Sunday, October 6, 2013
Tuesday, October 1, 2013
Oh, the Bouts He Has Seen
Matt Weber
by : Corey Kilgannon
Monday, September 30, 2013
Wallpapers
Among my favorite things to post are computer wallpapers. The fact that you are viewing my blog tells me you have an internet connection. In my mind, that most likely means you're on a computer. So, enjoy the posted pics below.
For more computer wallpapers, please scroll down the right side of this blog until you come to "2010", left click on it and you will be taken to over 400 more wallpapers. Thanks for stopping by. "til next time, happy shutter bugging.
Thursday, September 26, 2013
The SLR Camera
"The
SLR camera is by far the most popular type of camera for novice and
professional photographers. One of the main reasons for this is its what
you see is what you get factor."
While most point and click cameras have a viewfinder that is usually located above the lens, the SLR's viewfinder lets the user look directly through the lens.So as long as the aperture, shutter, and film settings are set up for the scene's lighting conditions, what is seen through the viewfinder is what will appear on the photograph.
Proper Settings
To make certain that the camera is set up for the lighting conditions, three settings must be considered:Aperture - This must be set to allow the proper amount of light through the lens in order to get the desired depth of field.
Shutter - This speed setting will depend on available light, movement of subject, and exposure of film or film setting.
Film Settings - These must be chosen depending on available light, shutter speed and desired exposure effects (silhouettes).
Nowadays, most SLRs have auto settings that will choose the proper settings. But there are some neat effects that can be obtained by experimenting with these settings, particularly the aperture settings that control the depth of field.
Wednesday, September 25, 2013
How to Take Outstanding Pictures
Since
way back when I first began to study photography, I have been getting
asked how I take such good photographs. There are many different styles
and types of photography, but I usually end up giving the same key
photography tips for most of them.
Professionals Use SLR Cameras
I cannot stress enough, if you want to take quality pictures, learn how to use a Single Lens Reflex (SLR) camera. You would not believe how many self proclaimed amateur photographers have not started to learn how to use an SLR (some still use those point and click cameras).
I know that with the advances in technology, digital cameras and memory are getting better and better every day, but there is just not enough versatility with a point and click camera. They are great for general day to day snapshots, but they will never match up to the versatility and professional results obtained with an SLR camera.
With that said, the increase in versatility equates to more functions in the camera. So, once you have a good SLR , learn these functions from the owners manual. Learn how to control the shutter speed, aperture settings, ISO (film) settings, and white balance.
Note: In older SLR cameras (not digital) ISO is a function of the film and refers to the film's speed. Only digital SLRs offer ISO function settings.
Clear the Viewfinder
Too many photographers shoot much wider then they really want and have to use software to crop the shot down to the scene they want. This just causes more work later, and there is no guarantee that all of the distractions can be cropped out.
Unlike a point and click camera, the viewfinder of an SLR uses a prism and mirrors that allow you to look directly through the lens. This is why, with an SLR, âwhat you see is what you get.â By taking everything in the viewfinder into account, you may notice distractions that you otherwise would not have.
Don't you hate it when you think you have captured a really good scene just to find out later that there was something distracting in the background?
Composition
One of the most often used techniques of composition is the Rule of Thirds. Divide the viewfinder into nine equally sized boxes like on a tic tac toe game board. Where the dividing lines meet is where interesting points in the scene should be placed. Relativey straight lines (vertical and horizontal), such as a long tree trunk or the ocean's horizon, needs to be placed on a horizontal or vertical dividing line.
This technique causes stress in the scene, and this stress causes interest.
Keep in mind that the more a shot is prepared before taken, the less likely Photoshop will be necessary.
Note: Before each major session change, reset the white balance of your camera. Lighting conditions may change throughout the day (from session to session). Correcting white balance between sessions will cut down on necessary Photoshop corrections. The answer to how to take good pictures does not involve correcting them later.
Portraits
Even though the techniques we just talked about work with just about any style, there are some techniques that are commonly used with particular styles. With portraits, the subject is not the entire scene, just part of it, so it is important for the subject to stand out.
Shooting the subject in a narrow depth of field is one of the easiest ways to make sure that he or she stands out. The depth of field is the length of the distance in front of the camera where things in the scene appear equally in focus. This is controlled by the size of the aperture opening. The lower the setting, the bigger the opening in the aperture and the more narrow the depth of field.
Note: This allows more light through the lens of your camera so the settings of the film (ISO) and shutter must be changed to compensate.
Taking a portrait of a subject in a narrow depth of field while keeping the foreground and background out of the depth of field makes the subject appear in focus while keeping the rest of the scenery a bit out of focus. This results in the subject really standing out and even seeming to pop out of the picture.
Landscapes
Another common style requiring specific photography techniques is landscape photography. Unlike portraits, with landscape photography the entire scene is the subject; it is often desirable to keep the entire scene equally in focus and to shoot at a wider perspective to encompass as much of the scenery as possible.
In order to obtain this, an infinite depth of field is needed along with a lens that allows a perspective broader than the human eye. This is why wide angle lenses are commonly used in landscape photography. These lenses allow a large perspective of a scene to be captured.
