Beyond Megapixels » shooting

Ten Attributes of a Good Photograph

Steve Russell — Thu, 08 Dec 2011 05:00:18 +0000

All of the attributes I’m going to discuss in this article have been discussed at one time or another in an article, or in multiple articles, on Beyond Megapixels. Aside from reminders being a good thing, we thought it would be helpful to have all of the attributes in one article in case some of our readers wanted a single reference.

None of the attributes I’ll list are applicable for every photo but they all are for most photos. Also keep in mind that if it’s your photo it can be however you want it to be. Still, striving to make sure your images have these attributes will help you create images that are pleasing to a much broader audience.

1. Exposure is correct

Nothing ruins a great shot more than being over or under exposed. Frankly, with today’s automatic cameras and incredible post processing software there’s no excuse for under or over exposed images. Yet, I see them all the time. There are times when I purposely over and under expose and image but I’m going to combine them with a correctly exposed image to make an HDR image. Most other times I can fine tune the exposure plus or minus one stop in Light Room or Photoshop.

2. The subject is in focus.

It’s amazing how many photos I see where the subject is out of focus, even with modern cameras that have auto focus. The subject may look in focus when it’s viewed online but a practiced eye can see the softening caused by the subject not being in sharp focus. In nearly all instances when photographing people or animals the focus point should be the eyes. If the eyes are “tack sharp” a viewer will see the photo as being in focus. I realize that there are times when you, as a photographer, want the image somewhat out of focus for artistic purposes, but those occasions should be the rare exception rather than the norm.

3. The background complements the subject, not detract from it.

I don’t think there’s anything more distracting in a photo than a cluttered background that is completely extraneous to the image. If you’re photographing someone working in the kitchen preparing a big holiday meal, you would expect to see pots and pans as well as other kitchen items. However, if you’re photographing your daughter dressed up for her prom, a cluttered background would be completely inappropriate.

4. The horizon or horizontal lines in the image are level.

Have you ever seen a photo of a boat sailing up hill? I have and it was a result of the photographer not holding the camera level. Granted, a certain amount of camera tilt can be corrected in Photoshop, but it’s easier to visually check and determine if what you see through the view finder or on the view screen is level. I’ve seen some very interesting photos where the photographer purposely turned the camera about 30 – 45 degrees for a certain effect, but it’s also something that’s been way over done.

5. Rule of thirds is utilized.

Sometimes there’s nothing wrong with the subject being centered in a photograph. Always having the subject centered in photographs produces uninteresting images. While the subject of a portrait will generally be centered left to right, the eyes of the subject should be on an imaginary line that is one-third of the distance from the top. This is true for human subjects and animal subjects.

The eyes of subjects in motion should be, as much as possible, on a vertical line that is one-third of the distance from the side of the photograph that is behind them. This gives the subject someplace to go. If the subject’s nose is the part of its body that is closest to the edge of the photo, it gives the viewer the impression that the subject is trapped. This approach works best if the image is made in a landscape orientation.

A lot of people like to argue about the need to follow the Rule of Thirds. But look at what sells. Look at magazine cover photography and content photography and observe how the subject is oriented in the image. On occasion you will see the Rule of Thirds not followed, but in the vast majority of images the rule is followed because it’s more pleasing to the eye.

6. White balance/color temperature is correct.

Most photographers shoot in automatic white balance (AWB) mode. In fact, most photographers probably never change the white balance setting from the AWB it was set on at the factory. Guess what, that’s okay. Except for the fact that the camera isn’t as smart as you are. Just like the camera tries to set the exposure based on 18% gray as the mid-tone, thus rendering snow as 18% gray instead of white, the AWB setting renders an average temperature based on what the sensor reads. This is especially true when you have multiple light sources, all with different temperatures. For example, using an on camera flash in a room where there are both bright incandescent and florescent lights. Fortunately, you can correct this in post processing as seen in the two images below.

I should add that it’s about 20 times easier to correct if you’re working with a RAW image instead of a jpeg but both can be corrected.

7. The picture tells a story or communicates an emotion.

I said this in an article last week. A picture is worth a thousand words, or at least it should be. If the image doesn’t do this then it’s really just a snapshot. I like to be nice and call them documentary photos. You know, “I was there and I saw this” kind of photo. No art, no composition, no interest.

8. The overall composition of the photo is pleasing to the eye (viewer).

Composition is the culmination of all the above. Exposure, focus, where the subject is placed is the frame, background and surroundings, story, etc. Score well on all these elements and you’ll have good composition. Take short cuts on a couple and you’ll have an image that very average or worse. An interesting thing about composition is that good/great composition usually isn’t noticed until the viewer starts trying to figure out why they like an image so much. Bad composition comes through immediately, loud and clear like a stadium full of people blowing on vuvuzelas.

9. The subject is pleasing to the viewer.

Unless you’re on a commercial photography assignment for Waste Management, why would you take a photo of an active landfill? I doubt that anyone is going to get very excited over it regardless of how good it is technically. Now, I don’t particularly care what people photograph, but I’m surprised at what photographs people will post so they can be viewed publicly.

