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Ran Morrissett

Feature Interview with Aidan Bradley is posted
« on: April 30, 2013, 05:02:26 PM »
How has GolfClubAtlas.com evolved? In many ways (!) but one is certainly the increased role that photography plays. Initially, the course profiles consisted of two, and if we were feeling stroppy, maybe three meager photographs. Now the total is often north of 30 photos of decent size. The number of photographs used in Feature Interviews and In My Opinion pieces has grown exponentially as well. Crucially, the Discussion Group is illuminated regularly with your photos. Especially satisfying are the numerous pictorial course tours. GolfClubAtlas.com now has a dedicated server, in large part to handle the photographic content that we enjoy on a daily basis.

To the extent that we all become better photographers and therefore post better photographs, the content residing GolfClubAtlas.com improves and we all benefit. Prodded by a conversation and feedback from Joel Stewart last month in San Francisco, we reached out to one of the finest professional golf photographers, Aidan Bradley. He was kind enough to allow us to ‘pick his brain’ for his likes/dislikes and how he captures the brilliant images that we have enjoyed for years. (As an aside, if you aren’t signed up for his free Photo of the Month email blast, consider doing so by emailing him at aidan@west.net with POTM in the subject line). In our Feature Interview, Aiden describes the process from equipment to composition to final image creation. The thirteen photographs included  :o speak for themselves. Just one look at that photo of Askernish makes me want to book a flight. From the perspective of the employer of the paid photographer, that is the sign of a job perfectly done! How about his of Portmarnock’s 12th?! I love seeing a subtle course highlighted in such stunning fashion.

An Irishman, Aidan grew up in Cork but now resides in Santa Barbara. Surely the moody weather of his native land helped shape 'the soul of an Irish poet.' The ever-changing Irish light dancing across the grasses creates complex vistas. Yet, working with such light can be frustrating because it is capricious and unpredictable.  As is true around the world, there are no short cuts when trying to get great photos - You must recognize the correct perspective at the optimal moment in order to seize the magic and be dedicated to putting yourself (hopefully!) in the right position at the right time, time and time again. Even then, Mother Nature makes no promises.  :-\  Yet, capturing those special vistas on film is mighty rewarding.

Photos do much to shrink the world of golf and when well done, they create not only visual pleasure but provoke visceral reactions that make you feel like you’re part of the scene. Special images like those created by Aidan delight and prompt us to dream.

Just as last month’s interviewee Chris Johnston did so graciously, Aidan will respond to our questions in a few days. For now, he is off to Acapulco on assignment!

Best,
« Last Edit: April 30, 2013, 05:07:32 PM by Ran Morrissett »

Joe Bausch

Re: Feature Interview with Aidan Bradley is posted
« Reply #1 on: April 30, 2013, 05:40:21 PM »
I learned much from that interview.  Thanks.
@jwbausch (for new photo albums)
The site for the Cobb's Creek project:  https://cobbscreek.org/
Nearly all Delaware Valley golf courses in photo albums: Bausch Collection

Bill_McBride

Re: Feature Interview with Aidan Bradley is posted
« Reply #2 on: April 30, 2013, 07:33:22 PM »
Excellent interview!  I love that Aidan doesn't consider himself a techie. 

If you're visiting Santa Barbara and want to see a gallery of his work, an email to Aidan may result in an invite to join him for a cocktail in his home bar near the SB muni course. 

I'm curious about the courses in the Azores.  I spent the summer of 1962 there during college, visiting my parents while my dad was building a breakwater near Lajes AFB on Terceira.    The course there was nothing special but the nine hole course at Furnas on San Miguel was spectacular.  The grass was mostly moss down in that volcanic valley.   The Hotel Terra Nostra nearby was a favorite hangout of Nazi high command officers during WW II as Portugal was neutral.  I'm wondering what high level courses have been built more recently. 

