Beginner’s Tip: Get Closer
I work with a lot of people just starting out in photography. People who want to move off of Auto mode and on to something more. And they show me their images, asking, “What can I do better?”
I’ve started noticing a pattern in many of the images I have seen from new photography enthusiasts. It’s not absolute, but it is common enough that I write here today offering this bit of advice: Get closer.
Here’s the pattern I see when I ask new photographers to photograph something of interest. I’ll illustrate the flow with photos most students start out with.
First, they find something interesting, like this splotch of moss on a tree trunk. They think it’s different and those who haven’t visited Washington often remark at the different varieties of moss we have here. If only we could export it for gold.
The photo above is what I see a lot of. It’s not horrible, but it is not what the shooter really wanted to capture. They see the moss, they see the tree and they just take a shot, from about four feet away and zoomed out. But the image brings in the background and there is nothing special. They often frown at the camera at this point. Then turn to me with that frown, shrug their shoulders and look for advice. “Get closer.” They sigh again and take a step in.
The moss gets bigger but they complain about the distraction of the person on the sidewalk in the background. More frowning. “Get closer.” One more step straight forward (moss really is cool).
Straight on. They are a bit amazed their camera can take a picture so close, to be honest. Some, picking up on the theme, will take things even closer but most of the time, the lens and camera combination won’t allow focus at that range. At this point, they have a close image but everything is in focus and there is no depth to the image. They still aren’t happy, but getting there (at least the sidewalk isn’t visible!).
At this point we take another tack. I have them move to the side. To try another angle. By now they still aren’t sure I’m sane and this is par for the course. Perhaps there is a magic button on their camera that makes pretty pictures? “No,” I reply, “but that’s actually good news.”
Now the eyebrows raise up a bit. There’s interest in the image. A bit of angle has added in some depth (even at f/9) and the moss is starting to become interesting. They know what’s coming by now if they were to turn to me and ask, so they tentatively ask, “Closer?” “Yep. And zoom in just a bit.”
“Oh wow,” is often heard at this point. They didn’t know their camera could take a photo with a clear subject and no distractions. They were able to get a bit closer than when straight on and they now have a focal point. But the aperture is still set to f/9 and bringing in a lot of the moss. So I have them lower the aperture as far as it will go (while still looking through the view finder as it is good practice to learn to adjust settings while looking through the viewfinder if you have one).
Now at f/5.6 in this case, the focal point is narrowed down and they have an interesting picture. Will it make the cover of National Geographic? Not likely. But I’ve come to understand people learn in baby steps and this is a big one for most; realizing there is more to shoot than the broad view, with a wide angle lens, four feet back.
If you’re starting out, repeat the mantra to yourself the next time you have a subject in front of you and are frowning at your camera’s display of an average image.
Get Closer.
Post originally from: Digital Photography Tips.
Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.
Does That Little Flip Up Diffuser Actually Help?
One question I receive in my workshops for beginners is about flashes. Particularly “What the heck is this for?”
And, “Does it actually do anything?”
Not all flashes have these two items that cover the flash head and pull straight out, but if yours does and you’ve always wondered, here is your answer.
Those two items both serve different purposes. The one that flips over the flash itself is a diffuser. Its job is to spread out the light from the flash. You might have seen larger diffusers, such as a softbox over a flash. Those diffuse even more light than this piece of plastic. But it actually is better than nothing when it comes to spreading out light. At the same time you flip out this contraption, your flash will typically back up the light source inside of the flash unit (if it has zoom capabilities) to help project a wide swath of light.
These two actions work hand in hand to spread light and not make it so tight on your subject. The last piece of plastic, the more opaque one the at sticks out straight, helps bounce light that would have bounced away from the subject, get pointed back just a liiitttle bit more towards your target. This can be helpful when even more diffusion is wanted, or if the flash is being bounced off a ceiling and some catch light is wanted in the subject’s eyes.
Let me show you the difference a diffuser, coupled with the bounce plastic and a wide zoom in the flash, can make.
This first shot of a f-stop Gear Satori pack I was reviewing is taken at 85mm and a distance of about eight feet. This shot is taken with the flash pointed directly at the pack and coming in from the left side as I have tilted the camera, as I did not want to bounce the flash against a colored wall and couch.
Notice the harsh shadow to the side of the pack caused by the flash? This is because the flash is coming from the side and is relatively close. That shadow is caused by the pack being another eight feet from the wall behind it (as your subject gets further from the background, the shadow will increase).