10. You, the photographer, think it’s a good photo.

Photographers are usually their own harshest critics. If you’re trying to improve your photography skills and the images you capture and if you’re trying to learn as much as you can about photography, then you’ll know whether or not you have a good image.

Good luck with your photography.

Photo Credits:

All photos by Steve Russell with, in some cases, a little help from Photoshop.

Camera Etiquette in a Crowd

Tiffany Joyce — Fri, 04 Nov 2011 07:00:14 +0000

We’ve all been there. We’re at an event or a popular landmark, trying to photograph a memory, and we get bumped with a camera bag. Or, we inadvertently bump someone else as we’re positioning ourselves for a shot. Or you miss the PERFECT shot because someone wouldn’t be courteous enough to move. We need to be polite in our photography, just as we should have manners at the dinner table or be polite to our elders. It should just be ingrained in us to be considerate, so here are a few tips to keep in mind regarding camera etiquette in a crowd.

1. Don’t be a shot hog. If you are at an event, chances are there are a LOT of people wanting to get JUST the shot you’re trying to get – the perfect angle for a basket, an epic corner of a race, the sun hitting a spire just so, or their child dancing right next to yours. Try to be mindful of the folks surrounding you who are also hopefully holding their cameras, waiting for their chance. If you find yourself at the front of a crowd standing at a great spot, take as many shots as you can (bracket, use continuous shooting mode, etc), stay for a considerate amount of time (maybe up to five or ten minutes), then get out of the way so others can have a chance.

2. Be mindful of your gear and how much space it takes up. A long telephoto lens has a wide sweep as you pan a shot, so be mindful of the folks standing to your right and your left so you don’t clonk them in the head with your lens. If you’re wearing a bulky backpack or camera bag, consider taking it off and placing it between your feet (I got KNOCKED OVER by a guy’s camera backpack in Indianapolis last year, and he didn’t even apologize). Know that a tripod takes up far more room than a monopod (and many places only allow a monopod over a tripod). Try to keep your footprint as unobtrusive as possible when shooting in a crowd.

3. Keep your other eye open. Look around every once in a while. Pick your head up away from your camera and the scene before you, and take a glance to your right, left, behind you, and in front of you. Not only is it a good idea to be aware of your surroundings (especially if your gear is easily accessible), but you might be standing in someone’s way as they’re trying to get a shot. Or, you might be brushing against your neighbor, disrupting his or her personal space, without realizing it.

4. Make friends with the people around you. If you do so, not only will you (naturally) make more friends, they will also keep an eye out for YOU. Start a conversation, admire their camera, commiserate on the event and the excitement of the day. Share the photos you’ve taken on your camera’s screen, and admire theirs. Point out shots and angles they may have missed, and listen politely to any advice they might offer to you. Champion someone who may be at the mercy of a shot hog, or is getting bumped in the crowd. You’ll establish a protective circle of like-minded acquaintances – there is safety and FUN in numbers.

5. Apologize for your mistakes. You’re going to make them, and that’s okay. You’re going to interrupt someone’s shot, step on someone’s foot, or bump someone’s arm. Most folks understand that some thrash is unavoidable. Own that mistake, look the person in the eye, and sincerely apologize. Then do your best not to repeat the mistake.

6. Let others know – politely! – of their mistakes. Sometimes a fellow photographer can benefit from some positive coaching. If someone is being a shot hog, tap them on the shoulder and politely ask them if they could move aside for a few minutes to give you or others around you a chance. Most photographers – knowing how important THE shot is – will step aside gracefully. If someone is repeatedly bumping you with their lens or camera bag, talk to them about it. Let them know that you are just as excited as she or he is to be there, but they need to remember that they’re not alone in the crowd. Learn from the behavior of the people around you, and help them to learn from their own actions.

Do you have any experiences (positive or negative) while photographing in a crowd? Do you have any other advice to offer? Please feel free to share with us in the comments or on our Facebook page!

Photo Credit: Tiffany Joyce. I took this photo of Marco Simoncelli – among a LARGE crowd along the side of the track – in August of this year. I’m really glad I got this shot. Sadly, Simoncelli passed away just four laps into the Malaysian Grand Prix on October 23rd of this year.

10 Tips for a Great Photo Walk

Tiffany Joyce — Thu, 22 Sep 2011 07:00:38 +0000

As many of you are probably already aware, Scott Kelby’s (free!) Fourth Annual World Wide Photo Walk is taking place on October 1st and 2nd 2011 (the first year that the event is being held on two days). The purpose of the Photo Walk is to bring together photographers of all skill levels, in locations all over the world. Participants walk around their city or chosen location, photographing their environment and sharing their experiences with fellow walkers, and they can also participate in various contests hosted by the Kelby gang. The groups generally conclude their day by sharing a meal or a beverage, comparing the results of their walk and growing their network of friends. The event really supports the feeling of creativity and comradeship within the photographic community.

Whether you’ve participated every year in this event, you are joining in for the the first time this year, or you’re planning on hosting your own photo walk in the future, keep these tips in mind to make the most of your day.

