Professional Photography : tips

Working a Subject or Location to Get More Shots

Eileen Fritsch — Tue, 07 Apr 2009 14:28:00 GMT

When you are shooting, no matter what your subject, it is important to make the most of what you have. You should strive to get as many different types of images as possible while you have the time and opportunity to work in a given location or with a particular subject.

Whatever your type of photography, you will have a subject. That subject could be:

a person or a group of people if you’re a portrait or wedding photographer
an object or set of objects if you’re a food, still life or commercial photographer
a building or interior if you’re an architectural photographer,
a location if you’re a landscape or travel photographer

And whether you’re a full-time photographer, semi-pro, or amateur, there are always limits on your time. So it makes sense, purely from a time perspective, to make the most of any shooting that you do. Beyond your time, there is also the time of your subject or client to consider.

Plus, you must take into account all of the possible ways the images you shoot today might be used in the future. It can be very frustrating to discover, long after a shoot, that you do not have the right image.A big difference between amateur and professional photographers is the number of images they shoot. Typically, a pro will take many more images of a given subject. No matter what your subject, do you take as many images as you could?

Let’s look at some ways to vary what you are doing so you have more images to work with.

Use more than one lens.
Different focal lengths provide different perspectives and allow you to get closer to or further away from the subject. They also give you other things, such as close focusing with a macro or tilt and shift with a TS lens or a Lensbaby. But do you always make use of all the possibilities? This is where several camera bodies come in handy. You can switch lenses quickly just by grabbing a different body. This is particularly true in situations in which there is changing light or a lot of movement.

Vary the lighting.
When possible, do you vary the lighting? This could be shooting with and without reflectors, fill light, changing the angle of the light, modifying its qualities with scrim or such. Or, you can move around the subject so that you explore not only how the subject itself looks from different angles, but how the subject responds to light from different angles. In some cases you can return at different times of day or even times of the year. Don’t forget shooting at night.

Use your camera controls.
You can vary the depth of field, choice of focus point, or shutter speed to remove, reduce or enhance motion effects and much more. How does the subject respond to different amounts of image noise by varying the sensitivity? Would bracketing be useful? Are there any special capabilities of your cameras that you could try?

Go multi-spectral.
Digital cameras, and film cameras with the right film, can do more than just capture the visible spectrum. You can shoot ultra-violet and infrared. You can use filters or later processing to remove or modify parts of the visible spectrum. Some subjects respond extremely well to such treatment. I shoot most of my landscapes in infrared.

Vary the point of view.
The point of view is where you shoot from. You can shoot from ground level, up high, above, below (with some ingenuity) or anywhere in between. Often we just shoot the world from eye level, but this is so limiting. Force yourself to try different positions and see what the result is.

Expand the subject.
Even if you have a definite idea of what the subject is, shoot around it. Expand the scene by shooting what is going on further afield. For example, instead of just shooting an interior, shoot the view out the windows. Shoot the environment of a portrait subject especially if you’re shooting outside of the studio and in the subject’s office or home. Look for reflections of the subject in other surfaces.

All the above are just some examples of different ways of working the subject. The reality is that there are an infinite number of images that could be shot, so you will never get them all. The goal is to get more than you do now.

But why is having more better? Here are some reasons:

Future uses, especially collages and montages, may need a particular type of shot;
Changing ideas may mean you need a different image than you thought, even now;
Your creativity will improve the more you work a scene, leading you to see new possibilities;
A client will really feel they are getting their money’s worth;
It is better to do it now rather than reshoot later.

It is far better to have more images from which to choose than later wishing you had shot something you did not. This is especially true in the digital age when the cost of capturing an image is so low and the range of possible uses so high.

Shoot more.

Getting Back to Photography Basics

Eileen Fritsch — Tue, 02 Sep 2008 12:36:00 GMT

By Wayne Cosshall

For those of us who have been in photography for some time it is easy to forget some of the basics. Newcomers naturally need to learn them to start with. Let’s examine some of these basics.

You have to be there.
You won’t get great photos if you don’t get off the couch and take photographs—lots of photos.