Mike Nuzzo

Re: Feature Interview with Aidan Bradley is posted
« Reply #3 on: April 30, 2013, 08:08:43 PM »
Thank you for sharing Aidan and Ran
The image of the irishman and guinness is as good as it gets
Have you photographed people in recent years?

Do you ever use large format digital?

Cheers
Thinking of Bob, Rihc, Bill, George, Neil, Dr. Childs, & Tiger.

Jason Topp

Re: Feature Interview with Aidan Bradley is posted
« Reply #4 on: April 30, 2013, 11:17:23 PM »
Terrific Idea.  I own one Aiden print thanks to a dubious contest win on this site.  It is a treasured picture of Wakonda because it reminds me of being a kid staring through the fence wishing I could play there.

Thomas Dai

Re: Feature Interview with Aidan Bradley is posted
« Reply #5 on: May 01, 2013, 09:14:19 AM »
Ran and Aidan,

Thank you both for this splendid interview. Most interesting and eye opening. GCA is a great place to learn about various aspects of golf architecture etc and now you get help with photography as well. A real bonus.

By the way Aidan, which green at Murcar is the photo used in the interview of? My guess is it was taken from the rear of the 5th?

All the best

Craig Van Egmond

Re: Feature Interview with Aidan Bradley is posted
« Reply #6 on: May 01, 2013, 12:11:11 PM »
Aidan's pictures can make any course look good, I am consistently blown away by how good his pictures are.

Aidan Bradley

Re: Feature Interview with Aidan Bradley is posted
« Reply #7 on: May 01, 2013, 03:50:10 PM »
Greetings from muggy Acapulco, the things that I do to make grass look good!

Joe... thank you for the kind words. Glad I could have been of some assistance.

Bill... when I shot Furnas it was eighteen holes. About ten minutes out of Ponta Delgado, the capital of Sao Miguel, is Batalha which opened to the public in 1993. It is a fun course with some great views and in recent years it has been the home to the Portuguese Senior Open.

Mike... the only person I have photographed since my encounter with Eoin was Byron Nelson, a lovely man whom I shot for and ad for Cleveland. My files are 120mgb raw and 60+ when converted. I don't see the need to spend $40,000 plus for a camera when no one has ever said my files were not big enough.

Thomas... you are correct, that is the exit from the fifth hole.

Craig... I appreciate your sentiments. Thank you.

Gib_Papazian

Re: Feature Interview with Aidan Bradley is posted
« Reply #8 on: May 01, 2013, 04:58:25 PM »
Aiden,

You are obviously an incredibly accomplished artist and I can appreciate your belief that it is not necessary to be a technical whiz to take outstanding shots. That stated, I am curious as to some of the particulars with your still photos; recall that my training is in cinematography, which is a bit different - although one could make the argument that movies are nothing more than 24 (or 30) individual photos strung together.

You are shooting with a Mark II (we shot our recent feature on the Mark III with Zeiss prime glass) with a full frame sensor and I assume with Canon L-lenses such as the 24-70 zoom. Are you shooting exclusively at ISO 320? Or late in the day do you push it to 640 or 1250? It would also be useful to get your thoughts on shutter speed. Obviously, as there are no moving parts aside from the occasional bird, so do you keep it around 125? Is there a particular f-stop you favor?


   
   

Aidan Bradley

Re: Feature Interview with Aidan Bradley is posted
« Reply #9 on: May 01, 2013, 05:54:12 PM »
Gib......... When shooting golf courses the ISO is always 100. Depending on how close it is to sunrise or sunset the speeds vary from 1/4 to 1/8 of a second or 1/8 to 1/20th. Needless to say the camera is on a tripod, mirror locked up, cable released with a weight on the tripod for extra stability to avoid any camera shake. F stop, depending on the effect one wishes to create is 95% f11- f16.

