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Posts Tagged ‘Photography’

Pushing the Limits to Overcome Photography Boredom

04 Dec

By Guest Contributor Matthias Weinberger

Pushing the Limits to Overcome Photography Boredom

In the beginning the most interesting part of photography for me was the element of surprise and discovery. I was never were sure if what I did would turn out to be a great picture. Like an athlete I was always looking for the next adrenaline kick.

Once you’ve been shooting for a couple of years that rush fades – because with the knowledge you have about lighting and composition you pretty much control everything in order for the final product to be perfect. Knowing the end result before a shoot is a must for a professional – but if you are doing it for fun it’s just not enough. That’s why I started to experiment with paint.

Liquids have a mind of their own so to speak – they behave according to rules you cannot control. All you can do is set up your lights, choose the right gear and hope for the best. In the following series of pictures you can see the evolution and the different colours and paints I have tried over the years. As always the end result is a surprise to me – and that keeps it fun and fresh and makes me want to come back for more.

Experimentation is part of the process of learning

I love Portraits. The human face with all it’s features is an endless source of inspiration, wonder and surprise. Faces can express so many different moods and emotions-it’s unbelievable.

Overcoming photography boredom 01

I also love to be surprised during my shoots. What does a face tell you when it’s partially hidden? How does the mood of a picture change when the subject is wearing sunglasses? Or even a gas mask? What does your brain interpret? What goes on inside your head when you look at it?

Ask yourself questions, learn from the answers.

Overcoming photography boredom 02

This is why I started to experiment with applying different colours in my portraits. After I found a model who was willing to try anything, I bought some body painting pens – they looked like a set of Crayons in six different colours.

We painted the models face and that was it. In this picture you can see the effect of these pens and sugar applied to his wet face, and a bit of red food colouring poured over his head.

Overcoming photography boredom 03

Take it up a level – get crazy

The next step was to add more “drama” fluids. At first it was milk, again, just observing what would happen. Milk is great: when you pour it on, it runs down the face in completely random patterns-some of them really interesting and fascinating. Sometimes reminds me of a satellite image of a river delta that comes out of the rainforest.

Overcoming photography boredom 04

After that we started to add food colouring-red, green, yellow and orange. Some E-bay sellers made a fortune off my purchases.

I found that food colouring alone didn’t give a good saturated look, the colours looked watered down. So I added tons of sugar and milk, making the mixture almost gel like. The added benefit was it also made it more viscous – so that when it ran down the face and started dripping there werea lot of single drops in the picture and also those long tendrils. Again, this is completely random and different from one picture to the next.

Overcoming photography boredom 06

While experimenting with these different recipes for what to pour on the model, I came upon finger painting colours for toddlers. Awesome stuff! Cheap, available in a great range of different colours, and easy to wash off.

I try to cover as much skin as possible with colour. Normal skin is a distraction in these kinds of pictures.

Overcoming photography boredom 07

I’ve tried a lot of different methods for “delivery” as well: syringes, bowls in different sizes, watering cans, etc. Right now I’m using a big sponge which works really well. I just wring it out above their heads and see what happens.

Overcoming photography boredom 08

Equipment

The equipment I use is:

  • a Nikon D600 (used to be a D700)
  • Lenses: either the 85mm 1.4 or the 24-70mm f/2.8 – both at f/7.1
  • Flashes: usually 3 Speedlights. One from above into a softbox, the other two on either side as rim lights
  • A California Sunbounce Mini Reflector with the Zebra side up. CLS works great indoors-so that’s how I trigger the flashes.

Tips for doing this kind of shoot:

  • Find a warm place, use warm water for mixing the food colouring and the sugar
  • Think about how you can clean up before the shoot!
  • Bring cleaning supplies, and don’t use a syringe to spray red water upwards. There will be hundreds of red dots on the white ceiling!!!

Make sure the Model knows that he or she will be covered in paint, that the “recipe” tastes awful (and yes-at some point it will get in their mouth and their eyes where it will sting quite badly). Have a clean bowl of water at the ready for when it runs into their eyes so that they quickly can wash them out. If you look at her eyes you can see that it got behind her contact lens.

Overcoming photography boredom 09

If you stand in the same spot for an hour or two your back will hurt-so we always stand on pieces of foam, much more comfortable!

Also since it’s very warm in the room we are shooting in, I’m wearing shorts too. And make sure to check your lens every so often, drops of the “recipe” will find their way to the lens also. Have a clean lens cloth ready.

