . INTRIGUE - who are these people, what is this place and where are they going? BALANCE - a revolving balance around a central point. STORY - carrying their belongings migrants travel out of the darkness into the light.. Available as Fine Art Prints, framed or unframed. Photography created as beautiful pieces of Wall Art for you to invest and enjoy, exclusively from OPENPHOTO-STUDIO. Explore & Discover a World of Photographic Art

A Photographic Journey by Chris Page. June 2023, I was invited to joined the Vintners Velo Cycle Team on their NC500 charity ride of Scotland. However, thankfully not as one of the cyclist, but as the photographer to record the event. Having previously traveled the majority of the 500 mile rout in 2021 I had a good idea as to what to expect from this wonderful part of Scotland, and so was able to do some pre-planning; decided to take five cameras and an assortment of lenses for each. My prevouse solo trip had been dedicated in photographing the remoteness of the landscape, but now there was a new agenda, People! Yes, a very diffrent focus of subject matter. Normally I would exclude human activity from my photographs, but on this trip the Cyclists are to be the centre of attention. Seeing the Cyclist “in the landscape” I felt was important to give one a sense of distance, scale and grandeur of the bonny country of Scotland. However, in the Collection you will also find plenty of shots without a cyclist in sight! Finding view points to set up to take these shots became the constant daily challenge, not for the lack of stunning locations, but the suitability to be able to see the Cyclists coming towards me from a distance In addition, I wanted to take some portraits, and had been thinking about those “Heroic” Edwardian Adventures and Explorers, and how they were depicted in early photographs. Although, I wanted to capture them in a modern way rather than with a traditional look, a direction worth trying out in creating portraits of our four hero's! The portrait set below I took handheld in the clouds at the summit of Bealach-na-Ba, just after they had completed the 2,000ft climb. Over the six days it was filled with plenty of “behind the scenes” photo oppertunities to get those candid snap shots. The morning prepartation, tea stops along the way and the evening get togethers of all that were involved. Finally, there was then those photographic moments when I went “ off-piste”, moved away from the cycling and went were my eye took me. These are the shots that give the mood of the moment, either in the wide open spaces or in the finer details that sparked my interest. So with all the above in mind, I have broken down the overall NC500 Vintners Velo Collection of photographs into four sub-collections each with their individual themes:- Portraits In the Landscape Behind the Scenes Off-Piste Please explore our journey in each of the collections, which I hope you will enjoy! In addition to the Photography Collection I took plenty of video footage of the cyclist with the Leica Q2. Glenn Roberts has pulled all the videos together along with his GOPRO and Drone footage and has produced a fabulous video that creatively documents the event. Not only does it capture the cyclist in action but it also shows off Scotland at it best, I encourage you to watch it! click on the link below. Cycling the North Coast 500 in Scotland is an incredible adventure that takes you through some of the most beautiful landscapes in the country. The NC500 is a scenic route that covers approximately 500 miles (800 km) around the northern coastline of Scotland, starting and ending in Inverness. Scotland is renowned for its stunning landscapes, and the NC500 showcases the best of them. From the dramatic cliffs and golden beaches of the North Coast to the majestic mountains of the Highlands, surrounded by natural beauty throughout the journey. The NC500 takes you through diverse terrains and breathtaking scenery, including stunning coastlines, rugged mountains, rolling hills, and charming villages. The highlight for me was the Bealach na Bà mountain pass, rising from sea level to 2,054 ft (626m) in about 3.7miles (6km), the greatest ascent of any road climb in the UK. Available as Fine Art Prints, framed or unframed. Photography created as beautiful pieces of Wall Art for you to invest and enjoy, exclusively from OPENPHOTO-STUDIO. Explore & Discover a World of Photographic Art

A Photographic Art Collection by Chris Page. While walking down a country lane near Avebury, Wiltshire, England, I came across this Jaguar. It was lurking in the hedgerow ready to pounce out on any unsuspecting passer-by! I was drawn to the contrast of this once luxury “Man About Town” car now seemly abandoned in the rural setting. Although neglected and unloved this Jaguar XJ from the 90’s still had a powerful air of grace as it sat there totally out of place. The beast in it's camouflage of algae over the petrol blue paint work and green tinted windows blended in well into its new surroundings. However, what remained of once gleaming chrome gave the game away as sunlight still managed to highlight it's majestic metalic outline. Available as Baryta Fine Art Prints, framed or unframed. Photography created as beautiful pieces of Wall Art for you to invest and enjoy, exclusively from OPENPHOTO-STUDIO. Explore & Discover a World of Photographic Art

