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4 Lessons for Aspiring Family Portrait Photographers

08 Aug

Over the past four years as my wife and I have done more family photography we have learned quite a bit. Going through some of those early shots I’m sometimes amazed that anyone paid us money for them at all! Self-reflection is critical not just for photographers, but any artist and indeed anyone who wants to improve at a given skill over time. In thinking about what has worked and what hasn’t worked I repeatedly noticed four key elements that I wanted to share with you. Hopefully, these will be useful to you if you are just starting out as a family portrait photographer, and you won’t have to make the same mistakes I did as I was learning them!

4 Lessons for Aspiring Family Portrait Photographers

1. Location, location, location

I live in Stillwater, Oklahoma, and there’s a spot in the middle of our town that a lot of people think is the ideal location for photography. It’s called Theta Pond and sits in the heart of the campus of our very own Oklahoma State University.

When you go there for an afternoon stroll it’s almost impossible not to be taken in by the beautiful flowers, towering trees, and flocks of waterfowl that dot the serene landscape. There are stone paths, wooden bridges, and several fountains sending water high into the air. They all combine to create a scene which practically screams “Do your family portrait photography here!” So a lot of people do just that, and it’s how I started out as well.

4 Lessons for Aspiring Family Portrait Photographers

You might think a location like this would be ideal for family photos. But you’d be wrong.

Your town probably has a Theta Pond too; a park, garden, waterway, or another setting that seems like it has been tailor-made for capturing poster-size prints of happy families with cute kids. However, if your town is anything like mine, your Theta Pond is probably one of the last places you really want to shoot.

Great for a picnic, not always optimal for portrait sessions

While locations like these are ideal for getting out and enjoying nature, they are often plagued by a host of other issues that make it quite difficult for taking good pictures. There’s traffic whizzing by in the background, people walking around and getting in the way of your shots, and trash bins and informational signs scattered all about. And then there’s the matter of all those ducks and geese you’ll find at just about any pond, lake, or river. You might think they’re fun to have around but they leave some nasty messes behind that can stain jeans and ruin dresses if you ever want your clients to sit on the ground.

The kids look great in this photo, but there are way too many distractions in the background including a person walking through the frame between the boys. I actually gave this shot to a client and even though she liked it, I have since learned that I prefer to go to other locations for photo sessions.

When I started getting more serious with family portrait photography I began looking at other places besides just what was popular, and found that a whole new world of opportunities opened up for me. I found places off the beaten path that were much more convenient for me and my clients to meet, much less crowded, and often just as scenic and pretty.

Your subjects take priority over the background

Also, it’s important that you find locations which complement your subjects and don’t distract the viewers. The local botanical garden might seem like a great place for a photo session. But you may end up taking your viewers’ attention away from the people and putting it on the plants and flowers by accident. Nowadays I like simple groves of trees, empty fields, or old barns and farm settings that aren’t flashy but make for great photography. Wherever you shoot your photos, choose your locations intentionally such that they fit your photography and your subjects, not just because a friend thinks it would be pretty.

Wherever you shoot your family portrait photography, choose your locations intentionally such that they fit your style and your subjects, not just because a friend thinks it would be pretty.

This location may not be as flashy, fancy, or popular as a park with fountains, but that’s exactly why I like it so much for photography sessions.

2. There’s no substitute for good lighting

This second rule works in tandem with the first regarding location. Wherever you choose to do your photo sessions, you need to make sure to pay attention to lighting. Great photographers can wrest beautiful images from the most challenging lighting conditions. But for the rest of us mere mortals, it’s essential to stick to the fundamentals. For family sessions that usually comes down to two basic tips: be careful when shooting in broad daylight, and make sure your subjects are evenly lit.

Avoid direct sunlight

Bright sunlight is, contrary to what some beginning photographers may think, far from ideal in terms of taking good photos of people. The harsh overhead lighting often creates shadows, causes people to squint, and results in uneven lighting across the entire frame with some parts of a picture being very bright and others ending up quite dark. You don’t want Grandma looking perfect while Grandpa is squinting to keep the sun out of his eyes, or bright patches of light showing up on shirts and ruining haircuts.

Use even diffused light

Fortunately, it’s not too difficult to make sure your subjects are well-lit even if you are shooting at high noon, as long as you are aware of your surroundings and use the elements to your advantage. Look for buildings that cast nice long shadows, overhangs that you can stand beneath, or even trees that block out a lot of the sun and allow for nice even lighting.

I had this family sit in a park shelter to combat the harsh overhead sun. They’re evenly lit and properly exposed, which is what really mattered to me when taking the shot.

You can also use accessories like a diffusion panel to cast a pleasing shadow on your subjects which help mitigate the effects of harsh, bright sunlight.

These videographers are using a diffusion panel to make sure their subject is evenly lit, despite the harsh overhead sunlight. The background will be overexposed, but that’s fine because the person being filmed is going to look fantastic.

Shoot at golden hour

Another option is to forego the afternoon hours entirely and shoot photos during what’s known as the golden hour. This generally starts about an hour prior to sunset (or from sunrise to an hour after) but can vary depending on your exact location.

During this short window of time, the sun is low on the horizon and it bathes your scene in a rich, warm light that is amazing for portraits. You can have your subjects stand almost anywhere and face any direction, or ask them to face the sun which will make their eyes sparkle nice and bright. Everything looks so rich and beautiful during this time, but it passes quickly so make sure to use your time wisely and work efficiently to get the shots you want.

I shot this as the sun was setting which resulted in rich, deep colors. I also put these kids in the shadow of a tree to make sure they were evenly lit, which resulted in a pleasing picture overall.

The message that I hope I’m conveying here is that there’s just no substitute for good lighting. I didn’t touch on things like off-camera flash which can also be used to manipulate the light in a scene. But if you’re looking to get started with family, child, or senior portraits one of the best things you can do is use the tools you already have to make sure your subjects are evenly lit and properly exposed.

You can fix a lot of things in Lightroom and Photoshop afterward, but poor lighting isn’t really one of them.

3. Know your camera settings and how to change them

There’s an old Greek amorphism, gnothi seauton, which has been the basis for countless philosophical discussions over the ages. Roughly translated, it means know thyself and often functions as an exhortation for an individual to be intimately aware of who they are, what makes them tick, what their goals in life are, etc.

Even in the most controlled studio environment, things can change at a moment’s notice, and often there isn’t much you can do about it. So it’s important to know your camera settings and how to change them if you need to fast.

Your camera might have so many buttons and menu options that it seems overwhelming. It’s good to figure out how they work on your own time, not when you’re on location with clients.

It’s not enough to simply know about fundamentals like aperture, shutter speed, and ISO when you are doing formal photo sessions. You need to know how to control these parameters on your camera and when to change them if you need to in a hurry. The former comes from reading your manual, looking at articles online like the ones we have here at dPS, and a lot of experimentation. The latter often comes only from years of experience.

Get up to speed with your camera on your own time

I’m a big proponent of poring over your camera’s manual. But when you’re on location with clients that is not the time to try and figure out how to use your exposure compensation button or in which menu the auto-ISO setting is buried. You need to be intimately familiar with how to access and alter the settings on your camera in order to get the shots you want and deal with conditions as things change.

One of my favorite tricks to help learn the camera better is to do a practice session with a friend or family member. Go out to a location and make sure you know how to adjust various camera settings on the fly. Then tell your helper to try something you aren’t expecting which could require a faster shutter, higher ISO, etc. Practice changing your camera settings in this type of environment before you go out with clients, so when the unexpected happens you’re as ready as you can possibly be to deal with it in the moment.

Remember that Theta Pond example from earlier? When this moment came up during that same session I was able to think on my feet and quickly adjust my aperture and ISO to get this impromptu headshot which the boy’s mom really liked.