Jay Flemma

Re: Feature Interview with Aidan Bradley is posted
« Reply #10 on: May 01, 2013, 06:35:13 PM »
All right, Aiden!  Way to go!
Mackenzie, MacRayBanks, Maxwell, Doak, Dye, Strantz. @JayGolfUSA, GNN Radio Host of Jay's Plays www.cybergolf.com/writerscorner

Scott Weersing

Re: Feature Interview with Aidan Bradley is posted
« Reply #11 on: May 01, 2013, 06:51:45 PM »
I loved to shoot Velvia when I was backpacking in the Eastern Sierras. I had a Nikon F3 and 20 mm lens.

I like how Aidan keeps the look of Velvia even though he is shooting digital. Photography is all about imagining how you want it to look and then making it happen. It is not just is composition that makes his photos special, it is the color and saturation that he chooses.

Here are some pf my photos trying to be like Aidan:

http://www.golfclubatlas.com/forum/index.php/topic,28898.0.html

You want to shoot a course late in the day.

Dan Moore

Re: Feature Interview with Aidan Bradley is posted
« Reply #12 on: May 01, 2013, 07:07:10 PM »
Hi Aidan,

Thank you for the interview. 

I have also found myself sjhooting a little wider lately.  Do you have a preferred f-stop?  Always use a tripod?  I have trouble focusing sometimes, any suggestions on how deep into the frame the focus should be set? 
"Is there any other game which produces in the human mind such enviable insanity."  Bernard Darwin

Aidan Bradley

Re: Feature Interview with Aidan Bradley is posted
« Reply #13 on: May 01, 2013, 07:56:17 PM »
Dan... I always use a tripod. Since the flag(hole) is the object of the golfer and my images, that is what I focus on.

Dan Moore

Re: Feature Interview with Aidan Bradley is posted
« Reply #14 on: May 01, 2013, 10:22:21 PM »
Thanks.  Sorry, I see I missed your answer to Gib before asking my questions.  I did see the one about the $40,000 camera though.  :-0

I figured some of the cloud effects were due to slower shutter speeds.  My brother is a pro sports photographer and he advised staying above 320 shutter speed when handheld even if bumping the iso a bit to make sure things are sharp, but it seems like there is more benefit to staying at iso 100 and using a tripod.  Not having learned PS early on I have found Lightroom to do almost everything I need. 
"Is there any other game which produces in the human mind such enviable insanity."  Bernard Darwin

Jeff Taylor

Re: Feature Interview with Aidan Bradley is posted
« Reply #15 on: May 02, 2013, 02:23:59 PM »
Entertaining and informative.
Always nice to better understand how artists work.

Gib_Papazian

Re: Feature Interview with Aidan Bradley is posted
« Reply #16 on: May 02, 2013, 04:16:17 PM »
Aiden,

That is also quite interesting. At one point I did a series of tests and could not really detect much difference between shooting at ISO 320 (native) and dialing it down to 100 in daylight. I'm also a little surprised you shoot at f16 - maybe because my walking-around camera is a 60D - I'm always a bit afraid to shoot above f11 unless I absolutely have to.

However, there is no arguing with the astonishing quality of your work, so I am going to give it a try this weekend at KP and see if I can duplicate the results. I'm a big fan of Aperture - but have to admit that I sometimes use iPhoto to polish off photos of landscapes.

I was also a bit surprised that you never shoot B&W, but convert it in post. I might be hallucinating, but it seems like the dynamic range on B&W seems better when I set the camera to monochrome.

Speaking of, there is a new RED digital cinema camera with a monochrome sensor. The results are absolutely unbelievable - I wonder if somebody will think to convert the sensor to still cameras. It is sort of a boutique audience, but the idea of coaxing film-stock results out of an exclusively B&W sensor, I'm definitely all in.  

Incidentally, I obviously read the interview, was only vaguely aware you are from Ireland, and not sure why you think I'd have you deported for choosing too many shots from overseas. Red Rocks is beautiful, but the actual golf course is hardly an architectural masterpiece. I'm also not quite sure where the "pink panties" line came from - although I do get mine in a wad from time to time. I hope you're not suggesting that Armenians are more emotional than the Irish . . . . . . I've been all over Ireland and was usually the sanest and least argumentative person in the Pub.  

