How to Make Interesting Abstract Smoke Photos

By: Rick Ohnsman 

How would you like to learn a little “photo magic?” A magician not wanting to reveal his secrets might tell you his trick was all done with “smoke and mirrors.” The expression speaks of a kind of deception used to fool the viewer. No fooling here though, as you’ll learn the technique. You really will photograph smoke and later, mirror your image to add even more interest. So it really is smoke and mirrors. Shall we begin?

Can you see the Firebird? How was this done? Read on for the tricks to this abstract magic.

Tools for the trick

Here’s what you will need to create your photo:

Camera

Most cameras will work for this kind of photography. Being able to use manual control and manual focus will make things easier. You will also need to be able to fire a flash mounted off-camera using either a wired or wireless method. A lens which will allow you to focus on an object a few feet away will be best. The shots shown here were done with the Canon “nifty fifty”, a 50mm f/1.8 prime lens mounted on a Canon 50D camera. For a relatively inexpensive lens, it is very sharp.

A package of 40 incense sticks from the dollar store is probably enough for a lifetime of smoke photography.

Flash

You will want an external flash you can mount off-camera. The pop-up flash on the camera won’t work for this. You will be mounting the flash off to the side of your shot so it illuminates the column of smoke pointing perpendicular to the direction you’re pointing the camera. Having a light stand on which you can mount it will be helpful. You also don’t want any of the light to hit the background or flare into the camera, so a snoot which will direct the beam of the flash at the smoke column works well. You may also be able to fashion a “barn-door” arrangement with cardboard (or even tape). Whatever works to keep the light only on what you want – the smoke column.

Tripod

The flash will provide plenty of light and also freeze the action, so you really aren’t concerned about motion blur. The advantage of a tripod is simply to help you compose and frame the shot and provide some consistency.  If you don’t have a tripod or simply prefer to handhold your camera, that’s okay too.

To better see the smoke and also give you more flexibility later in editing, a black or very dark background will work best. Black posterboard, black cloth, the black side of a reflector, or whatever you have should work. Because the column of smoke you’ll be photographing will be relatively small, you won’t need anything very large.

Smoke-producing object

Incense, the kind that comes in stick form, works very well for this kind of smoke photography.  It’s cheap, burns for a long time, and produces just the kind of smoke needed.

Location

Unless you have an absolutely calm day with no wind, shooting outdoors probably isn’t going to work. Even the slightest air currents will affect your smoke pattern. Shooting indoors, particularly in a modern home, might be a good way to test your smoke detectors but having the alarm go off just as you’re getting started with your work is rather disruptive.  I found shooting in the garage to be a good option. It was dark, the air was still, and after the session, it was easy to open the door and clear the smoke. Just be aware of the requirements needed; still air, no smoke detectors, (or at least temporarily disarmed ones), the ability to make the room dark, and a door or window you can open afterward to clear the smoke afterward, and you’ll be set.

Setting up

The diagram above shows a basic setup. Put your camera on a tripod a couple of feet from where you will place the incense stick.  Taping the stick to light stand may allow you more flexibility in positioning it in the frame, but whatever you use, you will want to frame the shot so you put just the tip of the stick at the bottom of the frame, leaving a couple of feet above for the column of smoke. Whether you use a portrait or landscape orientation with your camera is up to you, just remember the smoke will drift around. Being a little loose with the framing isn’t a bad idea, you can always crop later.

The background should be a couple of feet behind the incense stick. If you light properly, it won’t show anyway so this isn’t crucial.

Position the flash on a light stand so it’s to the side of the camera and points perpendicularly to the camera angle. You will be side-lighting the smoke. Some photographers also put a reflector on the opposite side to bounce a little light on the other side of the smoke. You can experiment and see if you like that.  The shots here use only the one flash. As mentioned above, what is crucial is that no light fall on the background nor flare into the camera lens. A snoot is the easiest means of achieving this.