4. Make the experience memorable

One of the most important aspects of doing a photo session for clients is that it’s about much more than the end product. Wells, Valacich, and Hess (2011) found that the quality of a website is related to the perception of quality regarding the products being sold on the website. A higher-quality website, their data tended to show, meant that consumers perceived the things they were buying as being higher quality than the same products purchased from lower-quality websites.

The same holds true for photography, in that how your clients view the final photos you deliver to them is directly related to how they feel about the session itself. If you make the experience fun, enjoyable, and stress-free while engaging your clients in friendly conversation they will be more likely to enjoy, appreciate, and share the pictures when they receive them. Conversely, if your clients get top-notch pictures but you showed up for the session late, unprepared, and stressed-out, then they will likely have a lower opinion of the photographs.

This family’s dog wandered into the photo shoot totally uninvited. I’m not much of a dog person but I set that aside, went with the flow, and got some shots that the family really liked. It also helped put the kids at ease and so they enjoyed the rest of the session more.

The overall experience is important

To put this in a different context, let’s say you are looking to buy a new microwave. Two stores in town have the one you want at the exact same price. One store has a clean parking lot and interior, bright lights, neat shelves, and friendly employees. The other store has a dirty trash-filled parking lot, dim and flickering lights, haphazard shelves, and employees who will barely give you the time of day. From which store are you likely to purchase the appliance? If you’re like me you’ll go to the first store. Then if your friends are ever looking for a similar appliance you will probably recommend the same store with great enthusiasm. Budding family photographers would do well to remember this concept and apply it to their approach to dealing with clients.

Taking photos is not just about the end product but the whole photographic experience. Make it fun for your clients from the time you first interact with them to when you deliver the final products. Get to know them, and don’t be afraid to show your own personality too. Make the photo session fun and enjoyable, and if there are kids involved, make sure to spend time getting to know their names and finding a bit more about them. (This has a couple of bonus side effects too – parents are thrilled when photographers spend time getting to know their kids, and the children will be more likely to listen to you and follow directions during the session.)

Don’t underestimate the value of providing a good experience

The point is that if your clients enjoy the photo session, they are likely to assign a high perceived level of quality to the end product and will recommend you to their friends, coworkers, and especially their acquaintances on social media.

This couple invited me into their home for a rather emotional photo session due to a medical condition their daughter has. While I had a job to do as a photographer, that was only a small part of the whole experience.

It’s not your job to be your clients’ best friend, but it is your job to make the photo session something they will remember in a positive light. Do what you can to earn their trust and respect, as this can pay off in many ways long after you deliver the pictures.

Conclusion

One of my biggest weaknesses as a photographer, or even as a person, is that it’s difficult for me to go back and look through things I’ve done in years past. I often find it more than a little embarrassing to read things I’ve written, examine things I’ve built, and look at photographs I’ve taken because I think the work I’m doing now is so much better. Yet in five years I’ll probably dust off a few of the pictures I’m taking now and wonder what in the world I was thinking when I took them!

However, this type of self-reflection is essential for growth in any profession, hobby, or craft. It’s only by learning from our previous experiences and examining our mistakes as well as our successes that we can truly grow and refine our skills.

The four lessons I have detailed in this article are by no means comprehensive, but they are things that have turned out to be extremely important to me over the years and I hope they prove helpful for you also. I’m also curious to hear from you, especially those of you who have been doing family portrait photography for a long time. What are some of the important lessons you have learned over the years? Please share in the comments below and I look forward to reading them.

The post 4 Lessons for Aspiring Family Portrait Photographers by Simon Ringsmuth appeared first on Digital Photography School.

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Photography Lessons I Learned Growing Up Around Ansel Adams

08 Aug

Ansel Adams was a young man of 14 when he first came to California‚ Yosemite National Park. The valley had a strong pull for him and he returned to work there in 1920 at the age of 18 to be the caretaker for the Sierra Club‚ LeConte Lodge.

Ansel became vigilant about protecting Yosemite and the Sierras from human impact while showing the world his view of this almost mystical place through his growing photography career. He met Virginia Best, the daughter of the gallery owner in Yosemite Valley. They married, and the gallery became a source of income for the young photographer and his wife. His complete works became the gallery best sellers. They continued to add products such as art books and other photographic services.

By 1940, his photographic workshops started as one of the first photographic education sources in the country. The workshops were usually a week long and for many, became a life changing experience.

ANSEL IN WAGON Photographic Lessons Learned from Ansel Adams

Image by Holden Higbee used courtesy of the Ansel Adams Gallery in Yosemite

That was the case for my father, Holden Higbee, who attended Ansel Adams’ photography workshop in 1965. He, along with my older sister (who was 12 at the time), attended a week long workshop of photographic bliss in beautiful Yosemite Valley with lectures by Ansel Adams himself. In 1965, Adams was a respected photographer, but not yet the photographic icon that he has become in the present day. At that point, his prints were selling for about $ 50 and he would gift his images to his favorite students. My sister received a copy of his “Mirror Lake” image for participating as a model in the workshop.

MEDIUM FORMAT Photographic Lessons Learned from Ansel Adams

Image by Holden Higbee used courtesy of the Ansel Adams Gallery in Yosemite

The Workshop with Ansel Adams

The workshop was held in the Wawona Big Trees area, the Yosemite Valley, and up into Tuolumne Meadows covering the basics of photography, Ansel’s Zone system, composition, and creativity. The students in Ansel’s classes were mostly young men, just honing their craft from the master, using their medium format and 35mm cameras. Their exuberance for learning photography was evident as they spread out to practice their lessons.

TOLUMNE MEADOWS - Photographic Lessons Learned from Ansel Adams

Image by Holden Higbee used courtesy of the Ansel Adams Gallery in Yosemite

This class stuck with my father, as the photography gene runs long and deep in my family. Holden, as an avid photographer and college professor, would drive across the country to document the countryside for his geography and geology classes and stop every 50 miles to take a picture, much to our dismay. He always had two or three cameras around his neck so he didn’t have to change lenses and he could easily document “how man uses the land”.

The Zone System

ANSEL ZONE SYSTEM - Image used courtesy of the Ansel Adams Gallery in Yosemite

Image by Holden Higbee used courtesy of the Ansel Adams Gallery in Yosemite

My father was particularly interested in The Zone System and how that would affect his photography. For many years after, my father would practice with the grey cards to set up the zone system. I am now the proud owner of his signed set of books from Ansel Adams; The Camera, The Negative, and The Print.

GREY CARD - Photographic Lessons Learned from Ansel Adams

Image by Holden Higbee

Visits with Ansel

On later visits to Yosemite Valley, we would see Ansel on a regular basis. I was a young girl but was impressed by his stature and his gray beard. In the evenings after dinner, we would all assemble in the lodge which had huge fireplaces, comfy 60s style couches, and tall vast windows with views of Yosemite Falls. My father and sister would play Backgammon, and watch the side door to see when Ansel would make his quiet entrance.

Our Dad would wave at Ansel and he would make his way over to our couch where the Backgammon board lay precariously on the cushions. Ansel would give my sister a tip or two on what her next move should be. Often he would sit awhile and watch them play before the Warren Miller Ski Film would start. Then Ansel would disappear as we became engrossed in the film.

ANSEL ZONE SYSTEM - Photographic Lessons Learned from Ansel Adams

Image by Holden Higbee used courtesy of the Ansel Adams Gallery in Yosemite

As children, we had no idea the impact that this nice bearded man would have on the world of photography and our lives as creative artists. We thought he was just another photographer and friend of my father’s.