A high aperture setting must be used in order to obtain an infinite depth of field. This causes the opening in the aperture to be very small. To compensate for this the shutter must be left open longer. With that understood, it is absolutely necessary to use a tripod or other camera stabilizing apparatus with landscape photography so the camera will not move while the shutter is open.
I hope you have enjoyed this article and that it has been useful. If it has helped in any way, the next time someone asks how you take such good pictures, feel free to send them this article.
Professionals Use SLR Cameras
I cannot stress enough, if you want to take quality pictures, learn how to use a Single Lens Reflex (SLR) camera. You would not believe how many self proclaimed amateur photographers have not started to learn how to use an SLR (some still use those point and click cameras).
I know that with the advances in technology, digital cameras and memory are getting better and better every day, but there is just not enough versatility with a point and click camera. They are great for general day to day snapshots, but they will never match up to the versatility and professional results obtained with an SLR camera.
With that said, the increase in versatility equates to more functions in the camera. So, once you have a good SLR , learn these functions from the owners manual. Learn how to control the shutter speed, aperture settings, ISO (film) settings, and white balance.
Note: In older SLR cameras (not digital) ISO is a function of the film and refers to the film's speed. Only digital SLRs offer ISO function settings.
Clear the Viewfinder
Too many photographers shoot much wider then they really want and have to use software to crop the shot down to the scene they want. This just causes more work later, and there is no guarantee that all of the distractions can be cropped out.
Unlike a point and click camera, the viewfinder of an SLR uses a prism and mirrors that allow you to look directly through the lens. This is why, with an SLR, âwhat you see is what you get.â By taking everything in the viewfinder into account, you may notice distractions that you otherwise would not have.
Don't you hate it when you think you have captured a really good scene just to find out later that there was something distracting in the background?
Composition
One of the most often used techniques of composition is the Rule of Thirds. Divide the viewfinder into nine equally sized boxes like on a tic tac toe game board. Where the dividing lines meet is where interesting points in the scene should be placed. Relativey straight lines (vertical and horizontal), such as a long tree trunk or the ocean's horizon, needs to be placed on a horizontal or vertical dividing line.
This technique causes stress in the scene, and this stress causes interest.
Keep in mind that the more a shot is prepared before taken, the less likely Photoshop will be necessary.
Note: Before each major session change, reset the white balance of your camera. Lighting conditions may change throughout the day (from session to session). Correcting white balance between sessions will cut down on necessary Photoshop corrections. The answer to how to take good pictures does not involve correcting them later.
Portraits
Even though the techniques we just talked about work with just about any style, there are some techniques that are commonly used with particular styles. With portraits, the subject is not the entire scene, just part of it, so it is important for the subject to stand out.
Shooting the subject in a narrow depth of field is one of the easiest ways to make sure that he or she stands out. The depth of field is the length of the distance in front of the camera where things in the scene appear equally in focus. This is controlled by the size of the aperture opening. The lower the setting, the bigger the opening in the aperture and the more narrow the depth of field.
Note: This allows more light through the lens of your camera so the settings of the film (ISO) and shutter must be changed to compensate.
Taking a portrait of a subject in a narrow depth of field while keeping the foreground and background out of the depth of field makes the subject appear in focus while keeping the rest of the scenery a bit out of focus. This results in the subject really standing out and even seeming to pop out of the picture.
Landscapes
Another common style requiring specific photography techniques is landscape photography. Unlike portraits, with landscape photography the entire scene is the subject; it is often desirable to keep the entire scene equally in focus and to shoot at a wider perspective to encompass as much of the scenery as possible.
In order to obtain this, an infinite depth of field is needed along with a lens that allows a perspective broader than the human eye. This is why wide angle lenses are commonly used in landscape photography. These lenses allow a large perspective of a scene to be captured.
A high aperture setting must be used in order to obtain an infinite depth of field. This causes the opening in the aperture to be very small. To compensate for this the shutter must be left open longer. With that understood, it is absolutely necessary to use a tripod or other camera stabilizing apparatus with landscape photography so the camera will not move while the shutter is open.
I hope you have enjoyed this article and that it has been useful. If it has helped in any way, the next time someone asks how you take such good pictures, feel free to send them this article.
Tuesday, September 24, 2013
Portrait Photography Tips - Shooting Wow Pictures
All
budding photographers, as well as those who've been shooting for
awhile, are all looking for the same thing. They want to shooting
stunning photographs that capture the "wow" factor. It is not an easy
thing to do, since beauty is in the eye of the beholder. However, it is
not impossible and rather than following rules, sometimes it is
necessary to break them. Be random and boldly follow your instincts to
find that special picture that makes everyone stop and take notice.
1. Change the Perspective - Nearly all portraits are taken with the camera at eye level. Change the perspective by changing the angle from which you're shooting. Get up high over your subject for one effect. From that vantage you may see an even more interesting aspect. Experiment with your composition.