A Photographic Art Collection by Chris Page. During May 2020 and deep in the Coronavirus Lockdown; I took my daily walks though the empty streets and deserted beaches of the seaside town of Whitstable. With cameras slung over my shoulder I was out to capture these strange days. However, I soon began to realised that many of these locations I had photographed before in much happier times. It then became a retrospective walk though my back catalogue of photos to find the places where I could contrast two very different moments and moods in time. The Interaction of People from the back catalogue photos vibrantly stood out, compared to the emptiness of life in the Social Distancing of 2020. These shots then become my “Then&Now” collection of photographs. However, in writing this text nearly three years on I realise that “Now” is thankfully no longer “Now”, it has became another “Then”. May Coronavirus stay that way, and never become a “Now” again. “Life must go on, yes, but in the end — after the end — life was not important, just pictures on a screen, absorbing for as long as they lasted, causing us to weep and laugh, perhaps, but when the images are gone we step out blinking into the light.” Stephen Volk, Whitstable Lunchtime 1st May 2020 during Coronavirus Lockdown. This busy one-way system that runs through the seaside town would normally be bumper to bumper with traffic and people spilling off its narrow pavements. The Shop, Restaurants and Pubs that make Whitstable Harbour Street a destination, where Life gathers and interacts, now have their doors closed. On this day with a tripod in the middle of the road I took my time to get the shot I was after without fear of being run down by cars, and not a person in sight! July 2018, I set out to capture a picture of Life and the Social Interaction of Whitstable High Street, the movements of people, dogs and cars that all creates the vibe of the bustling street scene. I was pleased with the result, for me it incapsulated my memories of the Whitstable that I love as a child, without focusing on the beach of this seaside town. May 2020, I returned back to the same spot, but now deep in the Coronavirus Lockdown and with Social Distancing on the High Street; it had lost its vibe, lost its life and has become flattened. Even Her Royal Majesty now looks grey and lonely in her self-isolation on the wall. Boots the Chemist has changed its window display from a colourful sun cream promotion to a subdued "thank you to key workers" statement. The wet surfaces and stormy sky accentuated the oppressiveness of the national human story, which is lockdown and social distancing in our local communities. “Love, be mystical as the flickering blue flame of night as the fully-awoken moon beneath cobwebs of passing clouds amidst chanting high-tides fuzzy, as my blanket big enough to illuminate a hundred thousand billion galaxies and just small enough to fit into my embrace.” Sanober Khan, Turquoise Silence What is it that we are really missing in Lockdown ? I think I may have found it at the changing of the low-tide. But you decide. I just merely illuminated two flickering moments of time on a Whitstable beach. July 2016 and the annual Whitstable Oyster Festival is in full swing at the Harbour Market. The brass band plays a Glen Miller tune while people eat, drinks and enjoy this traditional coming together. May 2020, I stepped up onto the empty performance platform where the band once played and I looked out over a deserted Harbour. Just two lone people walk a dog on wet concrete pass the closed-up huts of the Market. There will be no Oyster Festival this year! To find a free space in this Whitstable Car Park can be very hit and miss in the busy Summer months, but in May 2020 it’s not a problem. Take your pick of the 260 parking bays, it’s completly empty in Lockdown. In its emptiness a young woman exercise her dog, throwing a ball across the wide open expance of Tar Mac. Now put into good use as a dogs playground. Available as Photographic “Custom Finish” Fine Art & Photo Prints, framed or unframed. Photography created as beautiful pieces of Wall Art for you to invest and enjoy, exclusively from OPENPHOTO-STUDIO. Explore & Discover a World of Photographic Art