The smoke patterns are constantly changing and no two will be alike.

Camera and flash settings

In the darkened room where you’re working, use a flashlight or other dim lighting so you can still see the incense stick and do your framing. Focus on the tip of the stick, then turn off the autofocus so the focus stays locked.  Leaving on autofocus will almost guarantee frustration, as while shooting, the camera lens may hunt, trying to find and focus on the drifting smoke.

Shoot in Raw mode, (which you usually do, yes?) Doing so will allow greater editing flexibility later.

Set your camera around ISO 200, f/8 and about 1/60th of a second for starters.

Leave the flash off.

Make a shot before lighting the incense in the darkened room.

You should get a totally black frame and that’s what you want with no flash.

Now put the flash in manual mode and set it to about half power. You should have already connected it to the camera with a cord or perhaps set up a radio trigger so it will fire when the shutter is tripped.

Make a shot with the flash on and you should be able to just see the tip incense stick.  If so, you’re now ready to get smokin’.

This image is straight out of the camera. Note the tip of the incense stick at the bottom right.

Making your photos

Light the incense stick, blow out the flame and a thin column of smoke will rise from the tip.

Make a shot and check it. Is it focused?

Be sure, as you don’t want to make a whole series only to later find out they aren’t sharp. If you need to adjust your focus or perhaps go to a smaller f/stop for more depth of field, do so now.

Also, check the exposure. If things are too bright, drop the flash power or reduce the ISO. If the smoke is too dim, do the opposite. You want to clearly see the smoke, but nothing else.

If all looks good, keep making shots. Occasionally wave your hand near the smoke column or gently blow on it to vary the smoke pattern. You will want some variety so you can later choose your favorite shots.

This is the same image as the one before it, but horizontally mirrored and colored with a gradient.

Basic editing

What program you want to edit with is up to you. You will want to adjust the blacks so as to leave only the white smoke details. Then adjust the whites, highlights, shadows, exposure, and contrast by eye, tuning the shot to your liking.

If there are elements you wish to eliminate, paint them out with a black adjustment brush or use layers and masks in Photoshop if that is your preferred technique.

The Gordian Knot – This image was mirrored both horizontally and vertically and then colored with a gradient.

Mirrors and colors and abstracts, oh my!

You got the smoke, now what about the mirrors? Yes, the white smoke patterns on a black background are interesting but you can take this much further. I used Corel Paintshop Pro, but Photoshop would work too. Or for that matter, any photo editor that supports layers will work. (Keep in mind Lightroom does not support layers so while you can edit, colorize, and do other things with it, the mirroring part is beyond its capabilities).

Here are the basic steps:

• Open in your basic edited smoke image. Select the entire image and copy it.
• Paste the copied image on top of itself as a new layer.
• Mirror (flip) the upper layer horizontally or vertically. (In Photoshop, Edit, Transform, and Flip Horizontally or Vertically).
• Change the blending mode on the upper layer to Lighten. You will now see the upper layer mirrored and superimposed over the lower layer and some interesting patterns will be created.

Alien Gas – A straight smoke shot later colored green.

Purple Haze – Now, take the image above, reverse it so it’s a negative, (the black becomes white and the green becomes purple), then mirror it both horizontally and vertically.

You can move the layers so they overlap each other in various ways and change the pattern. You might want to make the canvas larger and put the mirrored image next to itself or even have multiple layers with the image flipped both horizontally and vertically.

You’ve now entered the realm of abstract art and anything goes.

Maybe you’d like to add some color?

Create another layer at the top of the stack and fill it with a gradient.  Now use the Overlay or Soft Light blending mode and watch your smoke take on the colors of the gradient.

If you’d like to hand-paint the smoke,  create a blank layer at the top. Turn the blending mode to Overlay, and using the Brush tool (and a color of your choice) to paint the smoke, watching the white smoke take on that color while the black is left untouched.