2. Play with the Eyes - Eye contact or the direction in which the eyes are gazing heavily affects the effect of the portrait. Looking directly into the camera isn't always the most interesting way to shoot someone. It may be more intriguing to have the subject look off to the side, drawing those who look at the shot to wonder what's there, off camera, unseen. But be careful how you do this, because drawing the viewer's eyes to the side also takes their eyes off your subject.
3. Staying Focused within the Frame - In other words, have your subject holding an object, like a woman holding a baby, or a child holding a toy keeps the viewers eyes focused inside the frame and on the subjects. It creates a second point of interest and helps to create a story within the frame with the subject.
4. Composition Rules - Composition rules as listed in portrait photography tips, are made to be followed and broken. The rules are great to know and to use, but stretching them, or pushing to the outer limits makes for more interesting portrait art. Learn the rules, get comfortable using them, then learn to break them in order to achieve a more eye catching result.
5. Experiment with Lighting - The possibilities are endless with lighting. You are hindered only by your imagination and ability to be creative. There is no good and bad. So go ahead and play with the lighting. You might surprise yourself. Sidelight, back-light, silhouette, the possibilities are infinite.
6. Make Subject Move - Interesting portraits happen when you take the subject out of his or her comfort zone. Make them move. Put them in clothing or in a setting where you wouldn't ordinarily find them. Surround them with stuff that says who they are, but make them react differently to it. For instance, put them in business attire in an office, but have them jump up and down or read a book upside down. Again, be creative.
7. Don't Stage the Photo - Shooting candid shots are better than posing the subject. People, and kids in particular tend to tense up and hide rather than reveal their personality when the picture is staged and they are required to pose. Photograph your subjects while they work or kids while they play. Try to catch them reacting naturally to their environment.
8. Using Props - Enhance your shot by creating another point of interest with a prop. For example, if you're shooting a doctor, let them be wearing a stethoscope or holding a skull. Be careful not to let the prop dominate the picture, let it be part of the picture telling part of the story.
9. A Part of the Whole - Try focusing on a part of the whole, for instance, instead of shooting the head and shoulders of your subject, take a picture or two of their hands, or their back, or maybe even a shoulder with a special tattoo, keeping the face in shadow. Be dramatic and bold. Sometimes what is left out of the shot is as important as what is left in.
10. Variation on a Theme - Obscuring your subject in order to focus on one particular aspect works well too. In other words, shrouding a woman in a shawl leaving only her eyes visible and looking at the camera. Possibly making the shawl match the eyes of the subject making for a dramatic color statement.
The possibilities for taking creative and dramatic shots are limited only by your ability to think outside the box. Know the rules, know how to work them, then learn how to break them for a more creative effect. Finally, take a series of shots... not just one... shoot often and quick... sometimes, in order to get what you want.
I hope you have found these portrait photography tips useful.
Jonnie Blaylock is a hobbyist photographer that helps new photographers learn the fundamentals with his Portrait Photography Tips.
1. Change the Perspective - Nearly all portraits are taken with the camera at eye level. Change the perspective by changing the angle from which you're shooting. Get up high over your subject for one effect. From that vantage you may see an even more interesting aspect. Experiment with your composition.
2. Play with the Eyes - Eye contact or the direction in which the eyes are gazing heavily affects the effect of the portrait. Looking directly into the camera isn't always the most interesting way to shoot someone. It may be more intriguing to have the subject look off to the side, drawing those who look at the shot to wonder what's there, off camera, unseen. But be careful how you do this, because drawing the viewer's eyes to the side also takes their eyes off your subject.
3. Staying Focused within the Frame - In other words, have your subject holding an object, like a woman holding a baby, or a child holding a toy keeps the viewers eyes focused inside the frame and on the subjects. It creates a second point of interest and helps to create a story within the frame with the subject.
4. Composition Rules - Composition rules as listed in portrait photography tips, are made to be followed and broken. The rules are great to know and to use, but stretching them, or pushing to the outer limits makes for more interesting portrait art. Learn the rules, get comfortable using them, then learn to break them in order to achieve a more eye catching result.
5. Experiment with Lighting - The possibilities are endless with lighting. You are hindered only by your imagination and ability to be creative. There is no good and bad. So go ahead and play with the lighting. You might surprise yourself. Sidelight, back-light, silhouette, the possibilities are infinite.
6. Make Subject Move - Interesting portraits happen when you take the subject out of his or her comfort zone. Make them move. Put them in clothing or in a setting where you wouldn't ordinarily find them. Surround them with stuff that says who they are, but make them react differently to it. For instance, put them in business attire in an office, but have them jump up and down or read a book upside down. Again, be creative.
7. Don't Stage the Photo - Shooting candid shots are better than posing the subject. People, and kids in particular tend to tense up and hide rather than reveal their personality when the picture is staged and they are required to pose. Photograph your subjects while they work or kids while they play. Try to catch them reacting naturally to their environment.
8. Using Props - Enhance your shot by creating another point of interest with a prop. For example, if you're shooting a doctor, let them be wearing a stethoscope or holding a skull. Be careful not to let the prop dominate the picture, let it be part of the picture telling part of the story.