Now let’s try it with the diffuser in place, the bounce in place and the flash zoomed back to 14mm (all of which happens automatically when I pull out the diffuser).
The exposure settings on the camera are exactly the same in both photos. The difference should be clear, that the second shot has much lighter shadows as well as a softer light on the pack itself.
The impact of this method is less pronounced when zoomed in further and the flash is now positioned above the camera in a horizontal orientation. Can you tell which shot is which in these two examples?
The clue is in the slight change in the quality of light. Because the diffuser’s light is not as intense as the straight flash, it allows in a bit more ambient light and this can be seen in the first image as a slight more orange is showing (from the overhead tungsten lights). The reflections on the buckle are also slightly less harsh.
Using this quick and easy diffuser which you will never leave at home can have its advantages. It’s not mean to replace a true softbox, but it will help when one is not around.
Post originally from: Digital Photography Tips.
Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.
Does That Little Flip Up Diffuser Actually Help?
Give Your Viewers Some Place To Go
In photos, as in life, we like to have some place to go. Not having a direction in a photo is one of the reasons for people becoming bored of viewing photos or lackluster responses on internet sites. People can’t always put their finger on why your photo leaves them uninspired, but it may be because they aren’t sure where to go and what to see.
To help alleviate this problem, give your viewers some place to go. Not in every photo, but think of it from time to time when setting up a shot. There are a few ways you can give your viewers a place to go in your photo and I’ve listed some suggestions below.
Tight Focus and Blur
The first technique deals with a change in focus. It’s how our eyes naturally see the world, in thin, two dimensional slices at a time. This is in focus and that is out of focus. The screen you are reading this is in focus and the keyboard (or floor if you are reading this on a mobile device) is not. Couple that together with two eyes to give a three dimensional aspect to what we see and we now have a useful way to navigate our living room without smashing our shins on the coffee table.
The problem in photography comes when cameras are left to their own devices and choose for us. Many cameras will increase the aperture setting (closing down the aperture) to bring more things into focus. Most cameras ‘think’ you want a lot of things in focus. Surely the camera has it figured out for you!
But the truth is, interesting photos have few things in focus (hyperfocal techniques no withstanding) at one time. And it’s important to remember this when taking a photo. Pick one thing to be your focal point and try to make it stand out from the rest of the scene. This can be done by increasing your aperture (decreasing the f/stop number) to take advantage of a shallower depth of field. It also helps to get closer to your subject to also shallow up that depth of field.
Whether we know it or not, we are used to seeing something in focus and something not in focus. Looking at your screen, do actually notice your hands on the keyboard are not in focus? Typically, no. We know our hands are there and we don’t need them in focus by our focus should be on the screen. Do the same with your photos and give your viewers a focal point while letting the rest of the scene blur out of importance.
Leading Lines
Leading Lines are just that; lines in your image that bring viewers to a particular point. I also like to include paths in this example because a path, or road, while not always perfectly straight, can lead viewers as well. Playing with Leading Lines can be a lot of fun because you get to move around. Pay attention to the lines in a photo, such as this one taken on a Washington State Ferry.
They day was gray and boring and there wasn’t much to look at. But there were lines everywhere. The railings, the horizon, the deck chairs. They all lead to the pilot house and I mostly wanted them in focus. So I took a position that would allow them to converge. I moved around the deck a bit until I had a nice and easy spot where two of the lines for the Rule Of Thirds converge.
Lines can also be curved as in this shot of a trail leading into the unknown distance.
Space
One of the more simple tricks to leading your viewers is to give them space in the photo to move into. We take our periphery for granted and that plays out in photography (as well as other forms of art) in a way most of us don’t consciously understand. What I’m talking about here is the fact that as you move your head from left to right, or up and down, your brain is scanning ahead. It is why you also don’t bump into the coffee table even though it may not be in focus. Your eyes say it and your brain understood what was coming before it was in focus.
When a photo does not allow for this scan-ahead to occur, we tend to turn our nose up at the image. Not because it is horrible, but because ‘something’ isn’t quite right and we’re not sure what. Take these two images of the setting sun for instance.
The difference between the two is the position of the boat and where it is going. We all know a boat (typically) goes forward and we know which direction this one is facing. When it is just about out of the frame, we subconsciously want to know where it’s going and are slightly irked by not knowing. Mind you, this can be a good method for grabbing attention, but for making pleasing photos while you are learning photography, give some space in front of the subject for it to ‘move’ into the frame.