Try putting a photo on the upper layer and switching the blending mode on that layer to Overlay.

Like Rorschach inkblots, what you see is very individual. I call this one – The Witch Doctor

Something I find fascinating with these abstract smoke compositions is that they resemble Rorschach InkBlots. Everyone interprets them differently and can see different images in what are, after all, just random patterns of drifting smoke. The titles on these shots are what I interpret.

What do you see?

Smoke in other photos

You may have reasons to want to include smoke in your photos that is not an abstract interpretation. The same basic technique can work with side lighting.

The “Smokin’ Hot Peppers” was lit with two flashes, one on either side of the vase and an incense stick placed in and behind the peppers in the vase.

A flash on either side of the subject was the only difference here, otherwise, this image uses the same technique.

Pseudo-Smoke

Here’s one last trick that could work for you when you want something that looks like smoke but you’re in a no-smoking workspace.

Get some dental floss, fray it a bit, and tie it to a penlight or small flashlight letting the light shine down the length of the floss and onto your subject.

Now make a long exposure during which you keep the floss constantly moving. Smokeless smoke, just another option to have in your bag of photo tricks.

Looks like smoke, but it isn’t.

You’ll find that photographing smoke is all about the lighting. Side or backlighting will work best and a dark background helps the smoke show up better. Beyond that, it’s simply a matter of experimenting.

Give it a try and make a little photo magic. And share with us in the comments below!

Shooting Action Shots in Low Light Conditions

A Post By: Darren  

I love getting out and about to sporting events with my digital camera. Recently I went to the Australian Open Tennis and took a few hundred shots over the day (you can see one of M. Sanchez Loren to the right – not shot in low light but definately action). So when Amy Renfrey from the Digital Photography Success e-book asked me if I’d like to post this tip on taking Action Shots in lowlight situations I jumped at the opportunity. Here’s what she writes:

You know recently I have been getting a few requests to please help with fast action shots indoors. I remember when I too was frustrated with not being able to get a response from professional photographers about this situation. They were always so elusive with how they conducted themselves out on the field and what they did to get a certain effect.

So now I’m going to tell you about how to master this. Do you want the good news or the bad news first?

Okay good news is that yes it is possible. Bad news is that you do need a good camera with manual controls to do it. Now since you have already bought the ebook I am assuming that you have either a point and shoot camera or an slr. Either way, its better than a cheap camera that does nothing.

Okay good, so we got that established.

The secret is this: the reason fast action shots look blurry is normally because they are taken in level of low light, such as an indoor basketball stadium for example. What happens is the camera, if left on auto, automatically adjusts itself to low light levels, which means a slower shutter speed. A slower shutter speed occurs the camera needs time to get in as much light as possible due to this low level of light. Its great from the cameras point of view, but really, its annoying and disappointing.

So what can be done about it?

Well firstly, increase that shutter speed. You may notice an increase in digital noise but it will only be slight so don’t worry about it. After all its probably worth it for that ‘golden’ photo you are trying to get.

Its going to be hard getting more light into the camera, because usually you’ll be too far away for the flash to work appropriately anyway. This is why your shutter is the first consideration.

Something that might help further is this: Shot 1- take the shutter at a certain speed, shot 2- increase the shutter speed one notch, shot 3 then increase it again, and so on and so forth. If you have the patience and inclination, write down on a note pad exactly what shutter speed shot 1 was at, what shot 2 was at, etc. Then when you view the images on your computer later that night you will have the settings writing down so you know what shutter speed worked the best. Then you can apply that to other situations too.

So relax and work with what you’ve got. Increase the shutter speed or increase the light.

Read more of Amy’s Tips in Digital Photography Success.   

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How to Choose a DSLR Camera

By: Darren Rowse 

DSLR Cameras are increasingly becoming a type of camera that is in the reach of the average photographer as prices fall and as manufacturers develop more user friendly models.