 


 
  
« Last Edit: May 02, 2013, 04:36:33 PM by Gib Papazian »

Aidan Bradley

Re: Feature Interview with Aidan Bradley is posted
« Reply #17 on: May 02, 2013, 11:14:16 PM »
Gib........... I appreciate your input and queries. Your question about the use of f16 was interesting. The weather here in Acapulco is a melange of lower levels of humidity, heat, coastal fog, soupy skies and a dose of something that everyone you chat to has a different way of explaining. Push comes to shove it makes my job very difficult.

Between shoots I sought refuge in my air-conditioned room ruminating on your surprise that I squeezed my gigantic landscapes through a tiny little f16 tunnel in my pin hole camera. Ever the professional, I took your query as an interesting challenge and an opportunity to question my modus operandi.

Conventional wisdom has over the years dictated that f8 for the most part is the optimum aperture for maximum resolution. Please keep in mind as per Bill Mc Brides comments, I am not a techie (next Bud Lite on me Bill when you stop off at the T). That said, when I decided to delve into the world of digital photography I took my lens's and tested them at f8 through f16. I then took the individual results and blew the up to 16x20 prints. I have to be honest I saw no discernible difference.
I will be shooting at Ojai Valley next week and will do a test which I am happy to share with all.

I was so concerned about Gib's observations that I contacted some nationally known golf course photographers whom all of you have been privy to their fine photography over the years. One said he shoots at f9, just because he heard that f8 was where it's at and because he is delightfully contrary, he snubbed his nose at conventionality and bumped it it up to f9. You got to love a rebel.

My other esteemed colleague shoots between f16 and f22. His concern is depth of field and he backs it up with images that are perfectly sharp from tee box to green. Now, before we get involved in minutia, lets talk about how imagery is used in todays brave new world. I don't have a sugar mommy nor was I born with a silver seven iron in my golf bag, but I do make a living (meagre as it is) photographing grass.

Where do my images appear? On your I Phone, your I Pad, your computer, and as spreads that you see in Links Magazine and a few of the other remaining golf periodicals that will soon become dinosaurs. How big does that file have to be? How sharp does it have to be? I have seen my images blown up to large billboards in Dubai, Portugal, and Acapulco and I was surprised to see how amazing they looked. Now I know that everything looks fine when you are whizzing by at 100 mph in your brand new BMW but I did stop long enough to be impressed at todays technology (not my BMW).

From a puritanical point of view, yes we should always strive to produce the finest product possible but lets not get carried away with the technic or the technology,  after all, we are just (as communicators) trying to evoke an emotion, a response , a feeling or a passion with others that may share a common thread.  Enough of my inane ramblings, back to the questions at hand.

I  have never been asked to shoot a course in B&W. There are many pieces of software on the market that do a great job converting color to B&W. It would be a fun assignment to see which approach provides the best result.

Yes, I have heard about RED. It's a brave new world out there, its just a matter of finding round pegs for round holes..........

I would like to stay on topic so I will not address the "pink panties" issue on this forum but I will be more than happy to remind you of the occasion it surfaced when we get together to discuss the merits of fine Tequila.

As to whether Armenians or the Irish are more sane, lets go play 18, enjoy a fine Single Malt Irish whiskey(I will provide) and then have that conversation. My guess is that we will both be delightfully sane and more important, pleasantly merry. Cheers.

Bill_McBride

Re: Feature Interview with Aidan Bradley is posted
« Reply #18 on: May 03, 2013, 01:27:22 PM »
Jameson yes but never a Bud Light.  Do you take me for a barbarian?   ;D

James Bennett

Re: Feature Interview with Aidan Bradley is posted
« Reply #19 on: May 05, 2013, 02:54:16 AM »
Aidan, Gib

thanks for the discussion.  Delightful and informative.