Conclusion
It’s important to remember these are only rules. And rules are made to be broken. But if you are just starting out in photography, learn to use these simple techniques first to add some instant attraction to your images, then venture out and let your artistic creativity take over your style.
Post originally from: Digital Photography Tips.
Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.
Give Your Viewers Some Place To Go
The One Question You Should Ask Yourself Before Taking Any Picture
While teaching photography I am often asked, “What do you think about when you take a picture?” This can be a hard question to answer. I’m not bragging when I say I’ve been shooting for 20 years and the art of creating images has become more reflex than quantifiable thought process. I don’t think a whole lot when shooting.
But one questions that does run through my mind, and is the closest I come to thinking before shooting, over and over again before pressing the shutter release is a question I deliver to those looking to improve their photography. That question is simply:
Why am I taking this picture?
The answer to this question often reveals a lot about not only what I’m looking at, but also whether or not I should take up the megabytes and time editing this scene later. Taking a look at some of the likely answers to this question, I want to stress that there is no ‘right or wrong’ in this method. It’s simply a technique to help you figure out what’s going on in your head. It is not a law, just a suggestion.
Because It Is Pretty
This is the most common reason for most images to be taken. The scene in front of us is pretty and we want to capture it, preserve it or share it. The problem here is not every pretty scene makes a great or even good photo. So often the scene in front of us is maybe out of the dynamic range of our camera (a problem solved by using HDR techniques and the march of progress in sensor development). Or maybe it’s a tremendous sunset partially covered by trees. The problem is our mind often interprets the scene in front of us in a way the camera never can.
These types of shots will often remain on your harddrive and not even make it to Facebook to be shared. You get home and look and sigh. “Meh” is often heard when looking at these shots on a computer screen when the magic of the moment has long passed.
It’s my assertion that a scene being labeled as ‘pretty’ alone is not sufficient reason to take a picture. It surely is reason enough to stop for a moment and enjoy the beauty of life. Just don’t forget that ‘beautiful scene’ doesn’t always equal ‘beautiful picture’.
Because It Evokes Emotion
Here now is a great reason to take a photo. If you feel stirred inside with any emotion, chances are the viewers of your image will be too. Emotion is something that connects us as humans and crosses language barriers. If the scene is emotion evoking, I would not hesitate to take a photo at the appropriate moment to try to convey that feeling on a computer screen later. It’s important to note you may not like the emotion being displayed, but that does not mean it won’t be a good photo.
Because It Tells A Story
Sometimes the space inside a frame has a whole story coming to life. Action, suspense, a life well lived. Any theme is fair game and the greatest photojournalists of our time have been masters at finding those stories. When they know just one image is going to be used in a newspaper article, it is important to make that image tell as much as it can. Look for these types of images especially while traveling.
Because It Is Instructional
Photography is a wonderful way to teach. Some of the ugliest photos teach the most important subjects. And not every Pulitzer Prize winning photo is perfectly lined up according to the Rule Of Thirds or with a histogram that is not a pixel overexposed. In fact, taking a photo of something that shows a technique or a different way of doing something will not make the cover of National Geographic, but it will serve a purpose and explain things 1000 times faster than writing about it can.
Because I Want To Remember This Moment
The beach. Hawaii. Umbrella drinks in hand. The love of your life beside you. Toes in the sand. A setting sun.
We’ve all seen this image shared by friends at one time or another. It’s a boring picture. The sun, looking Hawaiian orange, just before it sinks into the bluest ocean you have ever seen. And the sun is centered. So is the horizon. It’s boring for most of us.
But it doesn’t mean you shouldn’t take that shot. It is a great memory for you and every time you look at that sunset image you will be instantly transported back to the warm beach. It also doesn’t mean you need to share the image. That’s the key for images like this. Blow it up and put it on the wall in your office, but don’t force your friends to look at a ho-hum image, because they don’t have that memory come to life when they see it. Share the spectacular images when the lava rolls into the sea while saving for yourself the special, private moments that make you smile.
Conclusion
There are any number of reasons to take a photo. I’m not here to say “Never take a picture because it is just pretty!” But I do think it helps one improve their technique and artistic eye if conscience thought is given as to why an image is taken.
I should also note that about a quarter of the time I simply shoot from a gut feeling and that gut feeling in any photographer should never be ignored.
Post originally from: Digital Photography Tips.
Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.
The One Question You Should Ask Yourself Before Taking Any Picture
Quick Tip: Never Forget Your Memory Card Again
It finally happened. Recently I became a victim to one of the most heinous errors any digital photographer can make. I left behind all my digital memory cards.