I’ve previously discussed some of the advantages and disadvantages of moving from a point and shoot to DSLR but in this post would like to explore how to choose a DSLR.

In doing so I’ll cover:

1. 9 Reasons to Upgrade to a DSLR Camera
2. 8 Factors to Consider when Choosing a DSLR
3. My DSLR Camera Recommendations (also check out this post on the Top DSLR Models As voted by our Readers)

Firstly, a quick recap on some of the reasons why you might want to upgrade to a DSLR.

Reasons to Upgrade to a DSLR Camera

1. Image Quality – Due to the larger size of image sensors in DSLRs which allows for larger pixel sizes – DSLRs are generally able to be used at a faster ISO which will lead to faster shutter speeds and less grain (ie shoot at 1600 ISO on most DSLRs will have less noise than shooting at 1600 on a Point and Shoot). DSLRs also have built in noise-reduction when genearating JPG images which also helps cut down on noise.
2. Adaptability – DSLR’s ability to change lenses opens up a world of possibilities for photographers. While my point and shoot has a nice little 3x Optical Zoom (and many these days have longer ones) my DSLR can be fitted with many high quality lenses ranging from wide angle to super long focal lengths depending upon what I’m photographing (and of course my budget). Add to this a large range of other accessories (flashes, filters etc) and a DSLR can be adapted to many different situations. It should be noted that when it comes to lenses that the diversity in quality of lenses is great. Image quality is impacted greatly by the quality of the lens you use.
3. Speed – DSLR’s are generally pretty fast pieces of machinery when it comes to things like start up, focusing and shutter lag.
4. Optical Viewfinder – due to the reflex mirror DSLR’s are very much a what you see is what you get operation.
5. Large ISO range – this varies between cameras but generally DSLRs offer a wide array of ISO settings which lends itself to their flexibility in shooting in different conditions.
6. Manual Controls – while many point and shoots come with the ability to shoot in manual mode, a DSLR is designed in such a way that it is assumed that the photographer using it will want to control their own settings. While they do come with good auto modes the manual controls are generally built in in such a way that they are at the photographers finger tips as they are shooting.
7. Retaining Value – some argue that a DSLR will hold it’s value longer than a point and shoot. There is probably some truth in this. DSLR models do not get updated quite as often as point and shoot models (which can be updated twice a year at times). The other factor in favor of DSLRs is that the lenses you buy for them are compatible with other camera bodies if you do choose to upgrade later on (as long as you stay with your brand). This means your investment in lenses is not a waste over the years.
8. Depth of Field – one of the things I love about my DSLR is the versatility that it gives me in many areas, especially depth of field. I guess this is really an extension of it’s manual controls and ability to use a variety of lenses but a DSLR can give you depth of field that puts everything from forground to background in focus through to nice blurry backgrounds.
9. Quality Optics – I hesitate to add this point as there is a large degree of difference in quality between DSLR lenses but in general the lenses that you’ll find on a DSLR are superior to a point and shoot camera. DSLR lenses are larger (more glass can add to the quality) and many of them have many hours of time put into their manufacture (especially when you get into higher end lenses). I strongly advice DSLR buyers to buy the best quality lenses that they can afford. It it’s the difference between a high end lens on a medium range camera or a medium range lens on a high end camera I’d go for quality lenses every time as they add so much to photos.

Before I tackle how to buy a DSLR keep in mind that DSLRs are not for everyone. I’ve written more on the down sides of DSLRs in a post previously which you might find helpful in deciding whether you should stick with a point and shoot or upgrade.

How to Decide Which DSLR Camera is for You?

So how do you decide which DSLR to buy? There are an increasing array of them on the market so you have a real choice ahead of you.

