Davy Kelly – A Little Insight Into My World
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  • Jan8th 12

    My wife Sarah loves to light a Yankee Candle (UK) every now and then. All I know is that they are fierce expensive but they last for a good while. When Sarah threw one out the other day I spotted it before it made it to the bin and saw that there was still about a half inch of wax left. Not being one to waste things I lit it up and put it in our bathroom to let it burn up the last of the wax.

    A few hours later we were sitting on the couch downstairs and heard a loud pop, I thought nothing of it but a few minutes later I decided to go and see what it was. I went up to the bathroom and there was the Yankee Candle jar with a hole in the side of it and the flame spread right across the base of the jar (not just the wick light!).

    What I believe had happened was that over time as the candle burned down from new small bits of the wick dropped off into the wax, as the candle burned down this sank to the bottom untill there was a layer of these small bits of burnt wick lying on the bottom. When the wax had just about ran out the many small bits acted as one large wick and the whole base of the jar went alight causing the glass to heat rapidly and shatter.

    UPDATE: I have checked the base of the candle and there is no mention of not letting it burn to the end of the jar… see photo below.

    UPDATE 2: My wife was not aware that it needed to be thrown out for safety she was just tidying up.

  • Oct14th 10

    For a number of reasons I have recently stopped photographing weddings not because I didn’t have any booked or because I wasn’t taking bookings, I was actually taking more booking when I stopped that I was ever before!

    Read on after the jump to find out a bit more about why I stopped…

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  • Oct12th 10

    During the recent Jesus Culture conference at Leicester Christian Fellowship Ian Rossol talks about the amazing ‘Legacy of Revivalists’ that we have in Leicestershire.

  • Sep30th 10

    This is just a mini project looking at how a match ignites when put into a flame and the path that the smoke takes , some interesting shots showing the vortices that comes from it, the set-up was just a single strobe (580EX MkII) behind and slightly to the left of the candle (shielded to avoid flare). This lit up the smoke very clearly, the aperture ranged from f/13 to f/22 and the shutter speed was fixed at 1/200 sec. In future I will take a snapshot so you can see what the set-up was.

  • Sep30th 10

    So last weekend we had the honour of hosting Jesus Culture in Leicester, I managed to record some video throughout the weekend, I was handholding a 200mm lens at the back of the main hall in All Nations Centre so it’s a little shakey at times but easily watchable.

    Anyhow check out the video below…

  • Sep30th 10

    My current project is going to be a Now and Then / Past and Present series of images. The series title ‘A Taste of Yore & Andweard’ comes from middle English word yore, meaning ‘long ago’ and andweard, (from Anglo-Saxon times) meaning ‘present, current, actual or existing’.

    Basically The plan is to dig up old photographs / images (hello Google) and then recapture the scene as it is today to show the changes that have taken place over the years.  Once it is underway and I have collected a few images I’ll have a page on the site dedicated it.

    The images will mostly be of my local area, so Broughton Astley, Leicestershire will form the epicentre of the project.  Clearly this is going to depend on the ability to find old images and also the permission to use them, but after an initial search there seems to be enough to at least make a start.

    The first in the series will be an icon of Leicester, the Clock Tower! The image is from circa 1910 and is an artistic impression (painting / drawing but I’m going to assume that it’s reasonably accurate and plough on with it anyhow. I’ll not show the image till I have taken it’s andweard to match.Please be patient as I am completing this in my spare time (which at the moment seems to be very scarce indeed).

  • Sep27th 10

    10 Tips for Taking Great Fire Photos

    1. Basic Settings

    Fire can be a bit awkward to focus on as it keeps changing so try setting your focus manually or use something nearby as a marker. Set your aperture on something fairly low to gain a greater depth of field and capture as much detiail as possible.  Although you can sometimes get away with taking fire photos handheld it’s best to work with a tripod to get the best possible sharpness and compositions.

    2. KISS (Keep It Simple Stupid)

    When composing the shot it’s best to keep things as uncluttered and clear as possible, this will give the final image a much stronger impact.  If your setting up something with candles as the light source be aware of where the shadows are landing.  A glass of red wine or a person sitting on a sofa with a woolly jumper and a hot chocolate can give a sense of homeliness associated with fire and warmth.  But try and keep out any thing that does not add to the image.

    3. Reflection

    Look out for naturally reflective surfaces around the scene you’re shooting, taking a photo of something on a wooden table can be brightened up by simply adding a white tablecloth, it will also act as a big diffuser giving you very soft light. The affect may be subtle but every little helps when working in low light.

    4. Temperature

    Colour temperature that is. Candles produce very warm light (about 1700K) a match will give off about 1850, most cameras have an adjustable temperature range some in the form of pre set modes and some that you can set from a photograph you have already taken and others will let you dial an exact value in.  Experiment with different temperatures to see the effects it has on the final image, if you are shooting in RAW you can adjust it as much as you like on your computer once you have uploaded them to it.