Hold your camera correctly.
Camera shake ruins more photos than one would imagine. Anti-shake features in camera bodies and image stabilization in lenses only get you so far. You want a solid two-hand hold, with your hands positioned so that you can handle the controls you need without losing the good grip. With an SLR that means getting a good grip with your right hand, with your left hand under the camera and lens with the fingers ready to manipulate the focus and zoom rings. With a compact camera the left hand needs to grip the camera top and bottom or front to back so that the fingers are not covering the eyepiece window or flash. In either case, tuck your elbows into your sides so that they are supported.

Use a tripod.
Even with a good camera hold there are many instances in which using a tripod would be better. In fact, a good argument can be made that a tripod is always better because it will give much more rigid support and also allow you to step back from the camera to consider your shot, without losing the framing. I have taught myself to love shooting on tripod, primarily because I like this extra step of careful consideration.

Know your camera.
Even when you use a tripod, there will be a range of shutter speeds where the mirror action on an SLR will cause blur. This is usually in the 1/30 second to two- second range, but it varies from camera to camera. At these shutter speeds you want to use the mirror up function if your camera has it.

But this is only one example in which it pays to know your camera. Your camera may always overexpose when metering in certain conditions. If you know this and can use the exposure compensation appropriately then there is no issue. If you don’t know it, you are in trouble.

Use what the camera offers.
Most cameras have lots of features. Some of them are great. Use them. Things like eyepiece blinds for when your eye is not up to the eyepiece when shooting on tripod are there for a reason. Or, the grid in your viewfinder that you can enable with a menu choice can make accurate composition easier and aid with keeping things level or vertical.Being able to display a histogram on the LCD either before or after the shot is fantastic and the key to better quality images, if you use it. Dynamic range enhancement (called different names by different manufacturers) can be a real help. And so it goes. Find out just what your camera offers and use the features that make sense.

Pay attention.
Remember always that aperture also controls depth of field, and shutter speed also determines the ability to stop movement. In the heat of the moment you can forget these, but you shouldn’t. You need to keep all the factors balanced in your head while shooting.

A bit of attention to the basics can help and refresh even the most experienced photographer.

Inkjet Tips Book Takes a Fresh Approach

BlogArchive — Fri, 11 Jan 2008 13:01:00 GMT

By Harald Johnson

I’ve read, written, and edited many books on photography and digital imaging and printing. Most of these books have useful information; some more than others! Some follow the normal “how-to” format, others are structured in a unique way. One of the newest books on the market for those interested in photographic printing falls into the latter category. And just so we’re clear up-front: I am the Series Editor of this book, but the format was not my creation; it was the author’s: Andrew Darlow. And the book is 301 Inkjet Tips & Techniques: An Essential Printing Resource for Photographers (2008, Thomson Course Technology PTR).

The book is basically a collection of tips and techniques (from a paragraph to a few pages long), organized in logical groupings by chapter. If you want more in-depth or updated information on a specific tip, Andrew has inserted link-codes into the text that make it easy to find the tip-related information on the book’s companion website.

Plus, there is an interesting interplay between the first eight chapters (Andrew’s own images and tips) and the Guest Artist Section that follows in chapters 9-16. In the Guest Artist section, photographers contribute both new material and at times give their input on subjects that were brought up earlier in the book. This creates a cross-current of content that adds to the reader’s experience.

Let me give an example.

Chapter 7 is titled “Portfolio and Presentation,” and Andrew does a good job talking about (and showing) the various ways to make photo albums (tip: matte prints usually have fewer compatibility problems with album sheets than do glossy prints), portfolio books and boxes, and even framed prints.

One of the chapter illustrations shows photographer Richard Ehrlich standing with one of his framed prints. Then, when you get to chapter 11, “Portfolio and Marketing Tips,” there is Richard Ehrlich again. This time, he is the one giving the tips. In Tip 152, Ehrlich explains how he protects his portfolio prints with a custom-made, hard-sided, foam-lined case.

Other tips in this Ehrlich section include: having an exhibition catalog/brochure produced (tip: use the new print-on-demand technologies), keeping your prints covered (tip: use Pellon available at fabric stores), protecting your work for shipping (tip: use the box-within-a box approach), building your own flat files for storage, and creating a boxed portfolio.

Chapter 11 continues with portfolio and marketing tips from other guest artists. So when you combine Chapters 7 and 11, you end up with tips and illustrations on print presentation not only from the author, but also from several others. So you can see how different photographers and artists approach the subject from slightly different angles.

