Archive for the ‘composition’ Category

Winter Pier (1/250th at f/14, 16mm at ISO 200)

Today’s image is the first in a series dedicated to explaining how I go about selecting and making an image.  I’m a big believer in what my accounting professor (you thought I was going to say art teacher didn’t you..) use to hammer in our heads “garbage in/garbage out”  (e.g. if the shot starts out bad chances are it’s going to be bad).   To me it’s all about composition and feel.   On one cold January morning  in Chicago I decided to head toward Lake Michigan.  I figured since it was so cold very few people would be out  and I was hoping last night’s freshly fallen snow would help mask previous visitors.

Once I reached the pier I composed my shot by hand.  When I was satisfied with the composition I then set up my tripod with a cable release.  This minimizes the small amount of motion required to push the shutter button, and will reduce any chances of camera shake.  If you don’t own a cable release I recommend using your camera’s self timer.   Cable releases are relatively cheap so consider picking one up for the future – it will make your life easier.   Whenever I’m shooting still landscapes I always turn on my “mirror lock-up” to help minimize vibrations from the shutter.  Mirror lock-up can be located in almost all camera’s operating menus – on my Canon 5D Mark II it’s located under custom functions.
Now that I have the foundation set it’s time to start experimenting with exposures.  I always try to start with a low ISO to help reduce noise.  ISO selection, while big, is becoming less of an issue with newer cameras.   What was once a race to more megapixels by camera manufactures has now turned into a race to higher ISO while maintaining the quality of the image.  The benefits are huge….but we’ll leave that for later blog. I played with my ISO and apertures for a few minutes while reviewing my histogram.  I finally settled in at an ISO of 200 and  an aperture of f/14 so that I would have sufficient detail in my image.

The next step was to  take several images using AEB (auto exposure bracketing)…  I like to think of this is as an exposure prophylactic (don’t send hate mail it’s just a word).  But when exposure is tricky, such as it can be with snow, or when you’re simply not sure it’s best to cover all your bases.  I take several AEB shots moving in increments of +/- 1/3.  If you shoot any HDR or plan on using images for HDR then you’re probably already familiar with this technique.  In this case, I also decide to bracket for HDR (just in case) but used a full step of +/- 1.

All said and done I shot approximately 40 images (sort of the light side for gunner like me) but I felt the images looked solid, and I was freezing, so I called it good.

So that’s part one of making of the image.  Tomorrow, I’ll walk you through the processing.  I’ll show you the original image and the steps I took to get today’s final version.

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Taxi Driver's Waiting (1/320th at f/2.8 ISO 250)

Coba Taxi Loaded (1/60th f2.8 70mm at ISO 125)

Off They Go (1/50th f/2.8 70mm ISO 200)

Holding hands (1/200 f/2.8 70mm at ISO 200)

Mexico’s Yucatan peninsula is well known for its many Mayan ruins and  thousands of tourists flock there each year.   I visited Tulum’s ruins overlooking the Gulf of Mexico as well as Coba’s ruins which are located slightly inland.  Both ruins were heavily populated with visitors, although the ruins at Cobá were spread out in a dense forest, so it didn’t seem nearly as busy.  Whenever I visit an area with a ton of tourists I try to step back from the crowd and just observe.   I think we miss a lot of photographic opportunities when we just follow along and get lost in the herd.   I think stepping back and taking note and looking for those opportunities is every bit as important as photographing the attraction itself.   Today’s photos are of the many bicycle taxis that were waiting to cart tourists around the ruins.   Many people chose to use their services, while some chose to walk.  I imagine it must have been a very different experience for those who zipped by on a bicycle taxi, compared to those who walked the 1-2 kilometers to see the ruins. A process I think I would have failed to document if I hadn’t stepped back and simply observed.

Two comments from fellow tourists:

The wife says, “Honey, I want to take a photo of you over here.”  Her husband’s response, “But, I’m not over there!”