Processing notes

I shoot RAW and post process my shots using Capture One 7. I increase saturation, tweak the levels with the curve tool, add sharpening, and play around with the colour balance and white balance. All in all, it doesn’t take me more than a minute to process a picture.

Summary and words of wisdom

As you can see, always keep pushing the envelope. If you have found a point in your work where you know what’s going to happen, move on. The brain likes novelty. Changing things keeps you on your toes, you learn something new and your photography is going to improve. If it doesn’t work out you can always come back to what you did before and try another approach.

Last and most of all: have fun doing it!


Matthias Weinberger is a “semi-professional button-pusher” according to his Flickr profile.

  • Find more of Matthias’ photos on Flickr
  • Visit his website
  • Find him on Facebook

Post originally from: Digital Photography Tips.

Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.

Pushing the Limits to Overcome Photography Boredom

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4 Tips for a Perfect White Background in High Key Photography

03 Dec

A guest article by Tony Northrup, author of Stunning Digital Photography, on sale 20% off – now at SnapnDeals.

A bright, white background creates a high energy, happy, and distraction free scene, perfect for pictures of your friends and family. Known as high key photography, this technique instantly cures problems with ugly backgrounds and focuses the viewer’s attention on your subject.

Besides being a popular for portrait photographers, it’s a more modern choice, rather than traditional (ie., painted muslin). Here are my favourite tips for creating high key photos.

4 tips for perfect white backgrounds in high key photography

Tip #1 – Use a Solid White Background to Eliminate Distractions

I used a big, white piece of paper as the background for this portrait of my twin nieces because anything natural for a background would have clashed with their colourful outfits. The brightness also perfectly matches their expressions.

high-key-white-background-portraits-01b

High-key backgrounds focus your attention on the subject

High key photography was the perfect choice for this picture of my daughter eating a strawberry because there’s nothing to distract the viewer from her eyes and the strawberry. You don’t need to use an expensive camera or lens for this type of picture, because you can use any camera for high key photography.

High key white background portraits 02

The solid white background eliminates all distractions

Tip #2 – use sunlight as your background

A white background isn’t everything you need to create a perfect high key photograph, however. You need one additional ingredient – light. A white background without light doesn’t appear white in the photo, it appears grey. My flash failed to fire for this next photo, causing an ugly, grey background.

If you don’t light your background, it will be grey

If you don’t light your background, it will be grey

To create a solid white background, you need to completely overexpose your background without overexposing your subject. That means you’ll need much more light on your background than on your foreground subject; about 16 times more light (or four stops of light).

Fortunately, we all share a very powerful and free light source: the sun. For this photo of a radio talk show host and his dog, I had him kneel in my kitchen at midday when the sun was streaming through the glass doors behind him. I added three stops of exposure compensation to properly expose their faces. Because the sunlit background was much brighter than the shade in my kitchen, the camera captured it as solid white.

High key white background portraits 04

You can use the sun to create a bright background

Tip #3 – use a flash on the background

Another easy way to create a bright background is to light it with an off camera flash. Simply move your model four to six feet away from your background and hide a flash behind your model, pointing it at the background. When you take your photo, the flash will light the background to overexpose it and make it appear completely white.

An off camera flash doesn’t have to be expensive. Any manual flash with an optical slave will work, including the $ 60 (US) YongNuo YN-560 that I often use. Simply turn on both the flash’s optical slave and your built-in flash. When you take a picture, your flash will trigger the off camera flash to light the background.

High key white background portraits 05

Place a flash behind your subject to light the background

For more information about using flash both on-camera and off-camera, refer to Chapters 3 and 6 of Stunning Digital Photography.

Tip #4 – don’t over, overexpose the background

You can overexpose a high key background too much. If you bounce too much light off your background, the backlighting will overtake your model and wash out your picture. For example, the picture on the left had too much light on the background, while the picture on the right had just the right amount.

If you have too much light on your background, it’ll wash out your subject

If you have too much light on your background, it’ll wash out your subject

To get a perfectly white background without washing out your picture, start your background light at its lowest power and increase it one stop at a time until the background is barely overexposed. In this video, my wife Chelsea and I show you exactly how to find the perfect flash output. Our book, Stunning Digital Photography, includes more than six hour of video integrated into the lessons, because photography is a visual art, and often it’s easier to learn by watching than reading.