Top Tips for Stepping into the Dark When the sun downs down it's a great time for you to explore the Night with your camera. It's all about the light, or the lack of light to create the mood of the moment, discover the many variation of darkness that you can use. I love that magical time when the sun has just fallen below the horizon and you are on the edge of day becoming night. Equally, it could be the dead of night with a jet black sky and the stars shining bright. Step out and become aware of the differences with or without Moonlight and all its stages between, and the effect it has on your photography. Re-engage yourself with the Night, we now live in a world filled with Artificial Light and it is very easy to forget our ancestral past when there was none, only the darkness. May I recommend a wonderful book to read before you get started - Under the Stars by Matt Law. Although not directly about photography this book retunes us into looking at the rhythms of the night in a very different way, and with that it can only but help how you become a nocturnal photographer. However, the use of Artificial Light will be dominate in your photography, just walk the streets at night and you can’t avoided it, but see if you can use it in a creative way. Think of it as painting with light on a canvas of darkness. Have fun with it, even add your own extra light to create some extra dramatic effects. The great thing about night photography is that there are no rules, even your camera will not perform the same way as it does in daylight, be prepared to fail, but also be prepared to capture something really special. Here are my Top Tips that I found works for me, some of these tips may seem obvious, however others I have only found out when things went wrong! With practice you will find your own way of doing things and getting the best out of your equipment and the situations you find yourself in. Planning Before stepping out into the night I always try and pre-plan where, when and what I want to achieve. Having a loose plan in mind helps me gather what equipment I need to take, you don’t want any more than you need , but equally forgetting a vital bit can be very frustrating in the dead of night. With little bit of preparation it can make a big difference in having a successful night of photography. Check to see what the weather may be doing and what you need to wear. Work out what the condition of the sky is likely to be, will it be clear or cloudy. Find out what phase the Moon is and its movement across the sky for the night. If you are photographing night time Seascapes find out the tide times. Get any maps together as to where you are going and work out a route before hand. Think about your timing, when to start and finish to get the best out of the night. There has been times for particular locations when I have done a daylight visit first. It's so much easier in places you don’t know to check it out first in daylight, rather than turn up in in darkness and be complete confused what to do and where to go. Everything looks so very different in the dark! Tripod 99% of the time I use a Tripod for night photography. I have three different sizes to choose from; Large & Heavy, Medium & Sturdy, Compact & Lightweight. Depending on the accessibility of the location and how far I have to walk usually determines which one I will use. However, some shots such as Star Trails you are going to need a heavyweight, so don’t forget you will need to carry this. Without a Tripod you will find that you will limit yourself considerably what you are able and need to do with your camera, a tripod is literally your foundation that all will develop from. Shot Manual Turn off all Auto Exposure facilities on your camera, you need to be photographing in full Manual mode to be able to control all aspects of the exposure. I also tend to turn off Auto White Balance and give it my own single pre-set value. This means in Post Production I know exactly what all my photos are set to and can make adjustments from this single point. If it was on Auto then every image could have different values making it difficult in making overall adjustments. For those of you that have it, make sure you capture images in RAW format, this will allow you the maximum editing opportunities Post Production. If you don’t have a RAW setting on your camera don’t let that stop you shooting in JPG. ISO Why bother taking a Tripod, just ramp up the ISO and Handhold? That’s not my preferred way if you want high quality clean images and have the flexibly to shoot at lower speeds. I tend to do quite the reverse, I shoot at very low ISO at night and slow speeds, so I really need that Tripod. However, there has been times when I have handheld at a high ISO to get a shot because using a tripod was not appropriate or possible. In these cases it is better to get the shot at high ISO rather than not getting it at all, you just have to do more work in Post Production to reduce the noise out of the image. Speed With the benefit of your camera mounted on a tripod you can shoot at very slow speeds, not possible when handheld. To create light movement in your photographs such as car lights etc then you will need to play around with the camera speed at the lower