Not just one. I own maybe a dozen. I left them all behind. You see, seven were set aside after a recent trip to Peru until I ensure all the images had been copied from the travel laptop to the network attached storage and then to the desktop. One was sitting beside my Mac for no apparent reason. Another was in the card reader from another late night project the day before. Four others were in their case in a different camera bag (testing bags as often as I do, it seems something always gets left behind).
Long story short: I had a beautiful view of Mt. Baker in the Washington Cascades, bright and stark against the gray clouds behind it. I was on a ferry boat and no chance to run home. I was out of luck.
From that experience I came up with two tips I hope will help you never have to see “No Card” when you least want to.
Tip #1: Post-It Notes Can Save The Day
When I speak of Post-It Notes, I don’t mean leave yourself yet another note that gets lost in the pile of notes on your desk or around your monitor. I mean take a standard sized Post-It Note and cut it in half. One of those is your backup note. Take the other note and place it, right now, on the slot where your main card is not. If your main card is in your camera at the moment, put the note on your card reader (if you have more than one reader, put the spare note on that one too). If the card is in your reader, place the note over your camera’s card door (I’d advise against placing it inside to prevent part of the note ripping off and becoming stuck in the card or battery slot).
This way, when it’s time to take the card out of the camera and download into a computer, you simply take the Post-It off the reader and place it on the camera. I tend to close my camera’s card door for fear of if being hit and broken off. This note lets me close the door and not have to wonder. It’s not a fool-proof method (the note, once used too often, can simply fall off), but it helps.
Tip #2: Carry A Spare You Never Use
A lot of camera bags now have holders for spare cards, sometimes two. I used to scoff at these as I carry far more than two cards in separate LowePro hard cases. But before my last trip I decided to buy a couple more cards and store them in such a pocket. I’m glad I did as I was faced with the “No Card” message again. That time, all I did was pop open the velcro pocket and drop my spare card into the camera.
Otherwise, if I don’t have such a pocket in my current test bag, I will leave one of my two hard cases with one to four cards inside my travel bag.
Don’t be a (sometimes) idiot like me. Make sure you always know if your camera is ready for shooting.
Disclaimer: It took me 10 years of shooting digitally before I made this mistake. I hope you never have to experience it! Speaking of which, do you have any other tricks you would suggest readers try?
Post originally from: Digital Photography Tips.
Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.
Quick Tip: Never Forget Your Memory Card Again
Fun with Macro Photography
Macro photography has been on my bucket list of photography genres to experiment with for a long time. Unfortunately, a good macro lens is not cheap and, since I have no use for it for my commercial work, it is not an expense that I can easily justify. However, I am a firm believer that when you make a living with your photography, it is essential to work on personal projects to keep your passion alive and fresh. Just like the fish eye lens, the macro lens is the perfect toy for any photographer. I received one for my birthday last spring and my adventure into the world of macro discoveries and challenges began.
It took a few shots to get the timing right but I learned a lot in the process!
Like many photographers, I concentrated first on capturing macro images of flowers and insects. I enjoyed it and learned a lot, but quickly realized I wanted to try other things. Besides, there is snow cover for four to five months a year where I live, so opportunities for outdoor macro photography are limited. I decided to step up my macro photography efforts and experiment with other shots.
There are many great macro tutorials available online, but I enjoy creating my own experiments and learning that way. Part of the fun for me is figuring out the setting that will get the right shot. I also prefer looking at pictures over tutorials for inspiration. Most online tutorials give away the exact settings you need to get a particular shot. What’s the point of that? They may be a good place to start, but you will have more fun and learn more “off line.” Photography is a craft that is best learned by trial and error. To achieve real skill and experience, figure out all the settings by yourself by photographing those things that interest you. I’m confident you will quickly learn how to get that perfect macro shot on your own.
Although I occasionally shoot macro handheld, I use a tripod and a remote trigger most of the time. (You can also use the timer on your camera.) Keep in mind that macro photography requires you to shoot at a really small aperture (big numbers) in order to get the most depth of field possible. And the slightest camera shake will ruin your shot, so be sure to use a good, steady tripod.
What do I shoot with my macro lens? I still enjoy getting close to beautiful flowers, but I have found many other interesting subjects around my house. Once you start seeing things up close, you can’t stop looking for new things to shoot. Don’t be afraid to experiment with your macro lens. There are hundreds of fascinating subjects around you right now! Macro photography is much more than photographing flowers and insects – it’s a unique way to see, and experience, everyday objects. Put a macro lens on your wish list and maybe your own amazing adventure will begin in 2012!