Summary

High key photography is challenging because it requires you to create an intentionally overexposed background while still properly exposing your subject. Once you learn how to use exposure compensation and light your background, you’ll be able to create perfect white backgrounds in just a few minutes.


Award-winning author and photographer Tony Northrup has published more than 30 how-to books and sold more than a million copies around the world. His photography book, Stunning Digital Photography, is the best-selling photography book in the world and the top-rated instructional book of all time. His photos have been featured on magazine covers, book covers, CD covers, TV shows, calendars, and much more. He runs a stock and portrait photography business with his family, Chelsea and Madelyn, out of his home studio in Waterford, CT. He shoots travel and nature photography everywhere he goes.

Post originally from: Digital Photography Tips.

Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.

4 Tips for a Perfect White Background in High Key Photography

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Long Exposure Photography Tutorial

01 Dec

“That Nikon Guy” aka Mark Granger does a great job of showing how to use long exposures in different situations to get some stunning effects.

Make sure to watch all the way to the end for his extra special tip on traversing the rocks! Worth a chuckle.

Share your long exposure images

If you have some examples of long exposure photography, please share them in the comments below.

Post originally from: Digital Photography Tips.

Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.

Long Exposure Photography Tutorial

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DPReview Recommends: Best Cameras for Social Photography

01 Dec

Screen_Shot_2013-11-29_at_11.20.25_AM.png

Smartphones are great for casual picture-taking, but they’re at their absolute worst in poor lighting, or when using flash. One of the reasons smartphones are so popular is that they’re small, but better images don’t require enormous cameras, and increasingly, good-quality compacts are shipping with social-friendly options including built-in wireless connectivity. Click through to read our recommendations. 

News: Digital Photography Review (dpreview.com)

 
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Using Framing in Composition – Weekly Photography Challenge

30 Nov

Framing is exactly as it implies:  seeing your image through something that frames it such as:  a doorway, a window, through leaves of a tree, etc.

Shot at Cafe du Monde in New Orleans. To me the people in the foreground help tell the story.

Shot at Cafe du Monde in New Orleans. To me the people in the foreground help tell the story.

Framing your subject within a another is a strong, graphical composition. It adds a three dimensional quality to your images, and creates depth. Using framing adds a foreground element that can help set the scene, tell the story, and lead the viewer’s eye into the image.

Start looking for ways to shoot through natural frames to highlight your subject.

HINT: back up and look through the doorway behind you.  Show the viewer exactly where to look.

To frame this Japanese temple in Hawaii I walked away from it until I had this overhanging tree to frame the image. It adds depth and dimension to your images when you use this technique.

To frame this Japanese temple in Hawaii I walked away from it until I had this overhanging tree to frame the image. It adds depth and dimension to your images when you use this technique.

For some inspiration check out 25 Images using Framing in Composition posted earlier today.

Further reading on the topic of composition:

  • Composition: Frame within a Frame
  • Composition and Negative Space
  • Composition and the Power of Line
  • 3 Ways to Improve your Images with Composition

If you tag your photos on Flickr, Instagram, Twitter or other sites with Tagging tag them as #DPSFRAMING to help others find them. Linking back to this page might also help others know what you’re doing so that they can share in the fun.

Also – don’t forget to check out some of the great shots posted in last weeks Weather challenge – there were some fantastic shots submitted.

Post originally from: Digital Photography Tips.

Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.

Using Framing in Composition – Weekly Photography Challenge

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Five Photography Business Mistakes to Avoid

29 Nov

A guest article by Steve McConnell

Five photography business mistakes that cost me dearly and how you can avoid them

I’ve been toying with an idea of writing an article, in which I share some ideas on how to start a successful photography business. Every time I think about writing it, I realize that I wouldn’t know what to write. I just don’t think that the entrepreneurial journey for an aspiring photographer can be boiled down to a set of step-by-step tips which can fit neatly into a blog post on photography business mistakes

There are just too many variables (business nuances, possible changes of direction, personal problems, market issues, artistic visions, industry influences, technical developments)  which can be put together in an infinite amount of ways into a business strategy that may lead you to reach your goals.

However, I think that there’s a fairly universal set of potholes which are likely to derail your ambitions as a creative entrepreneur unless you steer the business ship neatly around them. It is with the aim of highlighting these potholes that I decided to write this article. I hope it enables you to put your dream together in your own unique way, while raising some red flags around things that may trip you up.