I must get a tripod - keep meaning to but haven't. A little one (for my canon s95).  Perhaps I could/should read up a bit on the other features on my camera as well.  Before I end up taking all my pictures on an iphone5.  :)


Bill

I thought 'Bud Light' was code for tap water.  Or does it just taste the same?

James B
Bob; its impossible to explain some of the clutter that gets recalled from the attic between my ears. .  (SL Solow)

Bill_McBride

Re: Feature Interview with Aidan Bradley is posted
« Reply #20 on: May 05, 2013, 10:50:23 AM »

Bill

I thought 'Bud Light' was code for tap water.  Or does it just taste the same?

James B

Let me just say it ain't Belhaven's Best.   ;D
« Last Edit: May 05, 2013, 07:24:00 PM by Bill_McBride »

Tony Ristola

Re: Feature Interview with Aidan Bradley is posted
« Reply #21 on: May 05, 2013, 03:46:02 PM »
Beautiful shots, super interview... absolutely love the last one.

Scott Warren

Re: Feature Interview with Aidan Bradley is posted
« Reply #22 on: May 05, 2013, 11:21:09 PM »
Aidan,

I'm interested in hearing about your philosophy as a photographer regarding Representation vs Creation.

To what extent do you view your art as one of creating the best possible representation of exactly what you saw? And how far are you comfortable travelling down the road of creating an "aspirational" image that doesn't meaningfully reflect what you saw when you looked through the lens?

As someone who has presumably worked at both ends of that spectrum, do you view yourself as an artist who varies between "editorial" and "advertisement"? If so, how does your mindset vary between "editorial" shoots and shooting an "advertisement" (like the unfinished course that you touched up to mint condition for promotional purposes)?

Bill Brightly

Re: Feature Interview with Aidan Bradley is posted
« Reply #23 on: May 06, 2013, 03:57:13 PM »
The first three or four yours that I was on the site I did not know who Aiden was, except some guy who would post an amaziing photo from time to time. I still chuckle at one thread where we all posting our favorites photos, and then Aiden put one up and blew us all away, and then someone responded: "Aiden's here: game, set, match!!!"

Gib_Papazian

Re: Feature Interview with Aidan Bradley is posted
« Reply #24 on: May 06, 2013, 06:48:43 PM »
Aidan,

That one of your colleagues likes to shoot between f16 and f22 for depth of field considerations seemed odd to me - until I thought about it. Wide lenses do tend to get some darkening and chromatic aberrations on the fringes of the picture. Is your friend shooting with a (for instance) 35mm lens at a higher stop to increase the depth, but lessen the aberrations and fringe darkening?

Shooting at f22 using a wide lens - where depth is not really an issue on panoramic shots - seems illogical. But then again, I'm hardly a still photography expert. The other question is to ascertain what camera and lens combo he/she is using. Digital photography still strikes me as an uncharted art.  

With respect to ISO settings, I've read quite a bit of contradictory advice - including independent professional camera tests that reach opposite conclusions. Here is an article I read that asserts a 160 ISO will yield nearly identical results as 100 ISO. This goes back to the idea that even multiples of 320 "native" for full frame sensors is optimal:    

http://www.terragalleria.com/blog/2011/03/22/best-iso-for-low-noise-on-canon-5d-mk2/

There may be a law of diminishing returns at work here. Some shooters maintain that 50 ISO shots return muddy looking highlights. Of course shutter speed variations need to be taken into account, but again, I am not sure that anybody is absolutely certain which ISO/fStop/Shutter/Lens/Camera combination is optimum for shooting landscapes in hard daylight.

I've got an indoor photo shoot on Wednesday of a series of floral displays that mixes 5600K daylight through the windows with what looks like a funky combo of florescent and some industrial LED lamps. I'm a bit nervous about it because a bunch of contradictory light sources in terms of color temp are a bit much to get right.

One can only imagine trying to shoot professional quality in Scotland or Ireland with the weather changing every 10 minutes . . . .

  

  
« Last Edit: May 07, 2013, 09:26:24 AM by Gib Papazian »

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