I had never paid much attention to those old French coins until I decided to experiment with macro photography!
Water and oil don't mix! Here the glass dish was set up over colored pencils to add interest.
This broken pocket watch was just too beautiful not to take a closer look!
Open your refrigerator, I'm sure you'll find a few interesting subjects in there!
Of course, I will always love photographing flowers with my macro lens but there is so much more out there, just look around and dare to experiment!
Note: The photos above were shot with the Canon macro 100mm f/2.8 on 5D Mrk II
Post originally from: Digital Photography Tips.
Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.
A Fresh Look at Depth of Field: Using foreground to achieve creative depth of field
The following post on depth of field was written by Hawaii photographer Natalie Norton, of natalienortonphoto.com.
We talk a lot around here at Digital Photography School about Depth of Field. I’m writing this based on the assumption that we all understand that in layman terms, “depth of field” is the portion of an image that is in sharp focus. To illustrate: in landscape photography, generally you’re working to achieve a very large depth of field. You want EVERYTHING in the scene to be in sharp focus. With portraits, photographers are often shooting for (lame pun intended) a more shallow depth of field, focusing in on their subjects and working towards fall off or blur in the background. Why do you think this is the case? Clearly to draw focus to the story being told. Well what if you want to tell a different story OR what if you want to tell the same story in a different way? Today let’s talk about depth of field and some ways you can use foreground in a different way to draw a different kind of attention to the story you’re trying to tell. Here are 3 ways to create “story telling images” using foreground to achieve creative depth of field.
1. Framing with foreground:
I wanted to find the most straight forward illustration I could to get the point across clearly. This shot (left) is from a recent senior portrait session. I wanted to draw attention to the senior, particularly I wanted him to seem strong and capable: READY to take on the world.
The frame of the foliage around him draws attention right to him… it focuses the story of the image. I recognize that foreground used in this way can also be distracting, this image is borderline distracting, I recognize that. You need to be aware of that and be sure to make foreground work for you, not against you.
How to get a shot like this: well I was shooting with a 50mm lens. I got right up close to the foliage that separated Melvin and I. First I tried with auto focus, but because of my proximity to the leaves, I had to switch over and focus manually.
2. Don’t be afraid to throw your subject out of focus:
When you’re doing portraiture, you’re generally trying to establish some kind of mood through imagery: happy, solemn, lovesick, sexy. . . Generally the mood is created through posing etc. For the next shots I let the foreground tell a few different kinds of love stories for me.
Back in March, I was shooting on Balboa Island in California. We were out on this dock shooting the typical, fun, happy, “we can’t wait to get married” stuff and I was getting bored. I had them take their shoes off and put their feet in the water. Better, but still pretty typical. So I waded out into the water, hitched my skirt up around my waist, nearly dropped my camera into the ocean, and created these. First I focused on the couple and threw the water out of focus. It’s a nice shot. It looks like they’re sitting on the dock watching the sun set. Nice. Then I focused on the water throwing my subject out of focus. A little sexier huh? Like, we’re sneaking up on some steamy make-out sesh. . . ha ha! But really, both images are good, while neither image is going up for any awards any time soon, they’re both good images. The second just speaks to you a little differently, tells their sexy love story a little more clearly.
Here’s another image where I decided NOT to focus on my subject, again to tell his story better. Back to Melvin’s senior session. Here he is walking into his future. I wanted to show where he was going, but also to illustrate that he’s on his way there because of where he’s been. . . I think this image is a powerful one that illustrates hope for the future and grounding in the past.
Don’t be afraid to throw your subject out of focus!
3. Same shot+different focus=different story:
This next series is a favorite of mine. Essentially the same shot, but different focus makes it tell a different tale. Both images were taken within seconds of each other. But they each tell a different person’s love story. First, the love of a father for his daughter and the second the love of a little girl for her daddy. Framed side by side. . . ahh. I get all warm and cozy just thinking about it.
Depth of field is a simple concept, but the ways it can be arranged to create powerful images are endless. Go get fresh with depth of field! Feel free to report back! We’d love to hear/see how you did!
Happy Shooting!
Natalie Norton lives and shoots on the North Shore of Oahu, HI with her husband Richie and her 3 crazy boys. See more of her work at natalienortonphoto.com.
Post originally from: Digital Photography Tips.
Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.
A Fresh Look at Depth of Field: Using foreground to achieve creative depth of field
How To Design And Shoot A Long Term Photography Project
Waiting Taxis In Ireland
Personal photography projects are the spice of life between the humdrum of every day life and shooting. As a professional, there are subjects I shoot because I’m paid to (portraits, weddings, products, etc…) and there are subjects that interest me personally (mountains, goofy road signs, milk jugs, etc…). I’ve learned to mix the two and let work assignments pay for personal projects by keeping a list of what I want to shoot as I travel internationally as well as around my town.
You may not have thought of starting a long term project. Most of us don’t because our photographic interests change over time, more quickly as we start to dabble in photography and learn new techniques. We are all familiar with the Project 365, where the idea is to take a photo a day for a year. Think of this as a Project 365, but spread out of 5, 10, 40 years. Your goal is not to shoot regularly, but to shoot your given subject over and over and over, then compile the images tell a story.
Pick a subject(s)
Waiting Taxis in Bhutan
Start with a mental list of subjects that are interesting to you and especially ones that you find in multiple locations. As with most personal photography projects, the key is to make it interesting to you so it’s always at the tip of your mind. Creating a long term project based on what your friends want, from my experience, doesn’t work as well because interest in the subject tends to wane. This project has to be for you. If others click with your subject and like it as well, all the better.
You can pick a subject that is in one location and shoot it in different light, over the course of time. This works well for structure or landscape photos. Picking an area near the urban environment will show change over time. You can also shoot in different seasons or weather conditions and this works if the subject is close to where you live so you can visit it often if particular light is found on a given day.
You can pick a subject that is the same in multiple locations. While traveling from continent to continent, I started to notice eggs are packaged in nearly identical containers no matter where I went (except the USA, so far). Peru, Nepal, Australia, Morocco….different eggs, same container and quantity. Some shots I took were quick snaps. Some were more thought out. Some other subjects to help with your creative process include:
- Cars
- Bridges
- Clocks
- Money
- Cats and Dogs
- Signs
- Markets
- Religious Structures
- Numbers
- Your Favorite Hobby (besides photography)
The list goes on and I’m sure you can make your own. The idea is to find something you like and look for it when you travel down your local roads or across the world. Remember, the idea here is long term. You’ll be collecting these images for decades so you don’t have to find them all this coming week.
Map it out
Waiting Taxis In Peru
If you’re the planning type, map out where you can find your subject(s) and keep it around. Maybe you picked cathedrals. Find local examples, if there are any, and then create a map with the location of some prize structures you really would like to see. I believe in both having a plan and in letting chance play a part. The map will let you know where you would like to go but you should also be open to driving past a cathedral where you weren’t aware any existed.
Finding your subject(s) and over time, you can make plans to acquire the photos you are looking for. It’s also a good visual reminder if you happen to unexpectedly be heading to, say, New York on a business trip or for a friend’s wedding that only 30 minutes from your hotel are some of your prize photos waiting to be added to a collection.
Write it down
There are studies showing how much more effective people are at obtaining goals by performing the simple act of writing them down. Use a computer, a piece of paper or the back of a napkin. Use what works for you and write down your subjects. Review the list often when you are waiting for a plane, sitting at the dentist office or have an extra moment while the police officer writes you a speeding ticket. In order to review the list regularly, you will need to…
Keep the list with you
This is where paper works better than computers, although you can certainly do both. A scrap of paper will fit in any billfold or purse and will travel with you. When you are feeling rudderless and not sure what to shoot, that list, when kept with you, can kick start some creativity. Maybe the subject isn’t right at hand, but reviewing it will get you thinking in the right direction. Make multiple copies of your list and keep one in your camera bag, top drawer at work and taped to your bathroom mirror at home.
Just start
“The journey of a thousand photos begins with one click.” – Probably Not Confucius
Create a folder on your computer. Right now. It’s not hard, I’ll wait while you do it.
Wait….are you at work? Maybe you should wait until you get home and create the folder. I think you know what to do with it; label that sucker with your subject. Create a folder for each subject and as you snap images along the path of life, drop them into the folder. Make sure to give the files some sensible name, like the location of the subject. You can also stuff the IPTC data of your image with other information, such as how you found the subject, weather conditions or anything else you want to tag on.
Even if you don’t have a photo of your subject worth of dropping in the folder, create the folder and keep it visible. Put it in your Favorites on a PC or the Places (In Finder) on your MAC. Keep them there in front of you.