Here are a few factors to consider when looking for a DSLR:

1. Price – a good place to start when thinking about buying a DSLR is obviously price. DSLRs price range in price from some quite affordable deals at the lower end to extremely high prices at the professional end. Set yourself a budget for your purchase early on but make sure that you keep in mind that you’ll need to consider other costs of owning one including:

• Lenses (some deals offer ‘kit lenses’ but you should consider upgrading – see below for more on this)
• Batteries (all models will come with one but if you are travelling you might need a spare)
• Memory Cards (some models come with one but most are inadequate in terms of size. Even if you’re lucky enough to have one included you’ll probably want to upgrade to at least a 1 gigabyte card).
• Camera Bag (some dealers will throw one in – but once again don’t expect a high quality ‘free’ bag. Your DSLR is something worth protecting – invest in a good bag)
• Filters (at the least you’ll want to get a UV filter for each lens you purchase – but you might also want to consider other types down the track also).
• Extended Warrantees (there’s a variety of opinions on whether they’re good or not – but they’re worth considering)

2. What will You use it For? – when you head into a camera store to purchase any type of question the first thing most sales people will ask you what type of photography you want to do. It is well worth asking yourself this question up front as it will help you think through the type of features and accessories you’ll need.

Will this be a general purpose camera for recording ‘life’? Are you wanting to travel with the camera? Is it for sports photography? Macro Photography? Low Light Photography? Make a realistic list of the type of photography you will use it for (note I said ‘realistic’ – it’s easy to dream of all kinds of things you’ll photograph – but in reality most of us only do half what we think we will).

3. Size – DSLRs are all more sizeable than compact point and shoot cameras but there is a fair bit of variation in size between them also. Some photographers don’t mind carrying around weighty gear but if you’re going to use it for on the go photography (travel, bushwalking etc) then small and light models can be very handy.

4. Previous Gear – the attractive thing about DSLRs is that in many cases they are compatible with some of the gear you might already have.

• This is particularly the case for lenses. The chances are that if you have a film SLR that your lenses might well be compatible with a DSLR made by the same manufacturer. Don’t assume that all lenses will be compatible (particularly older gear) but it’s well worth asking the question as it could save you considerable money.
• If you have a point and shoot camera you might also want to look at the type of memory card that it takes as some models of DSLRs could also be compatible with them. This probably won’t be a major consideration as memory cards are considerably cheaper than they used to be but it could be a factor to consider.

5. Resolution – ‘how many megapixels does it have’ is a question that is often one of the first to be asked about a new camera. While I think ‘megapixels’ are sometimes over emphasised (more is not always best) it is a question to consider as DSLRs come with a wide range of megapixel ratings. Megapixels come into play as you consider how you’ll use your images. If you’re looking to print enlargements then more can be good – if you’re just going to print in small sizes or use them for e-mailing friends then it’s not so crucial.

6. Sensor Size – Another related question to consider is how big the image sensor is. The term ‘crop factor’ comes up when you talk about image sensor size – I’ll upack this further in a future article as it’s perhaps a little complicated for the scope of this one. In general a larger sensor has some advantages over a smaller one (although there are costs too). But I’ll unpack this in a future post (stay tuned).

7. Future Upgrades – will you be in a position to upgrade your camera again in the foreseeable future? While entry level DSLRs are attractively priced they tend to date more quickly than higher end models and you run the risk of growing out of them as your expertise grows and you thirst for more professional features. Ask yourself some questions about your current level of expertise in photography and whether you’re the type of person who learns how to master something and then wants to go to a higher model that gives you more control and features. It’s a difficult question but you might find it’s worthwhile to pay a little more in the short term for a model that you can grow into.