9. A Part of the Whole - Try focusing on a part of the whole, for instance, instead of shooting the head and shoulders of your subject, take a picture or two of their hands, or their back, or maybe even a shoulder with a special tattoo, keeping the face in shadow. Be dramatic and bold. Sometimes what is left out of the shot is as important as what is left in.
10. Variation on a Theme - Obscuring your subject in order to focus on one particular aspect works well too. In other words, shrouding a woman in a shawl leaving only her eyes visible and looking at the camera. Possibly making the shawl match the eyes of the subject making for a dramatic color statement.
The possibilities for taking creative and dramatic shots are limited only by your ability to think outside the box. Know the rules, know how to work them, then learn how to break them for a more creative effect. Finally, take a series of shots... not just one... shoot often and quick... sometimes, in order to get what you want.
I hope you have found these portrait photography tips useful.
Monday, September 23, 2013
Family Photography Tips - The Good Group Photo
Probably
the hardest picture to set up and pull off is the group family
photograph. These pictures only really work when everyone is on the same
page, looking at the camera and smiling at the same time. Synchronizing
by getting everyone to say "cheese" is the typical way to get everyone
smiling. But it doesn't always work.
Here are some things to think about when trying to snap that lovely family portrait to make everyone happy:
Put the Group at Ease - It is essential that all participants in the photo are at ease and comfortable with each other as well as the photographer. If the photographer also happens to be a family member then being at ease should not be a problem. With no strangers in the midst, relaxing before the camera is not a problem.
Move into Scene - Don't be afraid to move into the scene, cutting out the background and focusing just on the people. Crop off the top of the head of the taller people, in order to emphasize a connection among family members. Allow the drama of kinship and love to play out before the camera. Let the family members interact before snapping the picture. Saying "cheese" while always listed as one of the most important family photography tips, is not always a good one, and will make people go rigid and become less candid, so sit them down and let them get comfortable. The good shot will follow as you watch.
Blur the Background - Blurring out the background makes the people aspect more dramatic. It makes the family the focus of attention, because, after all, the family unit is what you're shooting.
Candid within the Group - There is always someone in the family at a gathering who doesn't want to sit for a picture. Today's small compact cameras make it simple to get candid shots without have to pose everyone. Keep the camera in your pocket as you work the room. Find your shot and compose it and shoot quickly. It takes practice, but grab-shots do come out well with a little thought and focus.
Taking Multiple Shots - When trying to capture everyone in one group, the only real successful way to do it is to take many shots, and quickly. Shooting in rapid bursts of three or four shots at a time will get the good shot for which you're looking. The first shot is usually a throwaway shot. However, the second or third will probably be the keeper. Shoot some shots before everyone is ready. Some of the best pictures are of the actual organizing to sit part of the activity.
Timing is Everything - Choosing your timing carefully will make or break the shot. However, true timing can only be learned with practice. Another of the suggestions that tops the list of family photography tips is that the quicker you learn to compose or to know what you want in composition the better will be your timing. Try to work taking of the picture within the natural flow of events, when the family is naturally together rather than artificially posed making them more rigid.
Lighting - No matter what type of photography, lighting is probably the most important element. In most instances a small flash will be sufficient. However, bigger family groups may require more lighting. Taking the photograph outside in natural light makes for an easier, less stressful shot.
Taking Control - It is paramount for the photographer to maintain control of the situation and communication is the key. Keep talking to your subjects making them understand what you want to do and need for them to do to make for a happy situation. If you have a really large group to photograph, then use a tripod and have someone act as your assistant.
Smile - Finally, there is nothing worse than a grumpy old photographer, so smile. That will put everyone else who has to take part, at ease. Have fun, act like you're enjoying the process. It's okay to crack a joke or two in order to get everyone to loosen up. And don't be afraid to be creative. Think outside the box. The group can be a group without sitting down next to one another with another row standing at attention behind. Emphasize other items of "family-ness." Play with it. Enjoy!
I hope you have found these family photography tips useful.
Here are some things to think about when trying to snap that lovely family portrait to make everyone happy:
Put the Group at Ease - It is essential that all participants in the photo are at ease and comfortable with each other as well as the photographer. If the photographer also happens to be a family member then being at ease should not be a problem. With no strangers in the midst, relaxing before the camera is not a problem.
Move into Scene - Don't be afraid to move into the scene, cutting out the background and focusing just on the people. Crop off the top of the head of the taller people, in order to emphasize a connection among family members. Allow the drama of kinship and love to play out before the camera. Let the family members interact before snapping the picture. Saying "cheese" while always listed as one of the most important family photography tips, is not always a good one, and will make people go rigid and become less candid, so sit them down and let them get comfortable. The good shot will follow as you watch.
Blur the Background - Blurring out the background makes the people aspect more dramatic. It makes the family the focus of attention, because, after all, the family unit is what you're shooting.
Candid within the Group - There is always someone in the family at a gathering who doesn't want to sit for a picture. Today's small compact cameras make it simple to get candid shots without have to pose everyone. Keep the camera in your pocket as you work the room. Find your shot and compose it and shoot quickly. It takes practice, but grab-shots do come out well with a little thought and focus.