    5. Go Wide

    Why not go outside on a clear night and have the flame as a focal point in a nightscape? you’ll be surprised how much light is still in the sky once the sun goes down (leave your shutter open for a few seconds or more)

    6. Poi

    Poi is a form of dancing with fire on strings, it sound completely mental and you probably have to have a few bolts loose to do it but you’ll often find people at festivals who are doing it.  Again leave the shutter open for a number of seconds and you get some great light trails going on.  The safer version of this is to get a few sparklers and wave those about in front of an open shutter.

    7. Lens Choice

    When you’re shooting in low light you’ll want to get as much light to your camera sensor as possible, this means using the widest aperture available the problem is that the wider you go the more expensive the lens gets.  A good little tip is to look out for a prime lens on eBay or similar, primes generally tend to have the option of much wider apertures than zooms.

    8. Shutter Speed

    This one is a trade off here, the longer that you leave the shutter open for the more light you let in, great! but the longer its open the more time the camera has to move and you end up with blurry images, if you try and combat shake by using a faster shutter speed then you are limiting the length of any light trails produced by the moving fire.  To avoid this use a good sturdy tripod and leave your shutter open for as long as you like.

    9. ISO

    This is the Godsend of digital cameras, these days you can whack a camera’s ISO right up and the effects of noise are relatively weak, if you do end up with more noie than you’d like then grab a copy of noise ninja (just google that and it pop right up) and let that do the hard work.

    9. Start Painting

    did you know that you can paint with light? just take a torch and move the beam round the scene as the shutter is open and you’ll be painting with light, try experimenting with it and you’ll find what works for you.

    10. Freeze

    If you are shooting a human as a subject, take poi for example, you can get lovely light trails from the moving fire but the person themselves will be blurry to non-existent.  In this situation you can use a flash to freeze them.  Don’t just stick it on top of your camera though, try putting it off to one side so that it gives their body some definition.

    ATB, Davy

  • Sep27th 10

    As digital cameras become more sophisticated it is becoming much easier for many people to achieve pleasing results when taking photographs. However, using an amateur wedding photographer to take the photographs of one of the most important days in couples lives can be a false economy.

    Your wedding photographs are a lasting reminder of your special day which will be shown to family and friends for many years to come. This important piece of your own history should be left to the professionals.

    A professional wedding photographer understands how to capture images and obtain successful results in any situation. For a professional photographer it is as important for the photographer to achieve the right results as it is for you, as many appointments are generated from recommendations.

    Obviously budget will be a factor in choosing your photographer. However, a budget photographer should not necessarily be confused with an amateur photographer.

    A professional photographer may still cover your wedding for a similar price as an amateur by tweaking their packages to suit.

    A professional photographer is all about creating the perfect images of your big day and capturing the important moments. Costs can increase when selecting an album for your photographs, number of images required for printing etc. However, many professional photographers will reduce their costs where the client does not require the prints in an album or any printed photographs at all.

    Many photographers will allow the client to have their images copyright free on a disc for printing as required; however, you must first get permission off the photographer. Without permission, these images and the copyright are generally owned by the photographer so reproduction is prohibited.

    It should be remembered that many professional photographers will use their preferred printers who closely match colours etc. to the original. Therefore, whilst using a professional who does this may seem expensive, the quality of the finished photographs will be of the highest standard. Printing photographs on a PC will certainly not achieve the same results. Likewise quick print processors may well use old equipment and inferior papers or inks so will also not achieve the best results.

    That said, simply having the images on disc can significantly reduce the cost and you still have a lasting reminder in digital format.

    For a package of this type it would seem that you would simply be paying for the time on the day.
    However, any quotes may seem a little excessive even with this streamlined service. Whilst you may only see the photographer for a few hours on the day, there can be many hours of unseen work involved.

    Bear in mind that a photographer needs to know exactly what it is you want, what style of photography and which posed photographs you require etc.

    This will require a pre-wedding meeting in many cases followed by attendance where the ceremony and reception venue to go through exactly which shots you would like and advising on others. Again this all takes time and will be included in any quote.

    Then there is the after event work which can include sorting and picking out the best photographs. With digital cameras a photographer may take many hundreds of photographs, snapping away ensuring everything is captured. Sorting through these is a very time consuming process and adds to the costs.

    Once images have been selected many of these will require editing. This may include removing unwanted parts from the shot, adding or removing light, changing the colour as some may look better as black and white or sepia.

    When everything is taken into consideration, with the hours worked on one particular wedding the actual hourly rate for a photographer can actually be very low.

    Although professional photographers are trying to make a living the vast majority also do it for the love of the occasion and a passion for photography and are happy to spend many unseen and often thankless hours working on your images.