1. Choose a light lens. The key word in the term “photo walk” is “walk”, so keep in mind that you’re going to be lugging around anything you choose to take with you, and a heavy lens is misery to walk around with for any length of time. Choose a light zoom lens in a flexible focal range – I’m fond of my 17-55mm (Canon/Nikon), many folks choose a 24-70mm (Canon/Nikon), or go with a longer lens such as a 70-300mm (Canon/Nikon). Be brave. Take just one lens. You can do it!

2. Streamline your camera. I’m of Jay Maisel’s school of thought – take a camera, take a lens. Tuck an extra battery or two, and an extra memory card, in your pocket. Leave off the lens hood (I choose to keep the UV filter on), and take off the battery grip. You want to be nimble with your camera. You’re going to be walking around in a group of people. Streamlining your camera will minimize your footprint and reduce the occurrences of lens fencing. It’s very liberating to leave off all of the accouterments we tend to collect.

3. Leave it in the car. Now, to completely oppose what I mentioned in #1 and #2, bring other options with you and leave them in your car. You may find the lens that you chose completely unacceptable for your surroundings. The bright sunlight may be causing wicked lens flare which would be helped by a lens hood. You may have mistakenly grabbed the batteries with no juice. Having some backup gear will give you some peace of mind. Now, don’t bring everything you own. Be thoughtful in your selection. Just don’t plan on carrying it around all day. And lock it in your trunk, don’t leave it in plain view on your back seat.

4. Dress for the weather and for the activity. Comfortable shoes are a must, and non-confining clothing is recommended. Pick pants or a jacket with plenty of pockets! Layer if you need to, to accommodate changing temperatures throughout the day.

5. Be open, and be polite. We’re all grown-ups. Be open to the opinions, advice, and feedback of the other photographers with you. Use common courtesy and manners. Reject obnoxious behavior – your own and others. It is always a good reminder for everyone to just mind their manners and play nice. So, be aware that while you’re trying to get “the” shot, so are all of the other folks in your group. Be mindful of where other folks are framing their pictures, so you don’t accidentally commit a photobomb. Be a good photo walk citizen.

6. Share. If you see a really cool angle or unique perspective, point it out. If some action is going on down the street that no one else has seen yet, let folks know. Keep your head on a swivel and hone your observational skills, but don’t “hog” the shot just because you want to be the only one cool enough to have spotted it.

7. Shoot in burst mode, or bracket your shots. For busy surroundings or areas with a lot of action, shooting in burst mode helps ensure that you capture the moment before it’s gone. If you’re unsure of the required exposure, bracket your shots to guarantee you get the right one.

8. Stand in one spot and look in EVERY direction. A photo walk implies that you will automatically keep moving along. Pause for a few moments every now and then. “Stand in the place where you are.” Let the group move ahead of you a bit so you can have an unfettered view of your surroundings. Look up, look down, turn 360 degrees to absorb every vantage available to you. Stand on something to give yourself an elevated view. Kneel and get your eyes level to the ground. Photograph the people as well as the place.

9. Keep mental notes for a second trip. There may be shots that would benefit all the more for being shot at another time of day than the one you found yourself in during your walk. Maybe some traffic trails on a specific corner would be especially cool. Perhaps some upcoming festival or celebration would provide a unique opportunity for inspired street photography. A photo walk is often a great opportunity to become familiar with a place, so that you can go back there and know exactly what you’d like to shoot.

10. Have fun. Don’t take yourself too seriously. Allow yourself to make mistakes. Relax. Enjoy the opportunity to surround yourself with fellow enthusiasts in person (says the blogger tied to her computer). Give constructive feedback to walk leaders or the Kelby gang so that they can help improve upon the experience for next year.

Are you planning on joining the World Wide Photo Walk? Have you ever participated in a photo walk, Kelby’s otherwise? Do you have some great advice to share? Feel free to speak up in the comments, or head on over to our Facebook page!

Photo credits (in order of appearance):
- Photo Walk Penang by Ishak J. on Flickr Creative Commons.
- Windmills @ Worldwide Photo Walk 2009 by Jiaren Lau on Flickr Creative Commons.

Review – Light It, Shoot It, Retouch It

Steve Russell — Wed, 24 Aug 2011 04:00:02 +0000

A couple of weeks ago I attended a Scott Kelby Training seminar called Light It Shoot It Retouch It Live . It was almost eight hours of very interesting, well presented information and demonstration about studio photography. Whether or not you’re interested in studio photography I highly recommend you attend this seminar if you possibly can. While I learned a lot about studio lighting and photography, much of what was taught is applicable in many other forms of photography, especially the Photoshop sections of it.

Let me set the stage. If you aren’t familiar with Scott, that’s a photo of him above, here’s a short bio of Scott that I copied from his blog Scott Kelby’s PhotoShopInsider:

Editor and Publisher of Photoshop User Magazine, Editor-in-Chief of Layers Magazine; training director and instructor for the Adobe Photoshop Seminar Tour, President National Association of Photoshop Professionals (NAPP), CEO of Kelby Media Group, author of a string of bestselling technology books. Conference Technical Chair for the Photoshop World Conference & Expo, author of numerous Photoshop training DVDs and online courses, and co-host of PhotoshopTV, and D-Town TV. 10 jobs, little sleep.