ANSEL AT WORK - Photographic Lessons Learned from Ansel Adams

Image by Holden Higbee used courtesy of the Ansel Adams Gallery in Yosemite

Respect Nature

Even though I didn’t attend the workshops, Ansel Adams greatly influenced my life, my love of landscape photography and nature, as he did for millions of others. At 6 years old, my father put a 35mm camera in my hands and I was off and running. After that week with Ansel Adams, we would talk about photography and composition frequently at dinner. “When you are shooting landscapes” he would say, “never move a leaf or a flower, respect nature for what it is. Learn to create a composition from what is naturally there.” From that point on, I never put the camera down, it has always been an extension of my life and my personality and landscape photography became my love.

After 50 years of traveling in Yosemite, it continues to take my breath away. We now return to Yosemite three times a year to teach photography workshops. We visit the park mid-week to avoid the tourists and also when there is the greatest chance of changing weather.

“Yosemite Valley, to me, is always a sunrise, a glitter of green and golden wonder in a vast edifice of stone and space.” – Ansel Adams

Full circle

Late last fall, we had the great fortune of spending three weeks teaching workshops in the valley as it turned from fall to winter. Every day the light would change and the photographic options would take our breath away, but we felt like we were in sync with the ever changing conditions. We got into the rhythm of life there and found it an easy and wonderful experience.

Yosemite Fall - Photographic Lessons Learned from Ansel Adams

In January, we returned to the valley to do a private workshop and the forecast was for snow. As we drove into the park, the snow had started to come down and the roads were quite slushy. Little did we know, we were one of the last cars they would let into the valley for the next four days. As we arrived in the valley, it was covered in a thick coating of snow and was quickly adding up. I don’t know how many people were there that week in Yosemite, but it was a photographic wonderland.

We arrived and handed our client a pair of snow shoes and off we went on a winter photographic adventure. I would like to think that those few days of bliss might have been a bit like some days Ansel Adams experienced in Yosemite back in his day. An experience I won’t soon forget.

Yosemite Winter - Photographic Lessons Learned from Ansel Adams

“A great photograph is one that fully expresses what one feels, in the deepest sense, about what is being photographed.” – Ansel Adams

Conclusion

If you come to Yosemite, come in the off season when you can appreciate the beauty of the place without the throngs of tour buses and distracted selfie takers. Everyone that comes to the valley fancies themselves a photographer, so when you are in Yosemite, be sure to embrace the spirit of Ansel Adams.

Do you have any Ansel Adam’s stories to share? What lessons have you learned from his teachings? Please share in the comments below.

The post Photography Lessons I Learned Growing Up Around Ansel Adams by Holly Higbee-Jansen appeared first on Digital Photography School.

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Photo Lessons From the Street

18 Aug

Street photography can be intimidating. Snagging candids of strangers is uncomfortable, at first.

While it’s best to simply to get out and learn as you go, it is nice to arm yourself with a few tips. Marius Vieth, a seasoned street-photog, doles out 10 lessons learned in this article. He includes advice on how to blend in, predict patterns and be ready for that crucial moment.

Our favorite tips from the article are:

Minimal gear – Take only your camera and forget the added gear. You don’t want to be swapping lenses when the perfect photo-op pops up.
Find natural contrasts – Your foreground should be different enough from the background to make them both visually interesting.
Simplify your choices – Try focusing on one element (like a color or pattern) for a couple hours.

Photo by Marius Vieth

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What it Takes to Go Pro – Lessons from 10 Professional Photographers

26 May

The decision to go pro with your photography business is a big step. It’s a time when the future is ripe with possibility and fears tend to run high. In what we call a “crisis of confidence,” you may find yourself comparing your work to other photographers and wondering, “am I really good enough?” or “will people give me a chance?”

When you begin experiencing these thoughts, take a deep breath and remember this; almost everyone feels this way before they begin a new journey – especially if their dreams are on the line. In fact, those super successful photographers you keep comparing yourself to likely experienced those same emotions when they decided to go pro themselves.

I asked 10 experienced professional photographers to reflect on the early days of their careers – from finding their first clients, to marketing strategies they used to establish their brands. Read on to see how each of them was able to find success as a professional photographer — and how you can, too.

It all starts with relationships

Photo by Casey Kelbaugh

When you decide to offer your photography as a professional service, you’ll need to find a few clients who are willing to take a chance on you. For many photographers, this means starting with friends and family members who already like and trust them. “In my 15 years in the business, I have never gotten a job out of thin air,” NYC-based photographer Casey Kelbaugh said. “ Every single break, every assisting gig, every big campaign, every meat-and-potatoes job has come to me through some kind of relationship.”

Alfred Eisenstaedt, famous Life Magazine photographer said, “It’s more important to click with people than to click the shutter.” and “People hire you because of the quality of your work, but will hire you again and again because they enjoy your attitude and manner both on and off the set.” says landscape and commercial photographer Michael Zide.

Steve Hansen, a headshot photographer from Los Angeles also began his career by leveraging his personal network. “My first client was actually a friend who needed headshots,” he said. “He couldn’t afford some of the more pricey photographers, and I needed clients, so we struck a deal.”

According to photo and video educator Marlene Hielema, networking is also critically important. “You have to get out and meet people! People like to work with people they like, so you need to make connections with people who need the type of work you want to do. Have your elevator pitch ready, because I have met a lot of future clients at parties.”

Photo by Marlene Hielema

When networking, Kelbaugh also recommends looking beyond photo editors and art directors, since they’re already being bombarded with photography pitches. “Clients can be found anywhere, so think about reaching out to your friends that work at startups, universities, law firms and restaurants” she said. “When building your clientele, try to think outside of the box.”

Speak up

In addition to utilizing the power of your existing network, don’t forget to take advantage of opportunities as they arise – no matter the time or place. Take Cappy Hotchkiss, a New York-based wedding photographer who met her first buyer at a dog run (a park where dogs can run off-leash). “I had photographed weddings for a few friends and absolutely loved it” Hotchkiss said. “Someone at the dog run overheard me talking about it and asked me to shoot her wedding. I still remember what a thrill it was – and how scary and fabulous it was.”

Photo by Cappy Hotchkiss

Sports photographer Chris Marion had a similar experience when he happened to meet the editor of a local sports magazine. “I asked him if they had a need for additional photographers” Marion said. “He said yes and gave me what was most likely a test assignment. The assignment went well and it went on to become my first real sports job.”

Small wins lead to big ones

As your portfolio and word-of-mouth referrals begin to grow, so will the likelihood that you’ll land that one, great assignment. These assignments can be game changers for some professional photographers – leading to high-profile work and long-term relationships that ultimately lead to even bigger projects in the future. “I got my best client, Google, by landing a smaller event for them and delivering photos that they just loved” photographer Andrew Federman said. “Word spread and they asked me if I would come shoot the inaugural Google Science Fair out in Mountain View, California at Google HQ.”

Photo by Andrew Federman

Marion landed his best client, the NBA, in a similar way. “My hometown of Springfield had an NBA development league and I was their team photographer for five years,” he said. “Through that experience I was able to capture the attention of the NBA, which then led to freelancing opportunities with Sports Illustrated, as well as others.”

Professionalism counts more than you realize

Sometimes that great assignment comes simply from being available. “One day I was at the library and got a phone call from a weird number,” said James Brosher, an editorial, commercial and wedding photographer in Bloomington, Indiana. “I answered, and I was glad that I did; it was a great job that paid my bills for an entire month. The client said he had called a couple other people but I got the job because I answered the phone. Ever since then, I’ve made a point to always answer my phone. You never know when a great client will call.”

Brosher has also landed several jobs because of his flexibility to take on last-minute projects. “One day I was on the couch and got a call from the Indianapolis Star needing an event covered in 15 minutes,” he said. “Being around, available, and being able to anticipate when a publication might need you goes a long way.”