Taking Multiple Shots - When trying to capture everyone in one group, the only real successful way to do it is to take many shots, and quickly. Shooting in rapid bursts of three or four shots at a time will get the good shot for which you're looking. The first shot is usually a throwaway shot. However, the second or third will probably be the keeper. Shoot some shots before everyone is ready. Some of the best pictures are of the actual organizing to sit part of the activity.
Timing is Everything - Choosing your timing carefully will make or break the shot. However, true timing can only be learned with practice. Another of the suggestions that tops the list of family photography tips is that the quicker you learn to compose or to know what you want in composition the better will be your timing. Try to work taking of the picture within the natural flow of events, when the family is naturally together rather than artificially posed making them more rigid.
Lighting - No matter what type of photography, lighting is probably the most important element. In most instances a small flash will be sufficient. However, bigger family groups may require more lighting. Taking the photograph outside in natural light makes for an easier, less stressful shot.
Taking Control - It is paramount for the photographer to maintain control of the situation and communication is the key. Keep talking to your subjects making them understand what you want to do and need for them to do to make for a happy situation. If you have a really large group to photograph, then use a tripod and have someone act as your assistant.
Smile - Finally, there is nothing worse than a grumpy old photographer, so smile. That will put everyone else who has to take part, at ease. Have fun, act like you're enjoying the process. It's okay to crack a joke or two in order to get everyone to loosen up. And don't be afraid to be creative. Think outside the box. The group can be a group without sitting down next to one another with another row standing at attention behind. Emphasize other items of "family-ness." Play with it. Enjoy!
I hope you have found these family photography tips useful.
Jonnie Blaylock is a hobbyist photographer that helps new photographers learn the fundamentals with his Family Photography Tips and more.
Article Source: http://EzineArticles.com/?expert=Jonnie_BlaylockSunday, September 22, 2013
Thursday, September 19, 2013
Entertain Children with Fun Props
Posted by:
This week a client brought in a bubble machine to use for part of the portrait session. This unit (from Target for about $10) really puts out the bubbles! I was so surprised with the volume of it could produce. I would recommend saving doing the bubbles as the grand finale of the photo session. Get some traditional portraits first then bring out the big fun. (Caution: when using indoors, bubbles do make the floor slippery.)
Who wouldn’t have fun throwing rose petals
in the air? You can find all kinds of artificial rose petals in all
sorts of colors in the wedding supply isle of a large hobby store.
Invest in the more realistic ones. If you buy the cheap petals they
photograph cheap. Since you can reuse them over and over, the price is
worth it to get the more realistic kind. Picking up all of those petals
is not my idea of fun but it is worth it. Fortunately this gal had a big
sister to play photo assistant for me-she picked them up!Wednesday, September 18, 2013
Everyone, Pick your toes!
Posted by: |
When
you are photographing portraits, take a moment to grab some images that
are parts of the scene like I did with these guys’ little feet. Images
of just an ear, just a hand, or the back of a head are all parts of the
story. You may not even “feel it” but to a mom all of the parts are
wonderful and will pull at her heartstrings.I can relate to this a photo session I had of my husband and I on our farm just shortly after I had finished chemo treatments. One of the images was cropped just to my Labrador with my arms around him. To most people, not an award winning image, but to me, it was a heart tugging favorite and taught me a lesson to photograph more parts of images for my clients.
Tuesday, September 17, 2013
Finally a Flash for Outdoors
By
Why use a flash outdoors? I am sure you have seen many images where people’s eyes were dull and lifeless. Eyes need a catch light, that little reflection that makes them look alive.
Many photographers underexpose a subject’s face especially with outdoor portraits. A reflector is a good answer when you are working with one or two subjects and you have an assistant to hold the reflector but when you have a family group you need something more.
I have tried small flash units held off to the side of the camera but they never had enough power and the recycle time was so slow. Keeping them stocked with batteries was yet another chore.
This little unit is small, light weight, and still enough power to add sparkle to a family group’s eyes.
I got the green one at http://www.paulcbuff.com/b400.php (And might I add that they have great customer service!)
Monday, September 16, 2013
Stop Using F8 all the Time
ByIt is especially easy outdoors to shoot at wide open settings like this image
that was shot at f4. Of course you will want to use manual settings and
take a meter reading like a pro. (If you are unsure about how to do
this, I offer a manual you can find out more http://barbgordonphotocoach.com/products/beyond-the-manual-beyond-the-photography-instruction-manual )The boy’s mom said, “Oh, I like the background.” the minute she saw this portrait. She also ordered this pose. Why did it seem so interesting to her? It looked different to her because F8 is close to the amount of depth of field of the human eye so we are very used to that. Anything more detailed or less detailed will get our attention.
So to add variety to your photo sessions, use different f-stops for a variety in the looks you show your customers. It just might increase your sales too!