end. It's a bit of trail and error to find the correct setting and waiting for the best moments to fire the shutter, but that’s all part of the fun. Overtime you will develop your own gut feel when you start put your camera to the test of this type of photography. Don’t forget to use some form of remote shutter release to negate any camera shake, if you don’t have one of these then put the camera on a short self-timer setting for firing without your hands on the camera. Aperture If you are running at lower speeds on you camera this gives you lots of flexibility with your aperture settings. The thought maybe that when shooting in low light conditions you need to open your aperture right up to allow as much light into the camera. Well this may not be the best when thinking about the depth of field. Imagine your night shot exactly as if it was in bright daylight, what aperture setting would you use then? Better to slow the speed and have your aperture reduced for a better depth of field. Also if you are after a “Star Burst” effect from streetlights and alike then a small aperture is going to create this for you. Play around with different aperture setting for the same shot (adjusting your speed accordingly) to see what works out better for you. Focusing If you are in very dark conditions and can be very difficult at times for Auto Focus to work correctly. One thing you can do is temporarily maximise your ISO so that you can see the view through your camera, turn Auto Focus off and adjust the focus manually. You will need to lock this focus in, I use a small strip of tape around the focus ring to stop myself accidentally moving it. Once the focus is set you can now readjust the ISO to the correct setting you want. Condensation Yes, Condensation on your lens can be a big issue when photographing late at night. There has been times when I have thought I had a perfect shot in the camera, and it was not until later after I had downloaded the image onto my computer screen did I then see that there is water droplet in the middle of the picture! Always carry plenty of dry lens cloths as condensation can happen at anytime at night and can be really hard to spot, keep checking the front of your lens. For very long exposures (an hour or two) I have even had to resort to using heated elements around the lens, like the ones they use on astronomical telescopes to stop condensation forming on the glass. Batteries Make sure to have fully charge spare batteries with you. You will find photographing at night and in the cold will drain your camera battery much quicker. Because you will be doing longer exposures and likely be using the Live View Screen on the back of your camera a lot more power is being used than would be normally during daylight photography. The Bits & Bobs Take a Torch - White light and Red light, and a head torch frees up your hands. Warm Cloths - it can get cold out there at night, a hat helps reduce heat loose. Gloves - I use thin gloves so I can still feel the camera, but the camera body gets cold. Footwear - ware sturdy walking boots if you are going into rugged terrane. Food & Drink - in remote locations you will be pleased you brought these with you. Mobile Phone - for emergencies and great for map app’s (if you have a signal). Finally, be prepared for the unexpected! Things can and do happen at night so be super aware and keep safe, but ultimately have a great time and produce some amazing photographic results. There are many other things I could talk to you about Night Photography; creating Star Trails, Light Painting, Post Products and Editing, plus lot’s more……….but that’s for another time. Look out for more of our blogs from OPENPHOTO-STUDIO. All The Best - Chris Available as Photographic “Custom Finish” Fine Art & Photo Prints, framed or unframed. Photography created as beautiful pieces of Wall Art for you to invest and enjoy, exclusively from OPENPHOTO-STUDIO. Explore & Discover a World of Photographic Art

A Photographic Art Collection What is it about Lighthouses that touches us so very differently from any other type of building? Is it the romantic sense of loneliness? But if that was so why do those that are not isolated still have a magic about them? ​ As an ongoing Photographic Art collection Chris Page has brought together his photographs of these amazing structure’s, as a ongoing project. Here is just one location that Chris talks about how he went about capturing the beautiful images. Photographing Beachy Head I realised that I had to plan my forthcoming photographic shoot to Beachy Head like a military campaign, all had to be spot on to get the most out of the difficult location in a short window of time. Weather, Tides, Access Routes, Travel and Walking Times all had to be taken into account to capture the best of the early morning light. I started my car journey at 3.00am to arrive on the South Downs cliff tops by five and still in the dark. With the small beam of light