Wrote “The Digital Photography Book, Vol. 1? which became the bestselling book in history on digital photography. Won the Benjamin Franklin Award for my book The Photoshop Book for Digital Photographers, was named The #1 Bestsellling computer/ technology author in the world for the past six years straight. Earned my black belt in Tae Kwondo. Played in a rock band in Europe, started my own successful business, married the girl of my dreams, and have an absolutely wonderful little boy, and an amazing little girl. I’m one happy puppy!

Note that in the paragraph above he states that he was named the #1 Bestselling computer/technology author in the world for the past six years straight. Also, he is recognized in most circles as the leading expert in PhotoShop and Lightroom. Now there’s a reason that Scott owns these distinctions – he’s earned them.

If you have read or own any of his books you already know this, but he not only tells you how to do something, he walks you through it, step by step, and when you finish, no matter how complex you thought it would be to do something, you realize how easy it is when you follow Scott’s well presented steps. Guess what? The seminar was exactly the same way. I felt like I got my money’s worth in the first hour and the rest was free.

Okay, I’m somewhat of a novice when it comes to studio photography. However, I went with a very good friend who is a successful wedding, senior and portrait photographer and he also felt like he got his money’s worth and more as well.

Okay, how much money. The one-day seminar is $99. If you’re a member of NAPP (National Association of Photoshop Professionals) it’s only $79.

The seminar consisted of what I would call modules. Each of the four different modules was designed to demonstrate and capture a different lighting/image effect.

First, Scott would set up the lighting to create the effect he wanted. He explained what he wanted to create and why he used each light and why he placed it where he did.

Next, he placed the model where he wanted her, or him, to stand and began shooting. He was shooting tethered (see Tiffany’s article about tethered shooting) and each image he captured was shown on large flat screen TV’s at the front of the room so everyone could see the results.

Then he would select one or two of the images and work with them in Photoshop, explaining in detail what he was doing and why. On more than one occasion I said to myself that the way he did it was a lot easier than the way I usually did.

He also completely demystified one of the photographic styles I’ve struggled with using trial and error. You’ve seen those edgy, high contrast portraits where one side of the subject is perfectly exposed and the other side is almost dark. It might not be what a bride wants for her wedding portrait and it doesn’t really work if the subject is smiling, but it does create a definite mood. I’ve tried to capture an image like that and haven’t been very successful. In part because I don’t have all the equipment I need (yet) to really create the effect and because I really didn’t know how to get the lighting just exactly right. Some of the shots were okay, but not at the level I wanted.

I know now, because I was taught how to do it at this wonderful one day seminar. Go to the link in the first paragraph and see if it’s being offered in your area. Or, you can be like the woman that sat next to me at the seminar. Keep in mind that I live in the Orlando, Florida area and it was a 30 minute drive from my house to the seminar. The woman next to me flew from North Dakota to attend the seminar. Now, that’s dedication.

As a bonus, I also learned what studio lighting equipment I want to purchase. The same as Scott used, of course. At a very reasonable price, I can outfit a complete studio. It’s true that you can purchase similar equipment for less, but this is real top-of-the-line equipment and depending on the size of your bank, it doesn’t break the bank. You can, of course, buy the equipment separately but B&H is selling it as a complete package. Elinchrom Scott Kelby’s Light It. Shoot It. Retouch It. LIVE Tour Kit

You may be thinking that this is a commercial for Scott Kelby. Please be assured that I received nothing from Scott except a wonderful day of learning and what I paid for. I wanted to write and post this article so you know about the seminar and are aware of how valuable it can be to you as a photographer.

Photo Credits:

Dark-light by Aaron Edwards on Flickr Creative Commons

5 Tips to Magnetic Engagement Sessions

Steve Russell — Thu, 14 Jul 2011 04:00:38 +0000

Today we are fortunate to feature a guest post from an excellent and very well known portrait and wedding photographer located in San Francisco, California and New York City – Catherine Hall. Her skills, passion and experiences with photography are what many of us aspire to. Catherine is there. If you want to learn more about this wonderful photographer I recommend you read her bio on her website, Catherine Hall Studios and explore the rest of her web site while you’re there. If you are as impressed as I was you should also follow her blog that you can access through her website or by clicking this link Catherine Hall Studios Blog. You can also follow her on twitter as I do where her handle is catherine_hall. You can probably tell that I’m very excited to have her article featured today on Beyond Megapixels.

5 Tips to Magnetic Engagement Sessions
By Catherine Hall

Engagement sessions aren’t just about great portraits of a couple. Photographers usually have a limited amount of time to interact with the couple on the wedding day because of the tight schedule. At engagement sessions, the atmosphere is much more relaxed and this allows the couple to get to know you and be comfortable in front of the lens. Come wedding day, you will enjoy a better rapport with the bride and groom – and your photographs will form a more poignant wedding narrative.