If you liked this article, please visit the Author's website at www.GordonPhotography.Biz
Saturday, September 14, 2013
Film or Digital
Film And Digital Photography: How Much Has Really Changed?
by: Andrew Goodall
Since digital cameras have taken over the photography world, there have emerged two types of photographers. There are old-school photographers who dismiss everything digital as fake, inferior, and not the same as 'real' photography. Then there are the digital photographers who think the film photographers are living in the dark ages. For the record, I use film. That is not because I don't like what digital photography has to offer. My reason for staying with film is simple; after 20 years of photography, I have a thousands of images on film that have yet to be put to good use. If I switched to digital now, those photos would probably be neglected for another 20 years and finally be thrown out. That's a lot of memories wasted. However, as a gallery owner, photography teacher, writer and club member, I am among digital photographers every day. Having lived and worked through all the years when photography has accellerated into the digital age, I have observed something that will surprise many people; not much has really changed. Being good at digital photography requires the same skills as traditional photography. You need to be able to work with aperture and shutter speed, understand depth of field and know how to handle moving subjects. A digital photographer requires sensitivity to light and contrast, and must develop a talent for creative composition. In teaching and writing about photography, I have been amazed by just how much things have remained the same. In some instances I have been certain that the new technology would create new challenges - only to find that for all practical purposes, nothing has really changed. Here is one example that is so similar it's spooky. In the days of film, you could buy film that was rated at different ISO speeds, relating to how quickly the film reacted to light. Faster films were great for allowing quicker shutter speeds in low-light conditions, but there was a sacrifice in quality. Photos taken on fast films had a grainy appearance, making them less suitable for printing big enlargements. Digital cameras have adopted the same ISO system. You can adjust the ISO setting on your camera, changing the speed at which your exposure will react to light. As before, this can be a great benefit, especially in low light. But here's the spooky part. When you set a higher ISO rating, your images become 'grainier.' Some people tell me it is pixellation, others tell me it is digital 'noise.' I don't know and don't really care. The point is, here is a whole new technolgy, recording images in a completely different way - and the outcome is exactly the same! Of course there are some major differences. The most obvious, and possibly the most positive change, is the elimination of film and developing costs from your photography budget. Add to that the convenience of being able to delete your mistakes and print your own photos, and your hobby just became a lot more cost-effective. That, however, has nothing to do with the actual skill of the photographer. Neither does the other revolution in the photography world. That revolution is software. With the aid of computers, people can work digital magic on their photos like never before. This has both positive and negative elements. Positive because the almost universal fascination with computers has seen a whole new generation take a real interest in photography. Negative because people too often rely on the technology to correct their mistakes, instead of learning to take better photos. Software can be wonderful. It can add a little 'zest' to a slightly flat image, or it can completely trasform a photo to portray colours and details that never existed in the real world. But software cannot overcome all the problems caused by bad technique. It cannot focus an out-of-focus image. It cannot correct a blurry photo caused by using the wrong shutter speed. And while cropping, cutting and pasting can solve some issues, they are no substitute for developing a real skill for composition. So, to return to my original theme: in the migration from film to digital photography, not much has really changed. That which is new is largely peripheral. While there are some advantages in terms of cost and convenience, most of the changes won't make you a better photographer. So here is my advice to photographers on both sides of the divide. Film photographers; don't be suspicious of new technology. Embrace it, make the most of its advantages, and you may be surprised just how easy it is to make the switch. Digital photographers; don't sneer at your more old-fashioned counterparts. The skills they have grown up with are the ones you really should be learning. ------------------------ Composition, aperture, shutter speed, depth of field...all the essentials of good photography seem simple when they are explained in terms you can understand. Visit http://www.naturesimage.com.au and check out Andrew Goodall's ebook "Photography in Plain English" to discover your own talent for photography. While you are there, subscribe to the online newsletter for even more tips...it's free! - See more at: http://designertoday.com/Articles/5347/Film.And.Digital.Photography.How.Much.Has.Really.Changed.aspx#sthash.9INbqXXY.dpuf
Friday, September 13, 2013
Surf Photography
What
first intrigued me about surf photography was the idea of two
completely separate entities, man and water, moving in opposite
directions yet in complete unison simultaneously. Where underwater dive
photography concentrates on documenting the life below the sea, surf
photography seeks to capture the life of the sea. Continuously offering
the ever-gratifying element of surprise, swimming in Mother Nature’s
most highly concentrated form of energy with a camera promises never a
dull moment nor the same photo opportunity twice.
The arrival of the first surf –specific water housing can be traced to the 1930s and a man named Tom Blake. A pioneer of not only surf photography, but of surfing itself, Blake put the first fin on a surfboard and created a template for the modern windsurf board. Most importantly, however, Blake crafted the first waterproof box enabling surfing images to be documented from the water.
The arrival of the first surf –specific water housing can be traced to the 1930s and a man named Tom Blake. A pioneer of not only surf photography, but of surfing itself, Blake put the first fin on a surfboard and created a template for the modern windsurf board. Most importantly, however, Blake crafted the first waterproof box enabling surfing images to be documented from the water.
With the invention of the 35mm SLR camera, the modern housing began to take shape as medium format housings disappeared, making way for lighter, smaller equipment. Evolution has brought us into the present digital age, where film has taken a backseat to the DSLR revolution.