from my head torch I picked my way down the steep narrow path to Cow Gap at the base of the cliffs and foreshore. Once on the beach I was presented with a mile long walk in the dark over large rocks and boulders on a receding tide towards the lighthouse. With 10kg of camera equipment strapped to my back and a tripod used as a walking stick, slip sliding my way for a more than an hour towards the distant blinking light. Rock falls are a constant treat from the 530ft high white chalk cliffs, but staying away from its base was not always an option in finding a route through between them and the sea. By 6.30am I had reached my goal with the light from the rising sun rapidly now starting to appear on the horizon. With a quick camera set-up and tripod perched on a high chalk rock fall I composed my first shot, and then waited, waited for the magic of the light to arrive. For the next hour I remand fixed in my concentration of what was before me. Moving only to play with the long exposures settings and tweaking the camera position as the clouds, sea and light constantly changed. There is great pleasure in being alone in such a place, with only the sound of the wind and sea to fill the space between your ears, along with the occasional barking of seals looking for breakfast. By 7.30 morning had fully arrived and time to move on. It was now a retrace back to my starting point, but this time photographing viewpoints I had not seen on my original track in the dark. Also with the tide rushing out there was now lots of extra space away from the base of the cliffs to walk over the glinting pools on flatted weather sea rock. Finally arriving back at Cow Gap all that now remained was the hike back up the steep cliff path. By 10 o’clock I arrived back at the car; huffing, puffing and dripping in sweat, but feeling pretty chuffed that the mission I set myself was accomplished! Available as Photographic “Custom Finish” Fine Art & Photo Prints, framed or unframed. Photography created as beautiful pieces of Wall Art for you to invest and enjoy, exclusively from OPENPHOTO-STUDIO. Explore & Discover a World of Photographic Art

What is Photographic Art? It's a relatively young medium in the art world when compared to paintings and sculpture. But photographic art is fast gaining in popularity amongst collectors. However, given the saturation of photographic imagery in society today, it can be a daunting task. How to decipher the difference between a valuable work of art and someone’s happy snap, you will know, these are photographs that will stand out from the crowd. For you they have that intangible something that captures and drawers you in. Fundamentally you will know because you love it and want it in your photography collection. “Watching Over Granny” by Mike Rossi https://www.openphoto-studio.com/product-page/watching-over-granny How to Buy Photographic Art? For you to purchase a piece of photographic art has never been easier with the rise of online galleries. You can now access a range of world class photographers without having to leave home. Much like traditional art, the contemporary medium used to only be available from bricks and mortar galleries or straight from the photographers themselves. Given the general preference towards more traditional paint and brush works, photographic exhibitions were hard to find. This has led to the genre being a challenge to access for the general public. However, things have changed, now in the digital age, anyone can start their dream photography collection! “Coruisk Rock” by Chris Page https://www.openphoto-studio.com/product-page/coruisk-rock With this accessibility and saturation comes the challenge of finding valuable works that are of high quality. Sourcing photography art that will be a true addition to your art collection can be tricky. But there are a few key things to look out for. For our Six Top Tips to help you find the perfect artwork for your photography collection, keep reading Our Six Top Tips #1 Limited or Unlimited You will find Photographs and prints gain value through the scarcity of editions. Given that each print is based off a negative or digital file, you would think that photographers can print as many as they want. However, in doing this it would reduce the value of the edition. By limiting the number of copies of a single image, photographers can control how much the work is worth. Indeed, prices can vary for a single image across the different editions, with the value changing as each print is made. Additionally, even large or unlimited print supply can be some of the most successful pieces have been sold this way. You don't have to be put off by this. Do you like? Ultimately it comes down to this, if you are thinking of added it to your photography collection? “Turkey Kiss” by Mike Rossi https://www.openphoto-studio.com/product-page/turkey-kiss #2 Creative Craftsmanship As you would do with any other art mediums, look at the craftsmanship of