8. Other Features   

Most DSLRs have a large array of features that will probably overwhelm and confuse you at first as you compare them with one another. All have basic features like the ability to use aperture and shutter priority, auto or manual focus etc but there’s also a lot of variation in what is or isn’t offered. Here are some of the more common features that you might want to consider:

• Burst Mode – the ability to shoot a burst of images quickly by just holding down the shutter release – great for sports and action photography. DSLRs vary both in the number of frames that they can shoot per second as well as how many images they can shoot in a single burst.
• Maximum Shutter Speed – most DSLRs will have a decent range of speeds available to you but some will have some pretty impressive top speeds which will be very useful if you’re into sports or action photography.
• ISO Ratings – Similarly, most DSLRs will offer a good range of ISO settings but some take it to the next level which is useful in low light photography.
• LCD Size – It’s amazing how much difference half an inch can make when viewing images on your cameras LCD. I noticed this recently when testing a camera with a 2.5 inch screen after using my own 1.8 inch one. While it might not change the way you shoot photos (people tend to use viewfinders at this level to frame shots) it certainly can be nice to view your shots on a larger screen.
• Anti Shake – in the past few weeks a range of new DSLRs have been announced by manufacturers in the lead up to the Christmas rush. One of the features that is featuring more and more in them is anti shake technology. While it’s been common to get ‘image stabilisation’ technology in lenses the idea of it being built into camera bodies is something that is attractive.
• Dust Protection – another feature that has started appearing in the latest round of cameras is image sensor dust protection (and in some cases self cleaning for image sensors) – something that will help alleviate a lot of frustration that many DSLR photographers have. To this point this is a feature that is mainly on lower end DSLRs but it’s bound to appear on new professional models also.
• Connectivity – Getting photos out of your DSLR and into a computer or printer generally happens these days via USB but some people like FireWire and/or Wireless.
• Semi-Auto Modes – As with point and shoot cameras – many DSLRs (especially lower end ones) come with an array of shooting modes. These generally include ‘portrait’, ‘sports’, ‘night’ etc. If you rely upon these modes on your point and shoot you may well use them on your DSLR too. Higher end DSLRs often don’t have them.
• Flash – Generally professional grade DSLRs don’t offer built in flash and just have a hotshoe while entry level DSLRs include a built in flash.

Which DSLR camera is right for you?

At the time of writing this post there are a large range of DSLRs currently on the market (with a fresh batch of them set to be announced in the new year).

I’m a Canon user so my recommendations will reflect this below. Here are three that you might like to consider.

Canon EOS 400D (Digital Rebel XTi) – I had the opportunity to play with this camera last week for a day and while I was a little skeptical at first as it’s fairly much an entry level DSLR I came away from testing it quite impressed. It has a 10.1 megapixel sensor, 2.5 inch LCD and all the features you’ll need to switch into manual (and semi manual) modes.

It is a camera with a lighter feel than the 30D (below) which will leave some feeling as though it might be a little light on – however this adds to it’s portability.

This is a good camera if you’re a little nervous about stepping out of point and shoot land and want something that is easy to use. Compare prices on the Canon EOS 400D from around the web.

Canon EOS 30D – if there’s one DSLR that I’ve recommended more than any other it is the 30D. I’ve owned it’s predecessor for a few years now (the 20D) and have loved it but the 30D has a few nice extra features that make it worth the upgrade.

The 30D is has an 8.2 megapixel sensor and nice large 2.5 inch LCD as well as an array of other features that give you plenty of opportunity to explore your photographic ability (as well as a good Auto mode for when you hand it over to a digital camera novice). This is a more serious camera than the 400D (it’s more solid in your hands too) but it is very user friendly also.

It is positioned nicely between the entry level and Professional models going around and produces wonderful images. Compare prices on the Canon EOS 30D from around the web.

Canon EOS 5D – this camera will be out of reach of most of us (although I’m saving up) but I wanted to include it as it’s the best camera I’ve had the privilege of testing so far (in fact I’ve had it for the last 3 weeks and I just don’t want to send it back).

The 5D is not at the very top of the Canon DSLR range but it is not cheap and is aimed at the higher end amateur digital photographer who knows what they are doing. It doesn’t have a built in flash and there are no semi-auto modes on the dial (at this level you wouldn’t need them). It has a 12.8MP full frame sensor, 2.5 inch LCD, weighty magnesium body and a list of features longer than my arm.