Photo by Marlene Hielema

According to Christina Van Dyke, the owner and founder of Van Dyke Design & Photography, something she’s found incredibly important is a focus on providing both great work and a great customer experience. “My best client found out about my photographic services from a word-of-mouth referral,” she said. “The lesson I’ve learned is to always treat each and every client as if they are your ONLY client. In return, your clients will reward you with wonderful referrals that keep your business growing and thriving.”

Play the long game

Hansen recommends focusing more on building your name, and less on your paycheck – at least in the beginning. “Don’t be afraid to take a pay cut in the early stages of building your business and name,” he said. “Yes, you may be worth a lot more, but having your work out there is invaluable to building a solid client list.”

Photo by Andrew Federman

“My advice for young photographers is to remember that it’s the photographs you actually deliver to your clients that set you apart – not how slick your website is, how many Instagram followers you have, or how many blog hits you get,” Federman said. “Marketing is important, but delivering photos that blow away your clients will generate a powerful word-of-mouth force.”

View the complete interviews on SlideShare (below)

Thanks to our contributing photographers:

Casey Kelbaugh
Michael Zide
Steve Hansen
Marlene Hielema
Cappy Hotchkiss
Chris Marion
Andrew Federman
James Brosher
Christina Van Dyke

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5 Lessons Learned Switching from DSLR to Mirrorless for Travel Photography

23 Mar

Two months ago, after shooting for 10 years with Canon, I completely switched to Sony. It surprised some readers of my blog, as well as some fellow photographers. To address the issue, I published a detailed post on my blog with the reasons behind my switch. To save you time, I will summarize my reasoning, not only in one sentence but in one word: INNOVATION. I could see that, in the last two to three years, the main innovation was happening in the realm of mirrorless systems and I felt that Canon was simply an outside observer.

I considered the switch for a long time. I first waited because mirrorless systems were not up to DSLR standards to which I was accustomed. Then suddenly, about a year ago, all mirrorless manufacturers began releasing new camera models that could compete with any DSLR and, in some cases, even surpassed them.

Big Sur, California – Sony A6000, Sony 10-18mm lens

That was when I decided to switch. But, it took another six to seven months to choose the right kit (camera and lenses) for my travel photography needs.

My initial choice was the Panasonic Lumix GX-7 which was the perfect camera for me feature-wise but I was not too crazy about the selection of high-end wide angle lenses.

My second choice was the full frame Sony A7 and, I almost pulled the trigger last fall. However, after holding it in my hands, the Sony A7II in combination with the newly released Zeiss 16-35mm lens was almost comparable to the DSLR in weight and size.

That was when my choice was made. Just before the Christmas holidays, I sold all of my Canon gear to prevent cold feet. Then, I ordered the Sony A6000, Sony 10-18mm f/4, and Zeiss 16-70mm f/4 in one shot. I paid $ 2000 in total. Sony lenses are always pricy but I found that the price of the complete kit was very reasonable.

Sony A6000, Sony 10-18mm lens and Feisol Tournament Tripod

I just returned from my first photography trip of the year; I spent two weeks in Hawaii and Northern California where I exclusively shot with my brand new Sony gear.

Below are my thoughts after putting this new equipment through the real life test of travel photography. Please note, I only addressed the features of the camera which are important to me as travel photographer.

Lesson 1: Size does matter in travel photography

As a DSLR shooter, when preparing for a long and demanding sunrise/sunset hike, I always faced the same dilemma – what equipment to bring? Should I carry everything and look (and feel) like a Sherpa tackling Everest? Or should I hike light and risk missing important gear?

I do not have to compromise anymore as I can now put everything in a small camera bag and bring it with me. The Sony A6000 (344g) and the Sony 10-18mm (220g) weigh 564g (19.9oz) total. I still cannot believe that a high-quality wide angle zoom lens can weigh only 220g. I call it freedom.

Don’t get me wrong, the size and the weight were not the main reasons for my switch. I would never jeopardize quality for the sake of weight reduction but it was important consideration.

San Francisco, California – Sony A6000 with Sony 10-18mm lens

Lesson 2: Electronic Viewfinder (EVF) – a new way of looking at the scene

Somehow, in many mirrorless reviews, the EVF is presented as a negative factor and is portrayed as somewhat of a disadvantage compared to the DSLR optical viewfinder. I do not agree with that conclusion. For me, the EVF is one of the main advantages of mirrorless cameras. Finally, when I look through the viewfinder I can see what the camera’s sensor sees.

It is a very new and refreshing experience with the EVF, when you can assess the depth of field of the scene before taking the picture.

Here’s a real life scenario. Earlier I was shooting using exposure compensation -2EV and I forgot to reset it to zero. Now, when looking through the EVF, I can see right away that the exposure is wrong because the EVF picture is too dark.

When I shoot wide at 10mm, I can even see barrel distortion which realistically represents the photo I am about to take.

I often use manual focusing when shooting landscapes, which was pretty much an impossible task with the DSLR in bright conditions because of the display screen glare. Now, not only can I easily use the manual focus in any condition, I can also take advantage of Focus Peaking, an amazing feature that highlights areas that are in focus with the bright color. There is no more guess work.

In one of the reviews, I read how awful and pixelated the EVF picture becomes in dark conditions. I can confirm that it looks pretty bad but it is good enough for composing the shot and beats the DSLR where all you can see is pitch black.

For me, the EVF simplifies the process of taking pictures and makes it more predictable.

California State Route 1 – Sony A6000 with Zeiss 16-70mm lens

Lesson 3: I love the 24 megapixels sensor

During the silly megapixel war between major camera manufacturers, I decided for myself that 16Mpx was the right pixel count for my needs and I had no plans of upgrading only for that reason.

The Sony A6000 comes with 24Mpix, which I initially did not consider as an important upgrade. What I realized later, after starting to process photos, is that the 24Mpx sensor produces unbelievably clean and sharp images and, in combination with native quality lenses, it resolves an insane amount of detail. Photos look acceptable even at 100% magnification.

Although, I have to admit the higher pixel count is more taxing on my computer and I might need to upgrade it soon.

High ISO photography is not something that I do often when I travel and it was hard for me to assess low light performance of the sensor. But, what I can see based on family photos from the holidays is that ISO 3200 is still acceptable and excessive noise is easy to eliminate in Lightroom.

Lanikai Beach O’ahu, Hawaii – Sony A6000 with Sony 10-18mm lens

Lesson 4: 11fps is a game changer

Sports photography is somewhat of a hobby for me. The only times when I shoot sports are when professional cycling peloton comes to Montreal every September and when my daughter is playing water polo. In order to test 11fps in combination with the fastest focusing system in the industry, I went to the beach in Hawaii to photograph surfers.

I switched from RAW to JPEG, set the camera to a continuous shooting mode and enabled Object Tracking. I was amazed not only with the new experience of shooting but with the results as well. Shooting at 11fps reminded me of filming the video and then going frame by frame in the editing software, selecting the best frames. There are no missing moments. The focus was spot on, in pretty much every frame.

I can see how the Sony A6000 can be a game changer for sports and wildlife photographers.

Makapu’u Point O’ahu, Hawaii – Sony A6000 with Sony 10-18mm lens

Lesson 5: Not everything is perfect in paradise

Even though my initial experience of using the Sony A6000 is very positive, there are some shortcomings and annoyances I want to address.

Battery life:

According to Sony, you can take up to 360 shots on a single battery charge and I found this number to be pretty accurate. I even managed to take close to 390 shots when shooting in bracketing mode. It is not bad at all considering the small battery size and the EVF high power consumption. However, when you are accustomed to shooting 1500 shots on a single charge with the DSLR, the difference is very obvious. Now, I carry three spare batteries with me at all times and I have to remember to keep them charged.