the photograph. The skill of the photographer, the consistency of their portfolio and the equipment they use will affect how the final image is valued. Research, read the artist’s biography and learn how the photograph was made. After all, an image may take seconds to capture, but it takes a lifetimes knowledge to know how to make the most of it. Photographers like those at OPENPHOTO have been approved by a curatorial team. Therefore, this ensures top quality and professionalism before their work is available for purchase, so rest assured that you’re purchasing quality work. Often artists early in their careers will charge lower prices that match their experience in the industry. It’s not all about the Professional, look out for the Semi-Professional or Amateur that could be the next up and coming thing in the market. Which means, as their popularity, reputation and experience grows, the value will increase. Therefore, meaning it’s an excellent time to invest and buy yourself a piece that grows in value! “Pastoral Church” by Chris Page https://www.openphoto-studio.com/product-page/pastoral-church #3 The Production Pay attention to how the image has been printed and presented, there may be different options available that are reflected in the price. Photographs do not always get printed the same way, there are many different types of photographic paper and methods. For example, C-type prints, Fine Art Giclee prints, Baryta prints, Lambda prints, Endura prints, on Canvas, on Metal and many more. Each method of printing will have a different appearance in the final product, and different types of paper will have various lifespans. Generally, fibre-based papers will produce higher quality results which is why they are standard for exhibition prints. For works that won’t yellow as time passes, the paper should be acid-free. Take note on whether the final image has a matte, silk or glossy finish and any framing details, as these may vary across works. More often than not the Photographer will have selected the printing method, size and presentation that best reproduces the image. However, for some pieces there may be different options available for you to select from. Please refer to our Production Guide to help with the specification of these different products and methods. If you are in anyway unsure, please contact us and we will guide you through. “Dark Forest 1,2,3” by Frankey Craig https://www.openphoto-studio.com/product-page/dark-forest-one #4 The Story Every image has it’s own story. Each element within the frame was included deliberately by the photographer to tell that story. The narrative behind the image gives it meaning and is where the connection we feel comes from. It may not always be the subject matter that tells the story, but instead the how and why behind the photo. It’s also important to note the photographer’s story. Why did they take the photo? What was happening at the time the photograph was taken? Many images become interesting looking at the circumstances surrounding them and take on a whole new meaning! “Street Racing in Naledi” by Mike Rossi https://www.openphoto-studio.com/product-page/street-racing-in-naledi #5 Its More Than A Photograph It’s important that you make sure the Photographic Art comes with a certificate of authenticity. This document is proof of the value of the piece, when it was created and that it was created by the photographer. It’s also the place to look to find out which edition and number if part of a Limited Print Run. There may also be Signed editions by the Photographer for certain prints that will add more value to the piece. Special Collections of prints are sometime made available, such as Proofing Sets or First Editions, these are the most prized for collectors. From time to time we have Vintage Editions that become available. These are photographs taken on film some years ago, digitised and newly printed using modern methods. However, they still retaining the unique quality of film photography. When buying Photographic Art through OPENPHOTO you are purchasing new prints that have not been owned or used by anyone else. Every print is produced at the highest quality available for the specified product and method. In the unlikely event that you are unhappy with the condition you received your artwork in, we will we replace it free of charge. “Ben More” by Chris Page https://www.openphoto-studio.com/product-page/ben-more #6 Do You Love It There are lots of factors that determine what is a ‘good’ image or a worthwhile investment to be in your photography collection. However, ultimately it all comes down to what matters is you. If you’ve fallen in love with a piece, then everything else falls away. All that is important is that you’re happy to look at that photograph on your wall for years to come. “Theebus & Koffiebus” by Mike Rossi https://www.openphoto-studio.com/product-page/theebus-koffiebus Explore & Discover a World of Photographic Art