This camera has great reviews from around the web and is high on my own personal wish list. Compare prices on the Canon EOS 5D from around the web.

Of course there are more options than just Canon DSLRs.

While I’ve not extensively tested them I have friends with the Nikon D200 and the Nikon D70s who are more than satisfied with their cameras also. Nikon’s DSLRs get highly recommended in reviews around the web and you’ll not go wrong in going with them either.

Feel free to add your own comments

Travel Photography – Mix Up Your Shots

By: Darren Rowse 

Today I want to continue with the themes of Travel Photography and adding Variety to your Shots in a post with one on mixing up your shots when you travel.

I recently had a friend take me through the shots that they took on their latest trip away (all 600 of them) and was amazed to see how many of his shots were of largely the same thing – buildings. Not only that all the buildings were photographed in much the same way in terms of framing and composition.

Now to give him credit – he had been traveling in Europe where there are some marvelous examples of architecture, but I came away from the experience of viewing his shots wondering a few questions that I would have thought his photos might have answered like:

• Who did you travel with?
• Where did you stay?
• What did you eat?
• Who did you meet? etc

There’s nothing wrong with photographing buildings, but unfortunately exclusively photographing any one type of thing on a trip can leave the end results of your travel album looking a little one dimensional.

I made this mistake on my first overseas trip to Malaysia as a 16 year old on a trip with a school band. On my return I showed my shots to my parents who nicely pointed out to me that I didn’t have a single shot of myself or any of the people I travelled (not a single shot of the band playing. I’d been so amazed by the different landscapes and buildings that I didn’t take any shots that would personally mean anything to me years later.

These days as I travel I spend time each day reviewing the shots that I’ve taken. I often do in the hotel room at night (or on a bus between places) and as I do I purposely analyze what types of shots I’ve taken that day and more importantly ‘what’s missing’ from the day I’ve had.

Some possible shots that you might like to include in a photographic travel diary might include:

• Landscapes
• Local People (at work and play)
• Travel Companions
• Food and Drink
• Hotels
• Transportation
• Market places/Shops
• Street Scenes
• Local Written Language/Street signs
• Shots of yourself (alone and with others)

Really the sky is the limit.

Also keep in mind that you can take a lot of these shots in many different ways. I personally try to fill my travel album with lots of close-ups of different aspects of my trip (in addition to the ‘normal’ travel shots one takes). So pictures of the market which zoom in on food items, or pictures of buildings that zoom in on the inscriptions on the tiles around the front door.

It’s these close ups that I find people viewing my photos are drawn to most. The shots of buildings are still in the album, but they are punctuated by feature shots that tell a story of the places that I’ve visited.

Travel Photography Tips – Thinking about Context

A Post By: Darren Rowse

Image by Sara Heinrichs

Put subjects in context – Another thing that can really lift travel photography, especially shots of people, is work hard at putting your subject into the context of the place that you’re photographing them.

As I critically look at some of the shots I’ve taken of people overseas I realize that a lot of them could have been taken virtually anywhere in the world. They could have added so much more to the viewing experience of them to include some element of the country they were taken in.

Now I’m not saying every shot taken in France needs to have the Eiffel tower in the background or that every shot of people taken in Italy needs to be of them eating pizza – but there are many ways to contextualize your subjects even just by thinking about the framing of your shots.

For example if you’re shooting a local you might like to try to get them at work doing something from their daily rhythm of life. People working can tell people where you are in much more interesting and creative ways than the standard shots of landmarks.

If you’re shooting a picture of a travel companion you might like to frame the shot with the meal that they’re eating in the foreground or with a sign in the background that’s in the language of the place you’re in (rather than a tight head shot) etc.

Being contextual doesn’t need to be cheesey or forced (although sometimes the cheesey shots can work out quite well if you go right over the top with them) – rather it’s often the small and subtle touches that can add so much to travel shots.

Photo Source – Burmese Nun