Here are my 5 tips to magnetic engagement sessions:

Seize the Golden Hour

Unlike weddings, you get to arrange the date and time to shoot an engagement session. Seize the opportunity to shoot during the famous golden hour and schedule your session 1-2 hours before sunset. As the sun will be low in the sky, it creates portraits with a soft wash of dramatic warm light (flattering!). The session usually lasts between 1 and 1.5 hours, and during that hour-long session, you can take advantage of opportunities to play with the natural light ranging from direct sunlight to the dramatic backdrop of sunset.

Who Let the Dog Out?

I love it when a couple brings awesome props to spice up the shoot. Whether it is a dog (they are always great fun) or a picnic basket, your subjects will have more fun and feel more comfortable when they are enjoying themselves. The best props are those that have a special meaning for the couple – it could be something they made together or an anniversary gift. This makes for more unique images that showcase the personalities and rapport of the couple. Before the session, you can also suggest props such as balloons, cool sunglasses, bubbles and hats – but let their imagination run wild.

No Prego Shirts, Please!

Prego shirts and white or gray clothing are an absolute no-no. Clothing and style can make a couple portrait really pop. You, as the photographer, need to advise your clients beforehand about what would look best on camera. Generally, they should stick to more form-fitting clothing. The couple’s attire should compliment one another – so always suggest bringing at least one change of clothes so that you have a variety of looks to play with. Ladies should also have their hair and makeup done prior to the shoot. They could always schedule and appointment with a professional or have their wedding day makeup trial on the date of the engagement session.

Take Me Out to the Ball Park

A favorite park, a movie theater, the ball park – pick locations that are significant to the couple. Couples might be nervous, as they are concerned about how they look or how to pose. Take them to locations that are special to them, so they feel more at ease. This also helps you to create images that are consistent to who your clients are. Search for dynamic backgrounds that complement the clothing and personalities of the couple. Don’t stick a conservative couple against a graffiti wall just to get your shot – it won’t resonate with them and you won’t get the best out of your clients.

Be Creative on the Fly

Say it rains, what do you do? Some of my best engagement sessions have been in the rain. When circumstances seem to go against you, think on your feet and you may end up with fresh and innovative shots. Maybe you can start in a glorious indoor location and end the session with some cool outdoor umbrella shots. Push yourself out of the box – maybe the sun’s in the shot, or have the couple lay on the grass. A lot of shots won’t work, but you might just get that magical one.

Tips for Action Photography

Steve Russell — Fri, 17 Jun 2011 04:00:35 +0000

Before I get into the actual subject matter for this post there are a couple of things I want to mention.

First, I’ve just returned from a two week vacation and I want to publicly thank Tiffany Joyce for holding down the fort while I was away. I’m sure it’s going to cost me.

Second, I want to make it clear that I do not publicly criticize the photos of other photographers unless I’m asked by the photographer. This is particularly true with photographs that are included with Beyond Megapixels articles and posted on the Beyond Megapixels Facebook page. I also follow this personal rule on Flickr, other blogs, etc. That said, there are times where I need a photo to illustrate a “what not to do” point I’m making and I don’t have one of my own photographs to use. As a result, I grab an image from Flickr Commons and use that. However, any comments that may seem negative in nature are directed toward the process and procedures being discussed and not directly toward the image.

Photographing subjects in motion can be a lot of fun but successfully capturing the image you want can sometimes be a challenge. Focus, composition, exposure and available time each present a set of problems in action photography that are absent or minimized when photographing subjects that are still. From birds in flight to Little League Baseball to auto racing, getting a sharp image requires some forethought and attention. Here are a few tips that you may find helpful in improving your action photography.

Take advantage of the automatic functions – focus, exposure – of your camera. I remember the “old” days of film photography and manual cameras and the very mixed results with action photography. Today, the use of auto-focus and auto-exposure significantly increases your chances of success. While you have the choice of using the P (program) mode, I keep my camera set on Av (aperture priority) mode and let the camera set the shutter speed. If I need faster shutter speeds without changing the depth of field I increase the ISO setting.

If you’re photographing something in motion, in most cases you want some evidence of motion apparent in the image.

In this photo, it’s difficult to tell if the cars are moving or parked on the track because both the foreground, the background and the main subject(s) are all in focus. There is a clue in that the pace car is in the front and they’re not sitting at the start line, but there isn’t any motion suggested by the photograph.

However, in this one it’s very clear that the car is moving because the background is not only out of focus but the out of focus area is redered in a manner that indicates motion.

The way to achieve the blurring of the background is to aim the camera at the subject and pan or follow the subject until you release the shutter. The panning motion will blur the background. This approach is especially useful when photographing birds in flight.

This image demonstrates how to show motion by holding the camera still and letting the subject move through the frame. To capture an image of this nature it’s important to use a shutter speed that’s slow enough to allow for the blur of the moving subject.

This shot of a helicopter I took last week shows what happens if you use a shutter speed that is so high it removes the appearance of motion. When a helicopter is in the air and its rotors aren’t turning as it’s captured in this image, the helicopter falls out of the sky. That’s a bad thing. If the background is a clear blue sky, panning won’t provide the sense of motion so it’s important that you use a slower shutter when photographing rotary wing and propeller driven aircraft so the blurred propellers will provide the sense of motion.