I think that it is much more useful to highlight some of the pitfalls that exist on this path, hopefully leaving you with the freedom to put your dream together in your own unique way, while raising some red flags around things that may trip you up.

Bit on my background

Let me give you some context. I started my family photography business almost two years ago. In the first year of operation I managed to grow it to a point where it became my part-time job. In this, my second year, I’ve grown it to a point where I’m working at it full-time, my fiancé works in it part-time, and I employ a part-time retoucher to help with editing.

We’re busy. However we’re far from being as stable and sure-footed as I’d like. Every dollar counts and every day a dozen priorities have to be juggled in a way that ensures the worker-bee stuff gets done and the bigger picture (no pun intended) ideas are considered, planned and executed.

photography-business-mistakes-1

What mistakes have I made that you will want to avoid?

Looking back at the business decisions I’ve made, there were some which helped us grow (niche marketing, focus on online channels, partnerships).  There were also some decisions I’ve made, which held us back significantly. These are the ones I’m going to share with you in hopes that you will avoid them on your photography journey.

Mistake #1 – listening to established photographers

This may be a contentious point. Let me qualify my words here – when I say “established pros”, I mean photographers who have been in the game for 10+ years, who were around in the film era and who most likely built their business by selling big prints, renting a studio and advertising in the Yellow Pages while promoting themselves through industry partnerships.

I’ve found it immensely difficult to get advice from these folks that is relevant and works in today’s business world. The few times I have taken on their advice and steered my business in the direction they suggested, I regretted it and had to reverse those decisions.

My take on it is that many established pros suffered a business downturn in the last few years. As a result, many turned to teaching. Thing is, their downturn happened mainly because their businesses were built on principles which expired.  Yet, they’re teaching those exact principles and strategies to the new generation of aspiring photographers.

I’m not saying that all established pros are not worth listening to, of course not. I’m saying that I personally should have used more discretion in evaluating their advice and rejected more of it, instead of trusting them based on the number of years they’ve been in the game.

Mistake #2 – taking too long to learn sales

A few months ago I finally admitted to myself  that I suck at face-to-face sales.

My background is in marketing, which has been helpful in creating branding and business strategies to bring customers to the websites and ensure they have a great experience there, hopefully leading to a sale. But this skill has also become a crutch, because I’ve become reliant on people making their purchase online. If a potential customer called with intent to ask questions (or, God forbid, challenged me on price), I’d collapse.

I decided it was time to get comfortable talking about prices and learn how to articulate my value proposition in a way which catches people’s attention. At the end of the article I’ll share some resources that helped me.

Learning sales was important because it helped me get comfortable with customers on the phone. It changed my perspective on who I am when I answer the phone – I went from being the guy who helpfully provides information about our prices to being the guy who engages potential customers in a dialogue which aims to deliver maximum possible value to them.

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Mistake #3 – underestimating the importance of customer service

I started off with the mindset of “I’m an artist. I’m here to create photos. People hire me for my photographs, not for my phone manner or for a card I might send them for Christmas.” I believed that if I focused on producing great photography, that alone would ensure my customers were happy. I did hardly any follow-up before and after the shoots, and I did little else for my customers, except shooting.

I was inspired to change my opinion about on this when I bought a new Apple laptop. It was the smallest detail that flicked the switch for me – a little plastic tab which sits under the laptop and makes lifting it out of the box easy. I’m pretty sure if I bought another brand of computer, I’d have to either jam my fingers between the device and the box to pry it out or flip the whole thing upside down and let gravity do the work.

Not so with Apple. There was a distinct sense of being taken on a journey, even before the Mac was switched on. It made me realize that my customer’s photography journey with me, starts long before a shutter is pressed.

photography business mistakes to avoid

MacBook unboxing

I made it one of business priorities to design, and constantly improve our customers’ experience at every touchpoint with the business. I want people to feel like they’re immersed in a branded experience which begins the moment they arrive at the website and continues long after the photos are delivered. I’m paying attention to things such as:

  • Do they know how to get here?
  • Do they know where to park?
  • Do they get a thank you note?
  • How does the packaging of the USB stick (on which their photos are presented) look?
  • Do I surprise them with some unexpected previews, letting them know that their photos are almost ready?

I want them to feel like everything is being taken care for them and no matter what goes wrong, they don’t have to worry about it. 