Realize you’ll likely delete your first attempts by the end
Have you ever gone back and checked out photos you shot maybe 20 or 30 years ago? Or if you’re starting out, maybe just last year? We all go through the, “I thought THAT was a good shot?” blues at times so don’t sweat it. It’s part of the evolutionary process of art and just being alive. As you add images to the folder, don’t worry too much if they are good enough for the future. You’ll know when you get to the future and can simply move them out of the folder. Cut yourself some slack, this is supposed to be a fun project just for you.
Allow for change
Along with deleting your first attempts, allow your subject matter to change over time. Maybe you will create nested folder inside your first folders and ‘Cathedrals’ will contain ‘Crosses’ and ‘Architecture’. Or maybe it will spin off the other direction as you take interest in other religious buildings and instead nest ‘Cathedrals’ inside of ‘Places Of Worship’ and add other folders for ‘Mosques’ and ‘Temples’ and so forth. Let your interest grow. Harddrives will only be getting bigger, you’ll have plenty of space.
Let it be known
Ah, social media. It can be a boon for those of us looking for information from reliable sources who care about us; friends and family. Lean on them and let them know what you’re up to. A simply post such as, “I’m starting a photo collection and I want to shoot all the alpaca farms in the tri-state area. Do you know of any?” Easy. 115 characters. It’ll even fit on Twitter.
One of the best uses of DPS is the ability to connect with like-minded photographers. I’d encourage you to use the forums section here on DPS which can be a wealth of information in a more interactive format. Ask about ideas you have or request some input on where to shoot. Or just search for your intended topic(s) and see what others have said.
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Long term personal photography projects can be a lot of fun when looked back upon decades from now. But you have to start today in order to build the inventory and memories to share down the road. I’m pretty sure the real Confucius would agree.
Post originally from: Digital Photography Tips.
Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.
How To Design And Shoot A Long Term Photography Project
Learning about Exposure – The Exposure Triangle
Bryan Peterson has written a book titled Understanding Exposure which is a highly recommended read if you’re wanting to venture out of the Auto mode on your digital camera and experiment with it’s manual settings.
In it Bryan illustrates the three main elements that need to be considered when playing around with exposure by calling them ‘the exposure triangle’.
Each of the three aspects of the triangle relate to light and how it enters and interacts with the camera.
The three elements are:
- ISO – the measure of a digital camera sensor’s sensitivity to light
- Aperture – the size of the opening in the lens when a picture is taken
- Shutter Speed – the amount of time that the shutter is open
It is at the intersection of these three elements that an image’s exposure is worked out.
Most importantly – a change in one of the elements will impact the others. This means that you can never really isolate just one of the elements alone but always need to have the others in the back of your mind.
3 Metaphors for understanding the digital photography exposure triangle:
Many people describe the relationship between ISO, Aperture and Shutter Speed using different metaphors to help us get our heads around it. Let me share three. A quick word of warning first though – like most metaphors – these are far from perfect and are just for illustrative purposes:
The Window
Imagine your camera is like a window with shutters that open and close.
Aperture is the size of the window. If it’s bigger more light gets through and the room is brighter.
Shutter Speed is the amount of time that the shutters of the window are open. The longer you leave them open the more that comes in.
Now imagine that you’re inside the room and are wearing sunglasses (hopefully this isn’t too much of a stretch). Your eyes become desensitized to the light that comes in (it’s like a low ISO).
There are a number of ways of increasing the amount of light in the room (or at least how much it seems that there is. You could increase the time that the shutters are open (decrease shutter speed), you could increase the size of the window (increase aperture) or you could take off your sunglasses (make the ISO larger).
Ok – it’s not the perfect illustration – but you get the idea.
Sunbaking
Another way that a friend recently shared with me is to think about digital camera exposure as being like getting a sun tan.
Now getting a suntan is something I always wanted growing up – but unfortunately being very fair skinned it was something that I never really achieved. All I did was get burnt when I went out into the sun. In a sense your skin type is like an ISO rating. Some people are more sensitive to the sun than others.
Shutter speed in this metaphor is like the length of time you spend out in the sun. The longer you spend in the sun the increased chances of you getting a tan (of course spending too long in the sun can mean being over exposed).
Aperture is like sunscreen which you apply to your skin. Sunscreen blocks the sun at different rates depending upon it’s strength. Apply a high strength sunscreen and you decrease the amount of sunlight that gets through – and as a result even a person with highly sensitive skin can spend more time in the sun (ie decrease the Aperture and you can slow down shutter speed and/or decrease ISO).