When the subject in motion is moving directly toward you it’s necessary to find another way to suggest motion. Because you’re usually trying to keep the subject in focus, you can’t pan the camera if the subject is moving toward you. In this, and the following photos I was able to achieve the sense of motion by capturing the image with all four of the horse’s hooves and the hooves of one of the mules off the ground at the same time.

Of course, the smoke from the firing of a 19th century cannon indicates motion as well.

I know the background really sucks on these three images but they demonstrate the point I was making. One of these days, I’ll try a little Photoshop magic on them and get rid of the power lines, automobiles, etc.

Consistently capturing really good images of subjects in motion takes practice. Remember that is far better to practice on subjects that you don’t care about than not practice and miss the shot of a lifetime because you didn’t practice. Besides, it’s a skill that can be fun to work on.

Photo Credits:

Turn 1 by mnapoleon on Flickr Creative Commons
IMG_4668-2 by crosathorian on Flickr Creative Commons
Motion Blur Test 1/50 of a second by by sporkwrapper on Flickr Creative Commons

All other photos by Steve Russell

Preparation Is One Of The Keys To A Successful Photo Shoot

Steve Russell — Fri, 20 May 2011 02:00:47 +0000

Two weeks ago I posted an article entitled “The 5 Ps of Photography.” This week I’m focusing on one of the Ps – Preparation.

If you have a photo shoot coming up, unless it’s in your home, or studio if you have one, one of the keys to a successful photo shoot is having all the equipment you need. It’s one thing to be out on a shoot and see another photographer using a lens or other piece of equipment that you don’t own and wish you did. That can be disappointing but at least you can console yourself by adding it to your wish list. It’s an entirely different disappointment to really need a lens or other equipment that you own and suddenly realize that you left it at home.

A few months ago I was shooting a ballroom dance showcase that had 25 different performances. On average I will capture 10 to 20 images for each two minute performance. Before I left home I checked the remaining memory on my CF card and saw there was only space for a little over 200 images.

I took out my handy-dandy Think Tank Pixel Pocket Rocket to put in a “fresh” card. I slipped a new card out of the wallet-like CF card holder and then decided I wanted to go ahead and fill the card that was already in the camera so I replaced the card in the Pocket Rocket. At one point that evening during the shoot I looked at the indictor and noticed I had room for less than 100 additional shots remaining. When I went over to my bag to get a “new” card the Pocket Rocket wasn’t there. I had failed to put it in my camera bag and it was laying on the kitchen table at home. I still managed to capture some images of all the dances but for the last ten or so I had to consciously limit the number of images I was shooting.

The next day I set up a process to try to prevent something like that from happening again.

Using a spreadsheet (I use Excel), in the first column I listed every piece of equipment I own down to my LensPEN Lens Cleaning System and a large plastic garbage bag. The second and third columns are blank but are titled “Need” and “Packed.” The day before I’m leaving for a shoot I sit down and plan what I’m going to be doing and what equipment I may need. For each item I’ll need I put a check mark in the second column. Then I pack everything and as I put the item in the bag I put a check mark in the third column. I may include additional equipment that I don’t think I’ll need but have room to carry. For example, If I’m going out to shoot landscapes I need wide angle lenses. I may include a 300mm lens just in case I see something that requires a telephoto lens.

Wear comfortable clothes but for goodness sake, make sure your clothes are appropriate for what you’re doing. Don’t wear a swimsuit to spend a morning or whole day in the woods. You laugh, but I know someone who wore swim trunks and a T-shirt to shoot in a wooded area next to a lake. The next week he went through an entire bottle of Calamine Lotion.

If you’re shooting a wedding, don’t wear shorts, ragged T-shirt and flip-flops and if you have an assistant make sure they dress appropriately as well. Yes, I attended a wedding where the second photographer was wearing shorts, T-shirt and flip-flops. I heard more than one person ask the bride who the photographer was and then comment they wanted to make sure they never considered hiring that person. No one expects you to wear a tux to the wedding and reception, but no one expects you or your assistant to dress in a manner that detracts from the wedding.

If I’m going out to shoot birds and/or other wildlife I will almost always wear a brimmed hat, long pants like cargo pants with lots of pockets and a long-sleeved shirt even in the summer, especially if I’m going to be out more than an hour or so. Long-sleeved shirt in the summer may sound uncomfortable but at large sporting goods stores like Cabela’s, Bass Pro Shop and Gander Mountain you can buy shirts designed for fishing that are very cool and well ventilated. The Columbia brand is very good.

There are two reasons for dressing this way; sun and insects. Sun screen and insect repellant really don’t mix very well with plastic and at least some of your photography equipment is plastic. I still use both the sun screen and insect repellant but by wearing long-sleeves and long pants, I’m not drenched in it and it’s easier to keep it off my equipment.