301 Inkjet Tips & Techniques: An Essential Printing Resource for Photographers (2008, Thomson Course Technology PTR) by Andrew Darlow (Foreword by Douglas Kirkland) is a comprehensive, how-to guide to high-quality digital output that shows photographers of all levels how to prepare, create and display high-quality prints through detailed instructions and hundreds of full-color examples from more than 20 professional photographers and other artists.

Additional content for the book, including hundreds of clickable links to many of the resources covered throughout the book can be accessed at: www.inkjettips.com

High Dynamic Range Imaging

BlogArchive — Tue, 11 Dec 2007 16:11:00 GMT

By Jon Canfield

I’ve been seeing more and more interest in high dynamic range images online and in the workshops I teach. Judging by some of the books I’ve checked out, you might think it requires a degree in physics or at least rocket science to create this type of image. Like many things digital though, it doesn’t have to be difficult and it can be a great new way to express yourself.

Cameras, both digital and film, can’t record all of the information we can see with our eyes. While you can automatically adjust what you’re viewing to see details in shadows and highlights at the same time, we often have to make exposure decisions based on what areas of the image contain the most important information, and risk losing highlight or shadow detail as a result.

With high dynamic range (HDR) imaging, you can get around this shortcoming in equipment and go beyond what our eyes see to record something special.

Let’s take a look at how easy this can actually be in practice. To start with, you’ll obviously want a scene with a wide dynamic range. A tripod will make the processing effort much easier, and a camera that lets you control exposure is required.

I shot this series of three images at Joshua Tree National Park at dawn. Using exposure bracketing, I recorded one shot at the suggested exposure to record the midrange detail, another at two stops under to get the most detail possible from the sky, and a final image at two stops over to open up the shadow detail. Photoshop CS2 and CS3 includes a “Merge to HDR” function (found under the File > Automate menu). But I prefer to use Photomatix because it does a better job and gives me more creative options in processing the images.

When you work in HDR, you’re working with a 32-bit file. In other words, you have plenty of information to work with. But Photoshop requires images to be in 8- or 16-bit mode to do any processing work, and many printers can only deal with an 8-bit image.

FIGURE 1

FIGURE 2

FIGURE 3

In Photomatix, I open the three images (Figures 1, 2, and 3) and tell the program to merge them together. The result is not what you’d expect as the preview looks like a dark mess. But, now the magic starts. When I go into the Tone mapping dialog I’m can control how this extra detail is going to be displayed.

FIGURE 4

You can get as accurate or as creative as you like at this point. For this particular image, I liked the surreal look generated by enhancing the lighting, saturation, and contrast (Figure 4).

For final output, I sent this to my Designjet Z3100 using HP Instant Dry Satin photo paper. With the Gloss Enhancer on this paper I get excellent results with great vibrant color – just like my vision for this image when I processed it.

Lightening the Lighting Load for Shooting in Remote Locations

BlogArchive — Thu, 06 Dec 2007 14:55:00 GMT

By Phil Borges

Because most of my work is now done in very remote areas without the help of a trained assistant, I have learned how to simplify my on-location lighting substantially. Now I choose lighting equipment based on its reliability, simplicity and weight.

When I first started making portraits of indigenous and tribal people in the field, I wanted to re-create the same lighting I was accustomed to using in the studio. So it was natural for me to think of a softbox as the best solution to get nice soft directional light. But instead of a light stand, I started using a tripod to accommodate the uneven terrain in the field. I would hang my Lumedyne power pack on the tripod to stabilize it in the wind. Then, it usually took me five to ten minutes just to set up the tripod and softbox. Once I started shooting, I found it very awkward to change the direction of the light while I was working with my subject.

On one trip it finally dawned on me that I didn’t need to use a softbox since I didn’t have the problem of extraneous light bouncing back at me off studio walls. I could use an umbrella which was much easier to assemble. I also realized that I could almost always ask one of the many eager kids that would gather around to hold my light stand when the wind was blowing. So why did I need a stand at all?

After I returned home, I modified a strobe bracket with some quick-release brackets and came up with a portable system that could be assembled in the field in less than a minute. This also allowed me to check my Polaroids, then change the direction and distance of the light in seconds.

Since then, I have simplified the whole process even further. For one thing, shooting digitally with my Canon Mark II 1ds allows me to check my strobe-to-ambient-light ratio on the LED of the camera. I no longer need Polaroids.