Mistake #4 – forgetting about the winter slump

Our business had a nice surge of growth towards the end of last summer, and then it stopped. I’m not saying it just stopped growing. It literally all stopped. I forgot that people might not be as keen to be photographed in windy, chilly months as they are during the summer heat.

Being prepared for the winter slump will help you avoid a scenario in which the bottom falls out of your business and you have to hock camera (and maybe unessential body) parts on E-bay.

photography-business-mistakes-3

Mistake #5 – neglecting my friends

I’ve lived a fairly ascetic existence for the past two years. My focus has been quite single-mindedly on business. I’ve eliminated just about everything from my schedule which was not business related. I’ve hardly been out. I haven’t spent much money at all on clothes or fancy food. Working for weeks without a day off has been the norm.

It was a conscious decision and a necessary one, because I wanted to grow the business quickly. I was hungry for it and I knew that I’m the kind of person who isn’t very good at doing a number of things at once, so I couldn’t afford to be distracted. . This meant cutting ties with most of my catch-up friends (you know, the people you ‘know’, but in reality you really don’t) and not seeing some of my best friends for months and years at a time.

I don’t regret doing it, but I do regret not managing it better. For some people in my life that I do care about, I kind of fell off the radar. I was simply afraid of having a heartfelt conversation with them and telling them that I needed to disappear for a while because there’s something important I had to do.

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In conclusion

I’m not entirely comfortable being in a position of dispensing advice because I don’t feel like I’ve fully cracked the code yet. In many ways, I’m living a dream I never thought possible. However, in the context of what’s possible as a creative entrepreneur, I’m still very much a beginner.

However, there are people in this world who have repeatedly created modern, lean businesses which are turning a healthy profit by creating amazing customer experiences. Let me conclude by sharing some resources that I’ve found invaluable:

Here are two resources which have helped me get comfortable on the phone with potential clients and increase my sales dramatically: S. Anthony Iannarino’s The Sales Blog and  Blake Discher’s Webinar On Negotiating.

  • Everything Google – Moz
  • Sales – S. Anthony Iannarino The Sales Blog
  • Strategy – Fred Destin Startup Lifecycle
  • Starting Small – Seth Godin’s Bootstrapper’s Bible
  • Business Models, Lessons From Silicon Valley – Dave McClure 
  • Kick Up The Bum: A Brief Guide To World Domination (and why that’s a good thing)

If you’re a photographer and have already set off on your entrepreneurial journey, I’d love to hear about the challenges you’ve run into.

  • Are you running out of time or money?
  • Are you not sure who your market is?
  • Not sure where to even start?

Those are normal issues to run into and are very much part of the journey. Please share the details in the comments below.

Editor’s note: of course the opinions expressed in this article of those of the author, based on his experience. If you have a differing opinion or addition tips to add please do so in the comments section below.


Steven McConnell is a Sydney-based entrepreneur and photographer. Together with his fiancee, he is behind two startups – Steven & Irene Photography and Arielle Careers. When he is not photographing, his focus is on empowering creatives to make a living by doing what they love. You can catch up with him on Google+.

Post originally from: Digital Photography Tips.

Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.

Five Photography Business Mistakes to Avoid

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Using Street Photography to See Beyond the Ordinary

28 Nov
A Tree Grows, Chase Bank, Street Photography, Seeing Beyond The Ordinary

A Tree Grows, Chase Bank

There is an important idea within street photography to ‘go beyond the ordinary,’ or to capture images that are different from the normal.

But what is the process of photographing this way? And why?  What is the point?

The idea behind seeing beyond the ordinary is to develop your own way of doing it, and although there are no clear-cut answers or rules to photographing this way, here are some ideas that can help you think about capturing images in a unique way.

Find beauty in the story

Beauty is not only a visual characteristic.  Try to create images that will cause your mind to invent a story.

It is important to note that these stories don’t have to have a resolution.  Some of the most powerful images will cause you to think about them differently over time or depending on how you feel that viewing, in that moment.

Lady in Red, 5th Avenue, Street Photography, Seeing Beyond The Ordinary

Lady in Red, 5th Avenue

Take a look at the image above.  For me, there is a story here somewhere within the disconnect between the image of the free flowing girl in red on the iPhone case and the rigid stance of the woman dressed in jewelry and muted tones.

Slow down

It’s so hard to pay attention to what’s going on around you if you are running around, overstimulated, and trying to immediately capture everything around you.