If I’m going out into fields and meadows in the early morning to find dew covered subjects, I have what are called upland game hunting pants that you can buy at any of the stores above. The front panel of upland game pants is made of heavy nylon that doesn’t easily tear, snag on briars or get soaking wet. The first time I used them I thought it was the best thirty dollars I’d spent on photography related clothing.

While it may sound like nature photography requires a lot more preparation than other forms or genre, studio photography has its own preparation challenges that I’ll cover in a later article.

Having the required equipment and proper clothing will make your day or trip go much smoother. I encourage you to set up your own pre-shoot process to ensure you are always prepared for your shoot. Preparation helps achieve success. Success creates happiness.

Photography 101: Fixed Aperture Explained

Tiffany Joyce — Fri, 29 Apr 2011 07:00:14 +0000

A reader recently sent me an e-mail, asking me to explain how fixed aperture lenses work. She was suffering under the misconception that a fixed aperture on a lens means that’s the only aperture that lens is capable of shooting.

Apertures tend to be a subject that can be confusing to a beginning photographer. Primarily, it’s the larger number/smaller opening, smaller number/larger opening concept that tends to throw folks off at first. Aperture is a calculation of the lens opening with respect to the lens focal length, with each full f-stop increment representing an opening in the iris that has twice as much area as the stop below it. When a person buys their very first digital SLR, the kit lens it comes with tends to be a variable aperture lens. For example, when I bought my Canon Digital Rebel XTi back in 2007 (which has now been replaced by the Canon EOS Rebel T1i), it came with an EF-S 18-55mm f/3.5-5.6 II Lens.

Let’s break that down. The 18-55mm means that the lens shoots at 18mm at its widest point, and 55mm at its longest point. This range is what defines it as a “zoom” lens. The f/3.5-5.6 means that the largest available aperture is f/3.5 when shooting at its widest point (18mm), and the largest available aperture is f/5.6 when shooting at its longest point (55mm). In less expensive lenses such as this one, the aperture functions in tandem with the lens focal length, which is why they have variable apertures. This is usually demonstrated by a lens barrel that extends and contracts as it is zoomed in and out.

Now, take my favorite walking-around lens, the EF-S 17-55mm f/2.8 IS. Again the 17-55mm makes this lens’ widest point 17mm, and longest point 55mm. However, the single aperture number indicated, f/2.8, means that the largest available aperture is f/2.8 throughout the entire focal length. I can shoot at f/2.8 at 17mm, at 55mm, and at every point in between. In the construction of a lens of this type, the aperture functions independently of the focal length, which results in lens of heavier (and more expensive) construction. Often, the barrels on fixed aperture lenses do not extend and contract as they are zoomed in and out (though the 17-55 does).

A fixed aperture lens is desirable because photographers are able to expose the photograph equally at all focal lengths (and of course, the larger the available aperture, the more light is captured and the “faster” the lens). In a variable aperture lens, photographers need to be cognizant of the fact that properly exposing the shot will require decreasing the shutter speed and/or increasing the ISO at longer focal lengths in order to achieve the same level of exposure as at the shorter focal lengths. There are also various implications to be aware of when using a flash. However, accommodating for that, variable aperture lenses are perfectly acceptable tools in your arsenal of gear.

Now, just because a lens has a fixed aperture certainly does not mean that it ONLY shoots at that aperture. An f/2.8 fixed aperture lens will shoot at every other available aperture (typically up to f/22 or f/32). An f/3.5-5.6 variable aperture lens will also shoot up to f/22 or f/32 at either end of the focal range. This applies to prime lenses as well – for example, a Nikon 50mm f/1.4D AF Nikkor shoots the full range of apertures. In all cases, the aperture indicator on the lens only refers to the largest that the iris of the lens is able to open.

I hope I’ve been able to provide some clarification to this somewhat confusing topic. If you have any questions or input, feel free to let us know in the comments!

Photo credit: “Camera lens and aperture” by Nayukim on Flickr Creative Commons.

Tethered Shooting With A Canon DSLR

Tiffany Joyce — Mon, 21 Feb 2011 15:02:40 +0000

Tethered shooting is a useful photography tool. With the use of a USB or firewire cable run between the camera and a computer, the photographer can instantly review their shots on the computer screen. As the shutter is pressed, the images are recorded on the computer hard drive rather than the camera’s memory card. This capability comes in handy for many reasons:

To preview a larger image to ensure focus and composition.
To ensure lighting and exposure is correct.
To save the time it would take to download images from a camera.
To display photos in-process to the client or model.
To eliminate the concern of running out of memory card space.

There are a couple of con’s to mention about shooting tethered. First, it’s hard to be mobile with the computer and camera tethered together, which is why this option works best in a studio environment. Also, the photographer may rather have control over which shots the client sees, instead of putting them all on display, good or bad.

To set up tethered shooting, you’ll need your camera, a computer, the appropriate cable, and the appropriate software. For the purposes of this discussion I’ll be using my Canon 7D and the Canon EOS Utility software that came with the camera. Scott Kelby has written a great tutorial for Nikon and Lightroom users.