    Therefore when deciding on a professional or amateur photographer please bear in mind the major differences and the end result when making the final decision.

    If you find the photographer you really want to use and the quote seems excessive, please remember all the work which is involved.

    If the cost is simply too high, speak to them and in many cases they will be able to accommodate you. Ask them to strip out all the ancillary parts which although make the professional service more complete, do add to the cost.

    The cheapest option will obviously be to just have the photographer attend the wedding on the day and place all images on a disc without the pre-wedding meetings, sorting and editing. At least you will have professionally taken photographs for prosperity.

    All that said nothing can beat the full professional photography service, including professionally made albums and image editing. In order to have this service and still meet your budget it is very much worth while looking at other aspects where you can save and cut spending. Remember that apart from the video, the photographs are the only other lasting reminder of the day and should be afforded the respect and budget that deserves.

    This post has been reproduced with the kind permission of Our Wedding Memories

  • Sep8th 10

    There is probably no more basic setting in photography. The ISO, an abbreviation for International Standards Organisation, is the current system for measuring a digital camera’s sensitivity to light. Back in the days of old, and film, this sensitivity was referred to as the film’s ASA, or American Standards Association.

    No matter how you define the numbers the principle is the same. A low number means a low sensitivity to light while higher numbers mean greater sensitivity, or faster, light gathering capabilities. Using the right ISO can be the difference between a good shot and a picture quickly deleted before anyone sees it.

    Set the ISO as Low as You Can Go - This phrase sums up the whole issue of selecting sensitivity in one phrase. Because digital noise, or grain in the old days of film, increases with the higher levels of sensitivity it is important to find the lowest ISO that gives the photographer the proper shutter speed and aperture for the picture.

    Experiment with the Camera Settings – The best way to find the lowest ISO is to start with a setting a notch or two below what you think is proper for the light conditions encountered in the setting. Take a peak and see what shutter speeds and apertures the camera’s automatic exposure controls will generate. If they are too slow, move the ISO up a notch, and try again.

    Don’t go Fully Automatic – Many cameras will adjust up the ISO as part of the fully automatic functions. This can also apply to some situational settings such as sunset, action or nighttime. In this case the photographer has given up the option of choosing the proper ISO for the end photo.

    Know the Camera - The amount of noise, the small off colour bits rendered in the picture, will vary from camera model to camera model. Some newer models take acceptable quality pictures at ISO’s much higher than the older makes of even the high end camera product lines. By knowing what the camera model being used is capable of the photographer can judge what ISO settings produce acceptable results.

    Sometimes a Little Noise is Unavoidable – Some types of photography require a high level of sensitivity from the film or electronic sensor. Shots of sporting events with fast action such as auto racing are going to require a fast ISO and the noise in the shot will have to either be tolerated, or cleaned up in post production. Another situation requiring the use of a high ISO would be low light areas where flash photography is not allowed.

  • Jun8th 10


    There is probably no more basic setting in photography. The ISO, an abbreviation for International Standards Organisation, is the current system for measuring a digital camera’s sensitivity to light. Back in the days of old, and film, this sensitivity was referred to as the film’s ASA, or American Standards Association.

    No matter how you define the numbers the principle is the same. A low number means a low sensitivity to light while higher numbers mean greater sensitivity, or faster, light gathering capabilities. Using the right ISO can be the difference between a good shot and a picture quickly deleted before anyone sees it.
    • Set the ISO as Low as You Can Go This phrase sums up the whole issue of selecting sensitivity in one phrase. Because digital noise, or grain in the old days of film, increases with the higher levels of sensitivity it is important to find the lowest ISO that gives the photographer the proper shutter speed and aperture for the picture.
    • Experiment with the Camera Settings The best way to find the lowest ISO is to start with a setting a notch or two below what you think is proper for the light conditions encountered in the setting. Take a peak and see what shutter speeds and apertures the camera’s automatic exposure controls will generate. If they are too slow, move the ISO up a notch, and try again.
    • Don’t go Fully Automatic Many cameras will adjust up the ISO as part of the fully automatic functions. This can also apply to some situational settings such as sunset, action or nighttime. In this case the photographer has given up the option of choosing the proper ISO for the end photo.
    • Know the Camera The amount of noise, the small off colour bits rendered in the picture, will vary from camera model to camera model. Some newer models take acceptable quality pictures at ISO’s much higher than the older makes of even the high end camera product lines. By knowing what the camera model being used is capable of the photographer can judge what ISO settings produce acceptable results.
    • Sometimes a Little Noise is Unavoidable Some types of photography require a high level of sensitivity from the film or electronic sensor. Shots of sporting events with fast action such as auto racing are going to require a fast ISO and the noise in the shot will have to either be tolerated, or cleaned up in post production. Another situation requiring the use of a high ISO would be low light areas where flash photography is not allowed.