Bracketing:

For some inexplicable reason you can shoot five bracketed shots at 0.7EV intervals only, which makes it completely useless. In extreme lighting conditions I have to shoot two sets of bracketed shots (-2, 0, +2), offsetting them manually using exposure compensation (-1 EV). This is very annoying.

No GPS tagging:

Even though the camera has decent wireless connectivity, the GPS tagging utilizing a mobile phone is missing.

Buffer writing lock:

When a camera transfers photos from the buffer to a memory card, the system is completely locked. You cannot even preview images during the transfer.

2-Second delay shortcoming:

You cannot trigger bracketed shots using the 2-second delay functionality. I had to buy, and carry around, an unnecessary extra piece of equipment: Wireless Shutter Release ($ 10).

Sandy Beach, Hawaii – Sony A6000 with Sony 10-18mm lens

Conclusion

The switch from a Canon DSLR to the mirrorless Sony A6000 was less stressful and less painful than I expected. I believe that one of the main factors that made it possible was my purchase of native Sony lenses so I did not have to deal with the glass from other systems with the converters.

I am waiting for the widely rumored Sony A7000 which is supposed to be the successor of the Sony NEX-7. I hope Sony addressed the shortcomings of the A6000 and introduces new pro features like: weather sealing, built-in body stabilization, GPS tagging and advanced bracketing. I am definitely planning to get the new A7000 and keep the A6000 as a backup body.

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Lessons from the Masters: Robert Capa and Jerry Uelsmann

19 Feb

Before you or I ever picked up a camera, our photographic forefathers( and mothers) were out shooting, learning, and blazing new trails for us to follow. I’ve always taken great comfort in that fact. Knowing that we are part of a long line of picture takers and image makers should lend us a sense of pride. Through sheer will and determination they worked through hard times, failure, and sometimes controversy in order to give us an incredible head start for becoming better photographers.

Ironically, many of these giants of photography, like most other people of great influence, did not start out to be such at the beginning of their careers. Many simply needed a job, others needed an outlet for their artistic inclinations, and still others…well, they had failed in what they initially wanted to become.

In this edition of what I’ve come to lovingly call, The Master’s Series, we will look at two great photographers who didn’t come by their fame easily. You will learn from their hard earned wisdom some tips, that can help you to improve your own photography.

Robert Capa

Capa by Gerda Taro

Robert Capa, who was actually born into this world under the name Endre Friedmann, was a Hungarian photographer and photojournalist. His passion was to give war photography to the masses in an up-close and personal way that had never been seen before. He was born in the October of 1913 and met his untimely end on May 25, 1954. In those 41 years Capa shot photographs in the heat of battle during five wars. His work virtually defined the image we have of World War II including the invasion of Normandy from the front lines of Omaha Beach.

In 1947, Capa was part of a group of photographers who came together in Paris to form Magnum Photos. Among the members of the group where such greats as Henri Cartier-Bresson, George Rodger, David “Chim” Seymour, and William Vandivert. Magnum would become the first worldwide agency for freelance photographers and photojournalists.

Lessons you can learn from Robert Capa

Position yourself for the shot

Increase your chances of making better photos by putting yourself into a position to make them. When I say “better position” I mean this both figuratively as well as literally. Capa was famous for saying, “If your pictures aren’t good enough, you’re not close enough.” Capa was renowned for being fearless and would get right up in the action to make his photographs. Truly, as a general guideline, moving in close to your subject can improve not only the quality of an image but also increase its visual impact with the viewer.

That being said, putting yourself in the position to produce better work also means that you should know what photograph you are trying to capture. Come prepared to make the photograph, i.e. the right lens, tripod, permissions, etc. Lastly, be sure you know what needs to be done in order to make an exposure to the best of your potential.

Promote yourself creatively

Thumbs Up

Why did Andre Friedmann stop being Andre Friedmann and become Robert Capa? The answer is simply better marketing. If you’re of the exceptionally linguistic sort, you may have noticed that Capa is the Hungarian word for shark. When Capa was a boy, that was the nickname given to him by his friends. You see, Capa wasn’t getting very much attention under his given name, so a new persona was invented as front for his work. This new persona was that of famed but wholly fictional American photographer Robert Capa, who was supposedly touring Europe at the time. Clients loved it. Soon work was pouring in and Capa was on his way to becoming a photographic legend.

This doesn’t mean that you have to stop being you in order to be more successful as a photographer. It just means that sometimes you need to bring out a little creativity when you’re selling yourself as an artist. In a way, work to manufacture your own identity as an photographer. Cultivate your own style. Be sure to show only your best work. Tell the story of the photo instead of just showing it. Be charismatic and welcoming with your clients and don’t be afraid to speak favorably (not boastfully) of yourself and your work.

Don’t always obsess over technical perfection

Camera Display

This can be a very difficult task to master. It’s easy to get caught up in getting your aperture just right or making sure there’s not too much grain with that ISO. When it comes to photojournalistic imagery such as street photography, the emotions and mood of a scene or subject should command your primary attention. In the amount of time it might take to tweak that focus, the moment may pass by. The important thing is to teach yourself that a good exposure of a great moment, will almost always trump a great exposure of a mediocre scene.

This shot could have been focused better, but I might have missed the look of concentration.

Mentor those who want to learn

Books

This is a biggie, and perhaps one of the most important things you can learn from Robert Capa to help yourself grow as a photographer. Capa recognized that photography would never advance if there were no new photographers coming along to take the place of himself and his colleagues when their time had passed. So he directed a good bit of his time to networking with, and teaching, other photographers the craft.

When you mentor or otherwise give of yourself to help a new photographer better themselves, you are perhaps unknowingly having an enormous impact on the art of photography. An appreciation for the passing on of photographic principles and techniques is possibly the single greatest contribution a photographer can make to the world.

Jerry Uelsmann

Image courtesy of Indiana University

To say this next photographer is an interesting individual is both accurate, and at the same time a resoundingly inadequate description. Born on June 11, 1934 in Detroit, Jerry Uelsmann is one of those great artists who flies just beneath the radar of the mainstream, but whose work is truly one-of-a-kind and inspiring. Like many, his rise in the photography world was slow and painstaking. He discovered photography as a teenager. By his own admission he believed that through making photos he was able to live outside of himself and reside in a world of his own creation.

He would eventually go on to obtain degrees from multiple colleges, and ultimately found himself teaching photography at the University of Florida in the early 1960’s. His career was kickstarted in 1967 when he landed a solo photography exhibition at the The Museum of Modern Art in New York City.

Jerry began his work about thirty years prior to the advent of photo editing software such as Photoshop. He rose to fame through his production of highly surreal and manipulated black and white photographs. He did everything in the darkroom – using may different negatives with up to twelve enlargers, that he then literally “layered” on top of one another to create his finished product. Many of his images combine elements of the natural world as well as humanistic representations and man-made objects.

Lessons you can learn from Jerry Uelsmann

Don’t be afraid to post-visualize

If you’re just starting out in photography then you likely have heard some key phrases mentioned over and over again. One of the most important is that of pre-visualization. Teachers and writers (myself included) love to verbalize or write poetic analogies about what it means to “see” an image before the shutter is released. What is meant by this is that you can teach yourself to mentally compose, frame, and process a photograph before it is ever made. Making photographs becomes so much more satisfying once you have managed to develop this difficult, yet essential photographic skill.

The flip-side of that coin is something that seldom gets talked about, but is nonetheless interesting and thought provoking. What we’re talking about here is the act of post-visualization. THis can be thought of as the exact opposite of pre-visualizing a photograph but it’s not exactly that easy. Uelsmann is literally the original master of this process. He photographed distinct objects and scenes, with the express intention of later making a finished work that blends together elements of each. Essentially, he saw the completed photograph after he already had produced a series of otherwise unrelated images.