Take a deep breath, put the camera down to your side, and just wait and look around a bit.  Unique photographs are hidden all around us, but you need to pay attention to be able to seek them out.

An image that is different might not stand out at first

The Cigarette Break, Street Photography, Seeing Beyond The Ordinary

The Cigarette Break

Have you ever listened to a song and disliked it the first time, but then the second or third time you hear it you start to appreciate it. Then you can’t get enough of it?  (and then it’s played so much that you can’t stand it again, but that’s another story)

Some of the best, most extraordinary images will not always hit you at first.

The same idea happens within imagery. Some of the best, most extraordinary images will not always hit you at first.  With photography, and especially with the amount of imagery that passes our eyes daily, an image only has a millisecond to grab our attention and then a couple seconds of our attention if we do decide to click on it.  This trend can affect how we photograp,h and how we see the world.  I think this is a reason why coloured filter effects are so prevalent these days, because they catch our attention so well, but just as quickly as they enter our lives, they fade off into the sea of similar photographs that we forget about.

The best images are the ones that grow with you over time – that you can put next to your desk and look at over and over again without losing interest.

These images don’t care about the first two seconds.

If everyone’s looking one way, look the other

Designated Photo Spot, Lisbon, Street Photography, Seeing Beyond The Ordinary

Designated Photo Spot

This idea works for so many things; investing, real estate, but also for photography.  If everyone is fixated on one thing, or one way of doing something, then it’s often best to head in a different direction.

What direction that is, who knows.  But it will be easier to figure that out if you are able to rule out the wrong directions.

Find beauty in the mundane

This idea doesn’t mean to photograph things that are boring.  It means to search for interest in areas that would normally be thought of as mundane.  Don’t rule out areas or objects to photograph and don’t be afraid to capture something as ‘mundane’ as an empty wall.

You don’t need to know why you are capturing something, you don’t have to know the meaning of what you are capturing, and it doesn’t have to be beautiful in the traditional sense.  The most important gauge is that it makes you feel something when you look at the image.

Don’t fixate on getting attention

Lost in Lisbon, Street Photography, Seeing Beyond the Ordinary

Lost in Lisbon

Photographing this way might mean that people are going to pass by these types of images the first, second, or fifth time they see them.

Not everyone is guaranteed to like it, to be used to it, or to understand it.  Even more likely, most people might not even stop and notice it at first.  So don’t be discouraged if this happens.  With this type of photography you are interested in influencing one person significantly, not catching the eye of most people right away.

It is a good idea to find one photograph,y or art-loving friend, to talk about these images instead of worrying about how everyone feels about them.  If you stick with one or a few people to show your work consistently, they can grow to understand it better and can give you advice and feedback.

Anyway, the real success of an image is if you like it.

Post originally from: Digital Photography Tips.

Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.

Using Street Photography to See Beyond the Ordinary

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The Intimate Landscape – 5 Tips for Better Landscape Photography

28 Nov

Landscape photograph

A few weeks ago I spent seven days travelling across the northern tip of New Zealand’s South Island. Anybody who has been here knows that it is a beautiful place. I often come across remarks by photographers referencing New Zealand as a destination on their list of dream places to go to. Who can blame them? It’s a spectacular country, with beautiful landscapes.

However, the road trip brought home something of interest to all landscape photographers – landscape photography is hard. Really hard.

Not only do you need a beautiful location, but you are also relying on the weather and light to be conducive to the type of photo you want to take. If it isn’t, there may not be time on a short trip to wait for the ideal conditions.

It’s also a challenge to find an original way to photograph the landscape. Many other landscape photographers have been there before you. It’s difficult to create something new in a short space of time. Here are a few tips to help you do better landscape photography.

Split Apple rock, near Abel Tasman national park. I like this photo, but is it original? Not really – it’s a popular landmark and has been photographed by hundreds of photographers. It’s very difficult to create something new here.

Split Apple rock, near Abel Tasman national park. I like this photo, but is it original? Not really – it’s a popular landmark and has been photographed by hundreds of photographers. It’s very difficult to create something new here.

#1 Local knowledge

While there are ways to help ensure that you get the most out of a trip away (watch for those tips in an upcoming future article) today I want to make the point that one of the biggest advantages any landscape photographer has is intimacy with the landscape.