BEFORE using the provided cable to plug the camera into the computer’s USB port, it is important to load the EOS Utility software onto the computer (US customers can download the software for the 7D from here). Once you have done so, with the camera OFF, plug the cable (like this one) into the A/V Out Digital port on the camera, and plug the USB end into the computer. Then turn the computer on, and launch the EOS Utility software. From the menu, choose “Camera settings/Remote shooting”.

Click on the screen shot for a larger image.

The control panel that appears will look a lot like the menu display on the camera itself:

Click on the screen shot for a larger image.

You can set the tethering up in two different ways. The first way is to take photographs using the camera – all functionality is the same as if the camera were not tethered, with the exception of the fact that photos are being saved to the hard drive instead of the camera’s memory card. The software defaults to this functionality.

Click on the screen shot to see a larger view. I just took a picture of my monitor to show you what happens when the shutter button is pressed. A folder view is displayed, showing the destination folder where the new photo resides. A quick preview screen is also displayed, which can be made larger or smaller depending on your preferences for photo previewing.

The second way to shoot is to click on the “Live Preview” button on the control panel. This disables all of the functionality on the camera itself – you shoot from your PC by clicking the mouse on the shutter button on the control panel. Camera settings such as ISO, aperture, and shutter speed are also controlled by the camera. Auto-focus capabilities are turned off, making it necessary to manually focus the camera when composing the shot.

Again, click on the screen shot to see a larger view. What you see on the screen is live footage of whatever the camera lens is pointing at.

By clicking on “Preferences” from the control panel, you can change such settings as the destination folder to which the photos are sent, enable photos to be written to the memory card as well as to the hard drive, and several other options to augment functionality according to your preferences.

Header photo credit: “30D Tethered – Setup” by Matthew Keefe on Flickr Creative Commons.

What To Shoot When There’s Nothing To Shoot

Tiffany Joyce — Wed, 09 Feb 2011 20:19:48 +0000

(Hover your mouse pointer over the photos for notes.)

I am of the school of thought that in order to become a truly excellent photographer, one must practice every single day. If the camera is only brought out for special events or specific assignments, the photographer is relegated to the “occasional” category and cannot truly perfect their art.

This is something that I need to work on, myself. I’ll have a “good” week where it seems that the subjects just keep jumping in front of me, asking to be photographed. I’ll find myself with camera in hand nearly every day for a good stretch, then suddenly POOF. Inspiration dries up. Nothing “special” is happening. I’m not going anywhere new that would encourage me to bring the camera along. I’m stuck in a routine of surroundings, tasks, and environment while my camera sits idle on my desk.

There are just so many pictures that I can take of my cats, after all.

Personally, I am much more inspired by the natural world than the man-made world, which is a problem for my current circumstances. I live in the type of suburbia that defines the term, surrounded by asphalt and concrete, nine-to-five commitments and traffic. My home is abutted by a tiny yard, my day job ties me to a cubicle in a sea of cubicles, and any potential vistas are shrouded in smog. I find it very hard, some days, to be inspired enough to grab my camera.

So what do you shoot when there is, seemingly, nothing to shoot?

Go macro. An entirely new world is opened up when you zoom in on the details of ordinary things. Construct a mini light studio, wander around your house gathering items with interesting textures, and have some fun.

Shoot still lifes. Fill mason jars with marbles and give it some back-lighting – play with bokeh and lens flare. Arrange the implements of your meal-in-process with some artfully placed ingredients. Buy a bunch of flowers and experiment with different backdrops and lighting. Photograph a montage of your favorite possessions (I did a series of the “things I love” on my personal blog – one of which was the ceramic frog at the beginning of this post – and found the process of photographing and writing about each item to be very rewarding).

Play with gadgets. Sometimes inexpensive photography gadgets inspire creativity. Pick up one of these bokeh kits from Photojojo, or one of these lens adapters. Spend a wee bit more and get a Lensbaby. In using gadgets like these, you can take photos of ordinary objects, or photos of things that have been “photographed to death”, and put a new spin on them.

Document a “day in the life”. From the time that you wake up in the morning until you go to bed, have your camera in-hand as much as you can manage. Photograph the elements of your daily routine; brushing your teeth, making lunch, walking the dog, vegging on the couch. Sometimes you’ll find that just having the camera in your hands gives you the motivation and inspiration you need to break out of a photographic rut.

Edit what you already have. Sometimes I enjoy going back through my vast photographic archive, pulling out a handful of photos I haven’t seen in a while, and playing with them in Photoshop. I’ll edit from one extreme to another, practicing my subtlety as well as my ability to be outrageous. This is a good way to teach yourself new Photoshop techniques, as well.

Hold a self-portrait session. Set up a chair, a backdrop (even a solid-colored blanket), and a light or two. Set your camera up on a tripod and grab your remote shutter release. Experiment with angles, shadows, and poses. Get as comfortable with being in front of the camera as you are behind it. Barring that (I could never accomplish that level of comfort), at the very least have a better understanding of the requests you might make of your portrait subjects.

What are your suggestions for things to shoot when there’s nothing to shoot? Please share with us in the comments!

Photo credits (all): Tiffany Joyce. All photographs were taken during occasions when I was casting about for inspiration.