Equipment
Today, water housings are typically made from hard plastic or carbon fiber, and can range from one single piece, to multiple adjustable lens ports and flash brackets. Where dive housings require construction allowing for deep rated depth durability, surf housings stay near the surface, allowing for lighter, smaller construction and depth ratings to around 30 feet. I recommend Aquatech© Water Housings. Each piece on their housings is detachable, allowing for easy equipment change without needing to buy a new housing, not to mention they are the most durable housings I’ve seen.Attempts to shoot surfing with a dive housing will prove frustrating, obnoxious and, more than likely, dangerous. Such a bulky, heavy piece of equipment can still be moved very easily by surging water above the surface, and without control of your camera/housing set up, it’s only a matter of time before you get a nice shot to the face from your lens port. I’ve seen too many broken noses and black eyes from ten-pound surf housings to trust something three times as heavy and twice as big in pumping surf. If you want to try surf photography but don’t have access to the equipment or money to buy your own, borrow a friend’s or research rentals. While they aren’t well advertised, they do exist.
There is a common misconception by those not familiar with surf photography that the photographer is on a surfboard shooting photos. For the most part, surf photographers are swimming freely in the ocean, supported only by the strength of their legs and the fins on their feet. Where dive photographers use large dive fins, surf photographers tend to use smaller body surfing fins that enable them to fit into tighter spaces and leave less to worry about when dodging waves. My personal recommendation: Viper Brand© body surfing fins.
Lenses and Focusing
Surf photographers have many lenses to choose from. Each lens serves a distinct purpose; a poor choice of lens can result in squandered opportunities. The most common lens is the 15mm fisheye or non-full frame equivalent (I recommend the Tokina© 10-17mm). A fisheye lens allows for perspective to be slightly warped, enabling more room in the frame. The typical “inside barrel” shot, as seen below, requires the photographer to anticipate exactly when the wave will break while being in the right position to capture the surfer in the perfect moment. To achieve a shot like this, a fisheye lens is needed and should be between one and three feet away from the surfer. There is little room for error: one misstep can cause injuries to both surfer and photographer. But when a shot like this comes together, it’s magic.Fisheye shots also work well when attempting to highlight impressive action on a wave such as a big turn or air, or accenting the size and shape of a wave close up. To achieve focus with a fisheye lens, you can set the focus before you ever get in the water. A useful trick: put your camera on auto-focus, focus on a wall approximately 3 feet from the camera, then switch the focus back to manual and you’re set to go. The more you stop down, the more will be in focus; pretty much any aperture smaller than f/5.6 will render everything in focus.
Sometimes when shooting at a large point or reef break with a channel, a photographer will opt to sit on a body board at a safe distance from the impact zone and shoot with a longer lens. With the element of risk gone, you have the ability to frame the shot in the viewfinder and designate focus. I find the best way to do this is enable the custom function that allows the rear button on your camera to focus (for Canon it’s the left of the two buttons on the top right on the back of the camera) and shoot on AI Servo continuous focusing.
When shooting wide angle it’s hard to have any control over selective focus, but with a long lens you have the ability treat surfing and water the same way you would shooting any subject on land with a small aperture.
Surf photography is unique because there are so many elements moving simultaneously. No matter how hard you try, you can never be in complete control of everything going on in the water. For example, in this shot I was trying to highlight the wave in the background shooting at 70mm f/2.8 using AI Servo focusing. It’s hard to tell from this angle, but this image is shot directly underneath a pier and at low tide. The surges of water pushing off of the pilings were pushing me back and forth as waves came and went. Just before I hit the shutter, a surge sucked me down, causing the continuous focusing to shift to the surfer’s leash and thus creating a distinct depth of field. This is one of those instances where an unavoidable and unanticipated thing happens that takes a vision and moves it to the next level. As a surf photographer, it’s some of these unexpected types of images that I cherish the most.
Shutter Speeds
When I first began shooting water images, I misgauged how fast a shutter speed to shoot at to capture action with no signs of movement. I began shooting at 1/500 of a second and couldn’t figure out why my focus was hit or miss because anything I had ever shot from land at even 1/320 had been sharp. After a lot of testing and countless missed focuses I found that to ensure no movement at all, the magic shutter speed is 1/1000 of a second. There are plenty of photographers that don’t even trust that and refuse to shoot at anything less than 1/1250, but 1/1000 has yet to give me any trouble.That said, good morning or afternoon light doesn’t always allow for those kinds of shutter speeds. In these circumstances you have three choices:
1) Shoot as fast as your camera allows for proper exposure. While you may not get perfect still action, sometimes you’ll capture something by accident that you didn’t anticipate. (below shot @ 1/500 second)
2) Experiment. Maybe shoot at 1/2 second and show some speed blur on purpose, or shoot at 1/60 second and pan with your subject.
3) Break out your flash. Yes, it’s possible to control light even in surf photography. Different housings allow for different control. Possibilities range from on-camera flash to supplemental flashes that are held by other swimmers and triggered by either your on-camera flash or a pocket wizard.