Intimacy comes from a deep knowledge of ,and a connection with the landscape. It’s an appreciation of the people that live there and the history of the location, plus an understanding of how the landscape changes through the seasons. People who have an intimate relationship with a region usually live there, or visit often. They are not passing through (like I was on the South Island). They know the best places to take photos, and when the light, seasons and weather are most likely to align to create the best results.

If you are struggling to find ways to photograph your local landscape, maybe it’s time to come at it from a different perspective. How can you turn your familiarity with your local landscape into an advantage?

Let me give you some practical examples. I live in Wellington, a city at the southern end of New Zealand’s North Island. I’ve never thought of it as a great location for landscape photography. Relatively speaking, it doesn’t have the spectacular landscapes of the South Island, nor the sub-tropical bush or white sand beaches of the northern half of the North Island. However, I’ve found other ways to incorporate the landscape in my photos.

Landscape photograph

#2 Long exposure and night photography

I know some good locations for these, including places that I would never have found on a short visit. The coastline south of the city has some beautiful, rugged locations. Walking along the sea front during all four seasons has given me an appreciation of how beautiful and changeable it is. The light and landscape change with the seasons and the weather, and I’d never understand that if I didn’t live here. Best of all, once I’ve found a location, I can wait out periods of inclement weather and return when the light is best to take advantage of it.

The benefit of these techniques is that they help you create photos with a very different look to what many photographers will take.

Example from another photographer

I recently came across the work of Mark Gee, another Wellington resident. He’s rather good at night photography. Most of his photos are taken in the local area and show an intimacy with the landscape that only comes with local knowledge and time.

Landscape photograph

#3 Try some special techniques

Painting with light and steel wool spinning are two that come to mind. The lack of spectacular landscapes has pushed me off into different directions as I look for more ways to make the most of the scenery we do have here. Mark Gee’s work has inspired me to try some night photography, and that ties in neatly with these techniques. Again, the freedom to return to the locations I want to use when the sky is clear and there is no wind is priceless.

If you are looking for original ways to photograph your local landscape, perhaps either of these techniques will help!

Portrait in the landscape

#4 Portraits

I take most of my portraits outside, using my favourite locations as backdrops. Sometimes a certain location may not be great for landscape photography, but it is ideal for taking portraits. The local landscape has become a part of my portrait work, and my style. If I lived somewhere else, my portraits would have a different feel to them.

How can you incorporate your local landscape in portraits?

Are there any other ways to utilize the local landscape?

#5 Use storytelling

There’s one way I can think of – tell a story. Perhaps there is the potential for a documentary project in your area. Stories are inevitably about people, so think about how local people interact with, or depend on the local landscape. For instance, activities such as running, sea kayaking, cycling, surfing and wind-surfing are all popular here in Wellington. Any one of those could make an interesting documentary project.

Or something more simple, such as Nathan Wirth’s seascapes with a Buddha.

What options do you have in your local area?

Ultimately, all these ideas are about the same thing: going deep and exploring your relationship with your local landscape in a way that isn’t possible on a brief visit. It’s the same reason that National Geographic photographers go away on assignment for months at a time. Intimacy with your subject and time produce a depth of coverage that you can’t get any other way.

Mastering Photography – additional learning

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My ebook Mastering Photography: A Beginner’s Guide to Using Digital Cameras introduces you to photography and helps you make the most out of your digital cameras. It covers concepts such as lighting and composition as well as the camera settings you need to take landscape photos like the ones in this article.

Post originally from: Digital Photography Tips.

Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.

The Intimate Landscape – 5 Tips for Better Landscape Photography

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The Guide of How to Succeed at Freelance Photography

27 Nov

Many photographers work freelance. It’s just the nature of the industry. You may believe that working freelance is the ideal life since it means no boss, no micromanagement and definitely no annoying co-workers to deal with on a regular basis. Not so fast, there! Working freelance photography also means the potential of no regular paychecks, no support from fellow co-workers Continue Reading

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How Low Can you Go? An Illustration of Camera Angle for Wildlife Photography

26 Nov

This is a guest article by photographer Paul Burwell

Whenever I teach wildlife photography, I inevitably go on at some length about the necessity of trying to get your camera near the height of your subject’s eyes.  This concept doesn’t only apply to wildlife photography, it applies equally well to photography of people, pets or hobbits.  When I teach this concept to a group of students, their eyes tend to glaze over until I put some images in front of them that can really illustrate the point.