As I’ve said – neither metaphor is perfect but both illustrate the interconnectedness of shutter speed, aperture and ISO on your digital camera.
Update: A third metaphor that I’ve heard used is the Garden Hose (the width of the hose is aperture, the length that the hose is left on is shutter speed and the pressure of the water (the speed it gets through) is ISO.
Bringing It All Together
Mastering the art of exposure is something that takes a lot of practice. In many ways it’s a juggling act and even the most experienced photographers experiment and tweak their settings as they go. Keep in mind that changing each element not only impacts the exposure of the image but each one also has an impact upon other aspects of it (ie changing aperture changes depth of field, changing ISO changes the graininess of a shot and changing shutter speed impacts how motion is captured).
The great thing about digital cameras is that they are the ideal testing bed for learning about exposure. You can take as many shots as you like at no cost and they not only allow you to shoot in Auto mode and Manual mode – but also generally have semi-automatic modes like aperture priority and shutter priority modes which allow you to make decisions about one or two elements of the triangle and let the camera handle the other elements.
A lot more can be said about each of the three elements in the exposure triangle. Check out other relevant posts on the topic at:
Note: this post has been updated since its original posting and republished for 2011.
Post originally from: Digital Photography Tips.
Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.
Learning about Exposure – The Exposure Triangle
See The Extraordinary In The Ordinary
Have you ever found yourself with your camera in a place where there is nothing interesting to photograph? The quality of light is poor or the surroundings are boring? You go home with an empty memory card and full of self doubt. Well, that happens to every photographer, but it can be easily turned into a journey of new discoveries.
Friends say that I have the ability to find something interesting to shoot everywhere I go, no matter the light or the surroundings. I am never bored when I am with my camera! I love the challenge of photographing an ordinary object and try to make it look interesting. I may be only experimenting with composition and depth of field, but isn’t it through such exercises that we learn and grow the most in our craft?
While out for ice cream with the kids I notice the lines and the sun light through the yellow umbrella. I climbed on a chair to get just the right angle to make the shot interesting. Sure, people at the other tables were a bit puzzled by it but I learned to ignore their stares a long time ago!
Sometimes it's all about isolating an object that you would not normally pay attention to.
While recently following the work of a few photographers who just completed their first 365 photo-a-day adventure, I noticed a pattern. Clearly, their plan was to capture something exciting for every day, not for a moment thinking ordinary household items might fit the bill. However, to maintain that daily photographic commitment, each photographer eventually needed to become resourceful enough to see the extraordinary in the mundane. It is at this stage that I always see them take a big step forward in their work. It’s as though they suddenly get the urge – and the confidence – to experiment, and this teaches them to see the ordinary world around them with new eyes.
Try this exercise. Look around your house for something ordinary to shoot. Better yet, open a kitchen drawer and take out any object. Now using just one lens, shoot it from different angles and depths of field. Then let some direct sunlight shine through it or bounce a flash on colored paper. This exercise can be done anywhere in your house. Now take your camera outside. Walk down the street, stop randomly and look around. Pick an object, study it from different perspectives and then shoot. Play with shadows and light. Get down on the ground or shoot from above. The sky is the limit! If you enjoy working in the digital darkroom, let your creative juices flow. Add filters. Play with those sliders. The camera you use doesn’t matter. This is all about vision - your vision! And have fun!
Pick any ordinary object in your house and experiment!
Walk down the street, stop randomly and look around. Pick an object, study it from different perspectives and then shoot.
You may surprise yourself by how much you “accidentally” learn from this exercise, so I encourage you to do this often. Mostly, you will also get to know your camera and its capabilities better, which will prepare you for the time when you need to shoot something really important for yourself or a client.
The next time you visit a modern art museum, notice how often ordinary household items are incorporated into the art. They are used all the time and in any medium. Soon, you will see the extraordinary in the ordinary!
I will end this article with a quote from Vincent Laforet’s book Visual Stories. This resonates with me because it describes perfectly how I strive to live every day I spend with my camera. “Images are happening around you every second. You can photograph anything in a million different ways, but what I always try to remember is to photograph something as if I’ve discovered it for the first time. And if I have photographed it before, I find a way to see it as I’ve never seen it before.”
We learn from each other, so please share your stories and ideas with the dPS community in the comment section below.
Post originally from: Digital Photography Tips.
Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.
See The Extraordinary In The Ordinary