Another common misconception (even by some surf photographers) is that every shot must be front lit by morning or afternoon, directional, “beautiful light.” While these images have given surf photography its reputation, some of my favorite images are non-traditional. Getting the fundamentals of shooting down is key, but don’t be afraid to try something new! As in surfing itself, there is always room for progression. Count on it: if you don’t try something new, someone else will!
Quick Tips
Everyone has his or her own methods. Here’s a quick checklist of the valuable tricks of the trade I’ve picked up along the way:- When shooting fisheye, before you get in the water, spit on the lens port, rub it all over, then let it sit for a bit. Keep doing this once in the water and when ready to shoot, dip the camera in the water right before you fire the shutter. The spit will ensure that no water beads on the port for a good 5 seconds, so your image won’t get distorted by stray water drops.
- When shooting with a long lens, before you get your housing wet, wipe your finger along the inside of your ear and on the sides of your nose. You will attract a small amount of oil that when rubbed on the front of the port allows for water to easily bead up and drip off the port. Unlike shooting fisheye, however, you don’t want to dunk the port in the water. When swimming, do your best to keep the lens port out of the water. The oil is just a backup in case it gets wet.
- To capture still action, stay at or faster than 1/1000 of a second.
- Typical exposure in surf photography calls for shutter priority shooting. I shoot at 1/3 – 2/3 over-exposed shutter priority to make sure I get the highlights straight out of the camera. Unlike film, with digital you can always bring the blacks back. Underexposing your image will result in increased noise when adjusting exposure in post-production.
- Always double check that your housing is sealed before you get in the water. I’ve seen excitement to get in the water result in flooded housings and ruined cameras, so be careful!
- Don’t be afraid to experiment!
Wednesday, September 11, 2013
Freelance Photography: Digital vs. Film Case Study
Last week, the British Journal of Photography helped spread the news that Kodak will stop producing digital products as part of their ongoing strategic review? What is Kodak going to do? Refocus on good, old fashioned film.
At first, this sounded like brand suicide to me. But then I read on…
The news comes as Kodak is undergoing a wide-ranging strategic review of its businesses with the “commitment to drive sustainable profitability through its most valuable business lines.” But Kodak is quick to point out that the move won’t mean the end for Kodak-branded digital cameras. Instead, the firm plans to license its brand to third-party manufacturer – a move that mirrors Polaroid’s action in the years leading to and following its own bankruptcy. —bjp-onlineFilm has a core niche market. There are still photographers out there who use it, and use it religiously. Jonathan Canlas, a popular photographer based in Utah, recently came out with a book titled “Film is Not Dead: A Digital Photographer’s Guide to Shooting Film”. He also leads FIND (Film is Not Dead) workshops across the U.S. (which Kodak helps sponsor). There are about 65 testimonials about the workshop on Canlas’s blog, from photographers all over the place. Some of them are so jazzed about the workshop they’re writing testimonials before they have even attended!
Canlas shoots ONLY in film, and his business hasn’t suffered from the trend towards digital photography in the least. In fact, I’d argue his business has grown from sticking to his chosen niche.
Stacey Hedman, a New England-based photographer, has been using film again for about a year. She started noticing that the photographers she most admired were using film, and she stared to pull out her family’s old cameras to play around with. In addition of going to film, Hedman and her fellow photographers are using manual light meters and cameras that haven’t been manufactured in over 20 years. “With film I feel more connected to the process—there’s more soul and art behind it,” she says.
Hedman suggests two reasons why photographers may prefer film over digital: the richness and creaminess of the photos themselves and the film’s ability to retain highlights. “What I mean by that is that digital may blow out the white in a wedding gown, to where you don’t see any detail at all,” Hedman explains. “With film, you can go really bright, overexposed even, and in the photo you will still see every piece of lace in the dress. Together these things can create an incredible color palate and tangible softness.”
Digital photography has created photographers who spend a heck of a lot of time using editing software like Adobe Photoshop to edit and correct for exposure or mistakes. “With film, you need to be more thoughtful and truly understand your situation before clicking the shutter,” Hedman says. “When my film comes back, it’s almost completely “done” editing wise, meaning less time in front of the computer editing thousands of images.” When Hedman uses film, she finds herself taking less photos because she’s being more thoughtful and money conscious—it costs her up to $30 to develop one roll. But the lack of necessity of retouching before sending them to her clients is worth the time spent behind the camera in the first place.
Hedman didn't retouch anything on these film prints.
I know a slue of photographers who credit digital cameras with the rise in semi-professional photographers flooding the market—especially the wedding photography market. Just because someone has a nice camera, doesn’t mean they really know how to use it. They may have no idea what an aperture or an f-stop is, or bother to use manual settings on any occasion.
“The important thing to remember is that film doesn’t mean digital is bad, and digital doesn’t mean film is bad,” Hedman says. She personally considers her approach to photography to be a hybrid, because she prefers to use digital camera in the evening, or when an editorial client is on deadline. “Each medium truly excels for what it does, and it’s my job to know how and when to use my various tools.”
We’d love to hear from you freelance photographers out there about what you think of this “trend” back to film. Which do you prefer to use and why?
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