Try out post-visualization for yourself. Go through some of your old images and see if the passing of time helps you look at them in a new way. Look for different crops that might make the image stronger. See if an image might work well in black and white and experiment with the shadows. Tweak the white balance and completely change the mood of a photo. That’s really all post-visualization is; looking at something that already exists and seeing what else it could become.

An image I made over four years ago.

Here we see it in a completely different way after some recent creative processing.

Fulfill your vision

Stay true to your vision. That is the key phrase that you should take away from this point. Uelsmann produced images that were hard to understand by some. They weren’t readily accepted, and the techniques he used where viewed by some as nothing but trickery. Still, he produced the images that he wanted regardless of what manipulation he had to do in the darkroom.

Do whatever you need to do. Be it post-processing, filters, funky borders, weird color selection – anything. It might not be to everyone’s liking, but thats the beauty of photography. Do whatever it takes to achieve the image that you set out to make.

You will fail, but you’re not a failure.

Failure

Jerry Uelsmann is a classic case of someone who refused to give up. He kept trying despite his initial difficulties in school, and the poor acceptance of his early work. Instead of shutting the doors of his darkroom for good he decided to keep going. Making images that moved him was his goal and he didn’t let life’s friction stop him.

The very nature of his work which was at first off-putting began to be what people came to love. So if you’re stuck on a project, you have trouble with a client, or even if your camera seems to be unlearnable, just remember to keep going. Nothing worth doing was ever easy.

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5 Lessons from Rihanna to Learn for Your Photography Brand

08 Sep

Rihanna is probably one of the world’s biggest pop stars right now. But along with her catchy songs and rough music videos, there is something else that gets her to the top of the music world. It’s unique marketing campaign. Today I’m going to talk about 5 lessons you can learn from Rihanna for your photography brand. Here you’ll get Continue Reading

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10 Lessons From Steve Jobs for Your Photography Brand

06 Aug

Steve Jobs forever will be remembered as a digital visionary – he was the one who brought poetry to the microchip. He is a legend these days. All of us can’t be Steve Jobs, but we can learn some lessons from his extraordinary life and career to parlay them into the photography business. Steve Jobs took a near-bankrupt Apple and Continue Reading

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Lessons you can learn from master photographers – Minor White, Ansel Adams, and Syl Arena

09 Jun

The reason I have put pen to paper (fingers to keys) is to share with you some simple tips and knowledge that can be gained from taking a look at some notable photographers. Some would even argue that these people are among some of the most creative and artistically idolized craftsmen who have ever captured light with a box. If you’re just starting out on your photographic journey these tips from some of the masters will hopefully help you along.

Minor White

Portrait of Minor White by Imogen Cunningham

Born during the summer of 1908 in Minneapolis, Minor White held jobs as a waiter, bartender, and even worked in military intelligence during World War II. He was a very spiritual man and his beliefs spilled over into his photography. Co-founder of Aperture magazine along with Ansel Adams and other notable photographers, Minor was also an early advocate of the Zone System pioneered by Adams and Fred Archer. An early practitioner of infrared photography, White ventured into an array of subject matter but his work with the small, and often overlooked scenes and objects, such as frost on glass and dilapidated structures remain some of his most acclaimed.

Lessons you can learn from Minor White:

Make photographs all the time, even if you don’t have a camera.

Minor said that he was “always mentally photographing everything as practice”. This is solid wisdom for any photographer of any skill level. Unfortunately, the realities of most of our lives limit the time we get to spend with a camera in hand. The good news is that our artistic mind is never absent. Think about which exposure would blur that passing train just right. What aperture would give me enough depth of field to put that entire table into focus? You’ll be more prepared next time when you have your camera handy.

Don’t overlook small objects and details.

Some of Minors’ most celebrated works were of seemingly mundane or otherwise less than notable subjects. Be on the lookout for details and textures of things that you see every day. This is especially useful if you have an interest in abstract photos.

Drops of rain on my back door glass. Easily overlooked.

Rain on glass small

Simple occurrences made more interesting with a little creative thinking.

Ice on Firepit small 1

The early morning blue hour made this frost and ice on the cover of my fire pit look otherworldly.

Ansel Adams

The portrait of Ansel Adams taken by J. Malcolm Greany around 1947

Chances are, you have heard at least something about Ansel Adams, even if that something is that he was a famous early photographer. It’s true, he is considered by more than a few to be one of the best photographers of the twentieth century. There have been volumes filled with the ins and outs of this photographic master. Born on February 20th, 1908 into a well established family in San Francisco, Ansel Adams discovery of photography was unplanned. Ansel was a gifted piano player. An exceptional piano player in fact, so exceptional that he was set to become a professional concert pianist until he decided to commit himself fully to photography. Honestly, the next sections could be titled “What can Ansel Adams NOT teach you?”. The man was such a force in the early days of modern photography that it almost seems unfair to point out only a few practices that will help you improve your own work. However, I have managed to list some basic tips from Ansel Adams that you can put into action in order to make you a better photographer right now.

Lessons you can learn from Ansel Adams:

Slow down

I’m sure you’ve heard this before and possibly have read about the importance of slowing down and making your photographs with more deliberate intentions. Our crushingly convenient modern era of virtually unlimited and relatively low cost film (i.e. digital photography) has lent itself to making us potentially sloppy in our shooting. We sometimes press the shutter button entirely too often in order to get a suitable image for processing. I will shamefully raise my hand and admit that I too am guilty of this spray and pray method of shooting, more so in my earlier photography days right after I made the leap from analog to digital.

I did myself a favor, that I also encourage you to do for yourself, and decided to take things more seriously. Ansel would consider all aspects of his composition: from the elevation and tilt of his camera, the perspective of his lenses, the cast of shadows, even the future effects of the wind on the clouds. There will be times when you are racing against a sunset or you will be trying to catch some specific or fleeting moment and at those times you must shoot quickly and intuitively. Usually, however, we rush for no perceivable reason and often overlook or forget small changes that can make or break an image. So the next time the muse slaps you across the face to make an image, calm yourself down and work the problem. Think about what it is you are trying to do. Put yourself into the correct mindset to make better images and you might find, strangely enough, that your images become better also.

Teach yourself to see the finished product before you make the exposure.

The act of seeing or visualizing is another subject that has been touted by the photographic community many times. Visualization is one of those things that really can’t be brought about by technical instruction in the traditional sense; meaning there are no classes on visualization. Ansel Adams himself remarked that visualization cannot be taught, it is be learned. Think about that concept.

It’s undeniably true that some people learn faster than others when it comes to visualizing finished prints. However, it is equally true that no one started out being able to see in their mind’s eye the final result of a photo. Like most things, it takes practice, as well as patience, and more than a healthy helping of sheer determination. When you begin to see the print before it is made, then really all that stands between you and your vision is the selection of techniques which, similarly, require just as much determination and commitment to master.

Use a tripod

To reiterate, please, use a tripod whenever and wherever possible. A tripod is one of the single most important tools you can use to increase the focal clarity and sharpness of a photograph. Minimizing camera shake and vibration is key to making crisp images, period.

Colorflowersmall

By using a tripod I eliminated the need to worry about vertical camera movement in the macro shot above. Ansel tells us that the ideal tripod is “a cubic yard of solid concrete with a 1/4″ X #20 bolt head sticking out of the top”. If you don’t have a huge block of cement lying around to attach your beloved camera to, then the next best thing is to obtain a quality tripod and use it.

Having some way to keep your camera absolutely still is essential when working with long exposures like the image below.

Exposure time: approximately forty seven minutes. This long exposure time would not have been possible without the use of a tripod.

Using a tripod (correctly) also forces you to, again, slow down and think about the photograph you are intending to make. dPS has a superb article on tripod employment that can be found here.