To simplify matters even more, I use the ST-E2 Speedlight sender which allows me to use the Canon dedicated flash in TTL mode wirelessly off camera. I power the strobe with Underdog rechargeable batteries instead of AA’s. The battery pack is about the size of a pack of cigarettes and the universal charger is even smaller.

I now soften the light by having my assistant hold a one-stop translucent disc about one foot in front of the strobe. I shoot one frame then check the LED. If the strobe light looks too bright or too dark I can quickly make adjustments with the flash exposure compensation dial on my camera body. It is so easy!

The Creative Blahs: What Do You Do When the Ideas Dry Up?

BlogArchive — Tue, 11 Sep 2007 19:15:00 GMT

By Wayne Cosshall

We all have them, the Creative Blahs, or CBs. Lugging the camera bag seems like hard work. You can’t be bothered going out. Or you go to a normally fertile place photographically, and nothing happens. Maybe you take one or two bad shots just so you can say you shot something. Even worse, you have a client shoot tomorrow and you have absolutely no idea what you will do. What do you do?

All creative people go through dry spells. It is natural not to be on your game all the time. The important thing is to not allow the CBs to pull you down even deeper or set you up for a long creative outage. Most of us who are old enough to have dealt with many episodes of the CBs will have developed one or more breakout strategies. What are yours?

Keep an Idea Book. If you’re like some people, you may keep a scrapbook or clippings book where you put inspiring images as you come across them. When experiencing the CBs you flick through your clipping book, looking for something, anything, that will break you loose and make you want to create. A variation on the clipping book is the ideas book, where you write all the great photographic ideas that you don’t currently have time to shoot. Whatever you do, great ideas or inspiration need to be captured somehow. This is a digital age, so rather than clip, why not scan and organize?

Visit the Library or Magazine Store. Another variation is to visit the library (either your personal one or a local public or university library), and flip through the books and magazines. Or, check out the magazine store. This is a breakout method I use a lot. I usually head off to Borders (which has a good selection of Australian, US and UK photo and art mags), flick through, and see if anything inspires. If so, I buy the magazine, take it home, and analyze the images that caught my attention. Suddenly, instead of feeling the CBs, I’m in problem-solving mode.

As a magazine writer and publisher myself, I don’t buy lots of photo mags on a regular basis. There are just too many of them and most tend to repeat the same ideas if you read them for too long. (Of course I am not talking about my magazine.)

You know the deal: If it is fall there will be articles on shooting leaves, autumn colors, etc. But certain mags can usually inspire me. Those I check out and buy. And new magazines are always arriving on the scene. I also look through art magazines and certain interior-decorating magazines. Many of these show great art, in use, and can be very inspiring.

Go someplace new. Sometimes all you need to do is go somewhere new. Holidays always seem to stimulate the photographic urge, but even in your own city or town there will be places where you have not shot. Go seek them out.

Try shooting differently. If you can’t go somewhere new, try shooting in a new way. Try crawling around your house with your camera at ground level. Shoot everything with flash or everything with the lens focused at two feet away. Try shooting at that 3200ISO setting you never use. You get the idea. If you normally go out shooting with a bag of lenses, pick one (ideally a single focal length lens) and go out only with that.

When you are shooting somewhere new, or doing things in a different way, or shooting with some limitation, you automatically shift into problem-solving mode.

Problem solving is the key to getting unstuck and motivated again. Why? Because the process of problem solving requires concentration and focus. It forces you to stop thinking about having the CBs. If you can forget about the CBs long enough, you won’t have them anymore. This is a mental trick I’ve taught over the years to both workshop participants and university students. It usually works. Even if the cause of your CBs is something outside of yourself or photography, problem solving still works because the concentration and focus move you away from worrying about paying bills, getting fired, the state of the world, or that argument with your partner.

CBs may be a fact of life but you don’t have to be stuck with them. In fact, I’ve found that sometimes the CBs can be the trigger to a new level of work, because in seeking something new to release the CBs, I open up something new in myself.’

This image came out of an episode of the Creative Blahs (CBs). After forcing myself to visit a part of the city edge I’d never been to before, I discovered some interesting sites. When I returned the next day with a camera, I captured the 10 or so images that make up this composite image and broke free of the Creative Blahs.