Safety first

It obviously isn’t always practical or safe to get into a lower shooting position. This is true if you’re dealing with larger animals and especially predators, getting low may trigger their prey response where they start to consider you a potential snack, or in my case a meal.  It isn’t just your health I’m concerned about, as it seems the regular response to some sort of animal attack is for the authorities to track down the offending critter and end its time on earth.  So, when I’m telling you that your pictures will improve if you can get lower and match your subject’s eye level, you do still need to THINK about what you’re doing and the sort of subject you’re dealing with.  No photograph is worth either your health, or the health of your subject.

How camera angle effects your images

I thought I’d use the following images, of the extremely dangerous and elusive Richardson’s ground squirrel, to illustrate how images improve as the angle of the camera to the subject changes in respect to the level of the subject’s eyes.  This is the perfect critter for this topic because, depending on the squirrel’s posture, its eyes are somewhere between one and six inches (2.5 to 15 cm) above the ground.  All of the images below were photographed with my full-frame Canon DSLR along with the Canon 500mm lens with a 2.0x teleconverter on it for an effective focal length of 1000mm.  All of the images were made at an aperture setting of f/9, the standard setting I use on this lens/teleconverter combination when I’m wanting as little depth-of-field as possible while at the same time stopping down a bit to compensate for the sharpness lost by using the teleconverter. 1000mm is roughly equivalent to about a 20x zoom, if you are using a point-and-shoot type camera, from what our bare eyes would normally see.

Examples

This first shot was taken from my vehicle with the lens resting just on top of the window opening.  The extreme focal length (or magnification factor) of images made with a super telephoto lens does help minimize the apparent difference in height (which ended up being about four feet or 1.2 metres) but you can still tell it was shot looking down at the squirrel.

Richardson's Ground Squirrel sitting on the grass - shot from four feet height

Richardson’s Ground Squirrel sitting on the grass – shot from four feet height (1.2 meters)

On this next photo below, using my tripod with the lens about 18 inches (45cm) above the ground, you can really see how the camera angle has changed and how nicely the background resolves into a whole bunch of nothingness (technically called bokeh), but there is still an element of peering down on the ground squirrel.

Richardson's Ground Squirrel sitting on the grass - shot from 18" camera height

Richardson’s Ground Squirrel eating a piece of grass – shot from 18″ camera height

 The effect of getting your lens closer to your subject’s eye level is that the viewer of your images is able to look at the subject without looking down at it and the innate connection between the viewer and the subject is a lot more intimate and compelling.  So what happens when you get even lower to the point where your lens is as close to the eye level of the subject as possible?

Richardson's Ground Squirrel giving a warning signal - 6 inch camera height

Richardson’s Ground Squirrel giving a warning signal – 6 inch camera height

Richardson's Ground Squirrel giving a warning signal - 6 inch camera height

Richardson’s Ground Squirrel giving a warning signal – 6 inch camera height

You can see the image becomes even more compelling with the lens and camera are now at the same level of the squirrel. I was laying in a prone position on the ground for these last two images, with the lens resting on a bean bag.  In the first of the two images above, shot at 6 inches camera height, you can really see the delineation line of what’s in focus and what isn’t (the DOF).  One could argue that the out of focus grass in front of the image is distracting, but, I’d argue that the dreamy effect created adds to the interest of the photo, and the squirrel’s head and eyes are nice and sharp.

Summary and your turn

I hope that these images, along with the accompanying text, help illustrate the point about getting to your subject’s eye-level whenever feasible. It’s not necessary to use a 500mm lens, you will have the same effect with whatever lens you have.

  • Have some feedback on these images?
  • Have questions about different situations?
  • This is the place to ask them or contribute your own thoughts.

Paul Burwell wildlife photographerIn addition to being the owner of the Burwell School of Photography, Paul Burwell is a professional photographer, writer, educator and enthusiastic naturalist with over twenty years experience working with and educating adults. He is a contributing editor and regular columnist with Outdoor Photography Canada Magazine. Paul has been a finalist in the Veolia ‘Wildlife Photographer of the Year’ worldwide competition both in 2009 and 2010 and was named a ‘Top Wildlife Shooter’ by Popular Photography Magazine in 2010. You can find Paul on Google Plus and Paul Burwell.com.

Post originally from: Digital Photography Tips.

Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.

How Low Can you Go? An Illustration of Camera Angle for Wildlife Photography

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