Syl Arena

Photo by Vera Franceschi

Syl Arena, is a uniquely humble and genuine person, author, teacher, lecturer, and a speedlite Jedi. He is a magician of sorts when it comes to creating and moulding light. Syl currently resides on the west coast around San Luis Obispo, California. His biography is brief and barely mentions any notable achievements of which there are many. The lessons I learned from him actually lean more towards the philosophical than the technical. That being said, you will find this section contains no real insight from Mr. Arena concerning artificial light manipulation or photographic technique in general. For that I would highly suggest you check out his blog or his new Q&A site for loads of information.

My first introduction to Syl was through the gift of one of his books (thanks Mr. Veneman), “LIDLIPS: Lessons I didn’t learn in photo school“. In that book, this highly educated, highly skilled, highly successful, highly haired photographer simply and truthfully listed page by page the things he was never taught. They ranged from personal revelations on the photographic process to small background stories of some of his location shoots. He mentioned nothing about technique or gear really, just lessons from his life as a picture maker, unpretentious and sincere.

Lessons you can learn from Syl Arena:

Don’t be afraid.

Your limited gear, your perceived skill level, your lack of obvious subject matter, your lack of confidence, fear of trying something new; don’t be afraid of any of these things, or anything else for that matter. You will never have the all of the best gear so don’t let it worry you. Instead, learn to make the best use of what gear you have. You will never learn all there is to know about making photographs so learn what you can, where you can. Feeling like you’ll never get an image just right? You are your own worst critic, so don’t hide your work from the world.

Be inspired, not intimidated.

This is one of the hardest things to overcome, especially if you are just beginning to learn about photography. It’s easy to feel envious or even jealous of other photographers work. This can sometimes lead to convincing yourself that your work has no merit. Chances are, that image you’re envying and ogling over is a product of hard work, patience, diligence, determination, perseverance, and many other great words that the thesaurus can produce.

Viewing other artists work is one of the best ways to grow your own creativity.

Take the work as seriously as you want, but not yourself.

As you grow and learn as a photographer, remember that we all started out understanding absolutely nothing about photography; so keep that in mind the next time someone asks you a question about one of your photographs in a less than learned way. Most likely, you have learned something from someone who was nice enough to teach you. Please pay it forward.

Have you learned any lessons from other master photographers? Who is your mentor? Please share in the comments below.

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10 Great Photography Lessons You Can Learn From a 2 Year Old

06 Jun

Child

Nowadays, fancy shmancy cameras can blast you with gazillion frames per second, but non of these can beat the time honored tradition of observation.

If there is one skill that has safeguarded my butt many times it’s the simple act of observing. If you don’t believe me, ask my wife. Observation is not only good when making images, it’s also good for insights. Well I’ve observed my son since day one, literally, and now that he is 2 years old, he is the one who is offering me great insights into photography.

I’ll make sure he never sees this article. Imagine when he’s 10 and says “You’ve learned so much from me at two, imagine how much more you can learn now that I am 10″. I’ll never hear the end of it. Anyway, here are:

10 great photography tips I’ve learned (and you can too) from my 2 year old, nicknamed Yoki

1) Be amazed at everything

Bathroom window

I was outside a restaurant waiting for the rest of the family, it was raining. Laplwie! (“Rain” in french) Laplwie! Yelled my son. A woman walked in with an umbrella, my son bent his feet and pointed all exited “Bwella!!! Bwella!!!”

An oh-so-cute scene. But it got me wondering. I’ve probably seen a million and a half umbrellas yet look at this kid jumping up and down because of an umbrella. Both of our eyes saw the same thing but our mindset was different.

Humans are by nature creatures that get used to things. When it comes to photography, the location is only interesting after a few days, beyond that it’s boring. If you go out and shoot the same area over and over again, you know what I mean. To freshen things up, the solution is to either seek new locations or things to do – or see things in a new way.

In the first case the transformation is external, in the second case it’s internal. I keep the scene of my son and the umbrella in my mind to remind me to always see things in a new way. Every location eventually gets boring, shooting the same kind of pictures over and over again can get boring, so the solution is to see things in a different way.

There’s the true story of an old woman, she was going completely blind but had an operation that restored her sight. She talks about how much she loves doing dishes and looking at the beautiful colors of the bubbles that get formed when she puts in the soap. How many times do we loathe doing our dishes? What is to be learned from this lady?

If you feel your photography is boring, see things in a new way, always tell your mind to see things as if you see them for the first and last time. Yoki does so, and so does that woman who regained her sight. Light and life is beautiful everyday, but to appreciate it takes a conscious effort. There’s a nice saying I like “Everyday is a new day to a wise man”.

Every time I find myself saying Photography is boring (not often but it happens), I remind myself of my son and the rain. Speaking of which, do you notice how rain can transform a scene? The lower contrast between the sky and the rest of the earth? How reflections of the puddles create interesting shots? Or how the rain hitting the ground makes interesting shapes? Or how a window in a bathroom can be a symbol of being locked in? Or how…

2) Kids enjoy themselves because they are in the present

Dark man

I like watching Yoki play, especially with his blocks. He looks so happy. This got me wondering, why don’t photographers have this sort of joy? Isn’t it as simple as enjoying what you do? I observed him even more and looked for what he was doing that photographers were not doing.

The main thing is that kids enjoy what they are doing, all that they care about for the time being is playing with the toy. I’ve been out on the street thinking about what to do the next week, I’ve been on assignment while doing mental financial calculation – exactly what Yoki isn’t doing.

Can you walk a mile? How much less enjoyable would it be if I gave you two nice pieces of luggage to drag while you walk that mile? Unfortunately we do the same thing mentally when it comes to photography. We bring our “stuff” along when shooting and just like dragging real life luggage around, it diminishes the enjoyment of photography.

When shooting, be like a kid with a toy; focus on what you are doing and nothing else. Minor White was adamant about clearing the mind before the act of photography. I listen to music and zone out to zoom into photography. Find what works for you, the important thing is to be lost in what you are doing.

3) Kids enjoy themselves because they don’t care about being the best

Haiti boat

From time to time Yoki comes in with something he’s done. Bravos, hugs and all around congrats are thrown his way. But you know what? I’ll continue doing so until he is older.

I remember doing my best for grades as a kid and all I could feel from my mom was how short I fell from top of the class. When kids are kids it’s all about doing their best, but as they grow older it’s all about how short they fall of being THE best. How can Yoki enjoy himself doing crafts if all that he thinks about is being better than somebody else?

What matters for kids is to do the best they can and enjoy what they do. That is also valid about photography, all that matters is that you do their best and enjoy making pictures. To enjoy your photography it’s all about enjoying what you are doing, as simple as it sounds. The moment you start ranking yourself is the moment you stop being content, because being in first place will be only thing that will matter at that point. Plus there’s always someone better than you, and someone better than them ad infinitum.

4) Kids enjoy themselves because they don’t care about comparisons

New york woman

I was watching my son finger painting. What came to mind was the fact that compared to how I can draw, his drawings are absolutely bad. But does he care that his dad can outdo him in drawing? No.

He’s too happy with his own stuff to even bother to compare with others. Take any photographer you respect, that person has another photographer they feel jealous of. But very few of them are genuine enough to admit that. When you tend to compare yourself with others, the answer to all this is do like children do – stop it, and focus on your own stuff.

When your work is your focus, everything others do might be better, but it sure won’t affect you. Photography is all about enjoying what you do and not about comparing to others all the while doing your best. Actually, I’ve found that the more you focus on your stuff the better you get. But, the more you compare the worst you get, because it sucks the life and joy out of photography. It’s all about loving what you do, and doing what you love.

5) Don’t get sidetracked

Penn station

One of the parenting tricks I have is to distract my son when I don’t want him to have something. If I don’t want him to use the computer, I pick up his alphabet phone toy and start playing with it. He never fails to forget about the computer. That taught me how easy it is to get sidetracked in photography.

One of the easiest traps of photography is the camera. So many get sidetracked by the camera that photography gets completely lost. I’ve been there, and lost 1000s of $ $ $ . I was addicted to the gear. But that’s a story for another time. If you find yourself googling for accessories instead of going out and making images, you might have a problem.

The second way to get sidetracked is by focusing on other’s photography, and that includes the Masters. I know a few folks that have such powerful photographs, yet instead of developing their own voice they continue copying another photographer’s work. Such a waste – they are distracted from their own photography by copying someone else.

You can also get sidetracked by being too much into the masters. Do you want to be known for knowing the masters, or known for actually making images? One thing that is rarely stated is that no matter how great the masters were, doing your work is more important because it’s your own work.

To recap: photography is not about having the most cameras, that only shows you’ve got plenty to spend. Photography is not about collecting photobooks, that only shows you appreciate art. Photography is about making photographs, that’s when you are a photographer.

If anything has a bigger place in your life than your own photography, you’ve been sidetracked.

6) Pattern recognition

Man surreal

When Yoki was born, I resolved to always observe him, and more importantly to observe how he learns. I was fascinated by my son playing with a particular toy, this one called a shape sorter (see image right)

Shape sorter

How did his little brain work to put the shapes in the appropriate holes? The answer is patterns. The brain is wired to recognize patterns, so when Yoki took the star shape, his brain said “seek star shape” and ordered the eye to look around for that shape. When Yoki is out and starts saying letters and numbers, his brain is not really actively searching for the letters and numbers, the brain compares what he sees with the brain’s database of shapes and alerts itself that it’s a recognized pattern.

The first example is called the top-down mode (Where the brain actively seeks a pattern) and the second the bottom-up (where the brain is in a more receptive mode).

I was struck when I realized that photography on the compositional level was a huge, glorified “shape sorter” toy in real life. Here’s an illustration:

Top down

In my son’s mind the request was “seek star shape”. In my photographer’s mind, the request might be “seek vanishing point“. In the illustration above, I was on the street, but my brain only alerted me when it recognized the pattern I asked for (vanishing point). That is the top-down mode. It’s the process that happens when you are seeking a particular type of image. Here’s another illustration:

Bottom up

At the base of the brain there’s something called the Reticular Activation System (RAS), or as I like to call it the Really Awesome Secretary. A secretary’s role is to cut the fluff and only alert you when something is important, and that is what the RAS does. What’s important is relative and defined by each person.

What is important to my son Yoki? Letters and numbers, he’s going to see them everywhere, at least it’s going to appear to him that way. For me as a photographer what is important is what I want to see in my photographs. So I was in the streets not looking for anything in particular, but more than once my brain processed what my eye saw and it alerted me when it recognized a pattern (in the case above texture and portrait). That’s called the bottom-up mode.

It’s a frighteningly beautiful system that allows my son to play with his shape toys and me to recognize stuff when I am shooting.

7) You can’t recognize what you don’t know

Man haiti standing

Pattern recognition has it’s limits though, you can’t recognize patterns that you don’t know. Take my son for example, he will cry out “Circle! Oval! Sqwawe.”, but it will be quite a while before I hear him say “Hexagon! Trapezoid! Pentagon.”.

His palette of patterns are limited: square, circle, oval, square, star, heart. My palette is much more expanded to include a bunch more. So in a scene where there is a square and a pentagon shape, he will see the square only, but I will see the square and the pentagon. It’s the same principle at work when two photographers see different things in the same location.

When people who don’t know photography see the kind of pictures that can be produced out of a regular scene, they immediately credit the camera. But fact is that the photographer recognized a good picture (trained to look for certain patterns) whereas the non-photographer (not trained to look for certain patterns) could not see anything. So what’s a pattern? It can be anything from certain compositional types (Golden ratio, etc.), shapes, color, types of pictures (landscape, portrait, etc.), themes that interest you (people, animals, etc.) and more.

8) Everything is basic shapes

Under bridge

I was on my bed when the kiddo starts saying “S!” “S!” “The wetter S!” Hoho… I was sure he was seeing things because I never saw a prominent S in my room. But the kiddo was right, there was an S in the room, here it was:

By Mathew Bajoras

It was the light bulb. That reminded me how the world is like a glorified “shape sorter” toy. Absolutely everything visual can be broken down into line, shapes, space, color and texture.

It’s something that painters and artists understand at a fundamental level; everything can be broken down into basic elements. As a graphic designer I also understand this at a basic level because you can break down designs into simple elements. Here’s an example with a shot I made:

Simple elements

All of a sudden a window is a trapezoid, and people’s heads are ovals. This is due to the Gestalt law of perception called “Pragnanz”. Simply stated it says that we perceive complex shapes as simple ones (a face as an oval for example). Yoki recognizing the “S” out of the light bulb always reminds me of that, so I look for basic, broad shapes in my photographs, and more importantly how to arrange them.

9) People are aware of the camera

Lady power

My kid is not even five and he already knows to pose. It’s nuts. How does he know when the camera is up to strike a pose? Are we spoiling our genuineness by asking kids to say “Cheese”? I think so because it teaches kids to stop what they are doing to say cheese and look at the camera. But whatever the case, very early in life kids are aware of the camera. The result? Absolutely everybody in today’s world is aware of the camera.

That pretty much means no one is genuine when a camera is present. For pros this means you have to learn to relax your clients. For everybody else it means you have to be quick to get a genuine pose. The best moment is the split second before the person realize you are photographing them.

One interesting tidbit about the genuineness of the subject when faced with a camera, is that it is proportional to the type of camera. Pull out a point-and-shoot camera in the streets and people won’t care much, you’re probably a tourist in their minds. Pull out a double battery DSLR with 55-200 zoom and people will start acting differently. Pull out a Polaroid camera and people will react as if you are an “Artiste”.

People are conscious of the camera because they are conscious of their image, it’s ingrained since the start. If you can make people believe all you want is a snapshot, they won’t give you a second look. That, my friend is why I can only recommend a point-and-shoot lookalike for the streets.

10) Complacency hinders growth

Older lady

What’s that? I asked pointing to a square in a book. “Square!!!” “Carré” (Square in French) my son said. Good I said, now what’s that? I was pointing a rectangle, he looked at it and then pointed to the square “Square!! Carré!!”. Yes but what’s that? I asked pointing at the rectangle once more. He pointed at the square once more and named it again. Instead of taking a risk at trying to name the rectangle he pointed at what he already knew.

I was quite surprised at what happened, not because of how my son reacted but because I saw myself in it. It’s easy to get complacent in photography, I sure did. It happens when you do something over and over again and don’t challenge yourself. I largely abandoned longer than 35mm focal lengths because of that. The best thing I ever did photographically is to get a 28mm because it’s much harder to deal with.

I could go out with a longer lens and not challenge myself, but I would not grow and I would become complacent. When Yoki did this with his shapes, it taught me to never become complacent and always challenge myself. I’ve grown so much when I decided to go wide angle. Try it, it will not let you make an image without a fight.

To each his comfort zone, for me it was always sticking to fast apertures at 50mm, for you it might be something else. Find where you are too comfortable photographically, then challenge yourself. It’s the trick that pole jumpers use, they put the bar higher every time.

Finals comments

I love my kid, and I love watching him. I love to see how he works and how he thinks. He’s learning from me hHopefully a good thing) but I am also learning a lot from him, as you can see from the 10 tips above. But that stays between me and you, ok?

Be yourself, stay focused and keep on shooting.

Have you learned any photography lessons from your kids? Please share any additional tips in the comments below.

The post 10 Great Photography Lessons You Can Learn From a 2 Year Old by Olivier Duong appeared first on Digital Photography School.

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