A gentleman commenting on the ruins, “These weren’t built very well.”

Both comments put a smile on my face.

Cat Island, Bahamas (1/160th f/11)

Yesterday I was working with one of my  students on an assignment and the question  came up on how to create a sun “flare” or “burst” effect in photos.   I must admit I’m a big fan of the effect and enjoy using it on images that I feel are appropriate.   So here are the three easy steps to achieve the sunburst effect:  First things first. You need to shoot this effect on a bright sunny day.  It’s hard to create the effect in poor weather conditions (if not impossible).   Next, you need to set your camera to the aperture priority mode, which happens to be the setting I use for much of my shooting .  Once you’re in aperture priority mode set your aperture to f/16 or higher and point your camera to the sun and shoot. Lastly, and this is key, remember as kids when you use to stare at the sun for like 20 seconds and walk around blind like an idiot in front of your friends for the next five minutes?  Well, don’t do it with your camera either.  Just get your camera set up, compose the shot and shoot.  You  can review your image on the  LCD to double check if you’ve  captured the desired effect.  Often times I’ll take several shots at f/11,  f/16 or f/22 while playing with the exposure a bit.     Now, some have asked if shooting the sun will damage the sensor?  I can tell you I’ve been shooting the sun for years now and have had zero problems with my sensor.  I do own a left eye patch now (just kidding) but, keep in mind, I don’t set my camera on a tripod and take long exposure (I’m not even sure why you would) so my sensor is only exposed for a fraction of a second .   Frankly, you run a much greater risk of damaging your camera by leaving the lens cap off and resting it on the table for hours on end with it being pointed to the sun.   So, on the next bright sunny day go add a sunburst to one of your images so that you can enjoy  the  sun on those crappy days..;)

Samurai March Man, Kajsa Stolberg 1/80s @ f/5.6, 80mm, ISO 100

Kajsa here today, and I hope everyone had a nice holiday and didn’t get into any fist-fights over half-priced GPS systems like the rowdy folk in my home town.  As for me, graduate school applications are in so of course my week was great.
I spent the last  two months weeding over my photographs that I took while in Japan so I could send in a solid 20 photos for the portfolio portion of the application.  From the collection that I first chose, I actually kept 3 of the same pictures.  It was a process of choosing winners, ditching the losers, replacing previous winners, and discovering photos that I never knew had potential.  Needless to say it kind of consumed me.  I know that I landed on the portfolio I am proudest of though because now that I’ve finished and my stress level is down, family members will actually be in the same room with me.
Self critiquing can be a lot more difficult than critiquing a peer, but I’ll show you how understanding your photographs helps to get you your best results.

A few things I ask myself when I begin my critique,
1. What does my gut say?  Instincts usually don’t lie.  Do I like the photo?  If I like the photo, but something is still bothering me then I ask some more questions, like…
2. How’s the composition?  Now, this may not be what you notice right off the bat, but it’s been high on my list ever since it was first brought to my attention in Henry Rankin Poore’s “Composition in Art.”  It’s such a simple book, but it holds the secrets to really really good art, like pivot points and the rule of thirds.  Check your library for a copy, and you can have it read in an afternoon spent in the company of old books.
3. Is the contrast where I want it?  Black and white shots can knock your socks off if you get the right blackest blacks and whitest whites in balance.  If you have a photo that looks dull, lack of contrast can be the culprit.  In your color photos, vibrancy is the key.
4. How does the subject speak to me?  This probably should be higher on the list, but I tend to look at the mechanics of something before I attach myself emotionally – you may be different!  To get to the point, our favorite photographs usually have a story behind them.  I am so proud of my Tokyo fish market photos because I had to get up at 3:45 that morning to catch the subway before rush hour and make the daily fish auction.  Alone.  Or as alone as I could be in the world’s most populous metropolitan area.  Your favorite shot holds more memories than you’ll ever be able to explain to your viewers, and that’s an invaluable quality that can never be critiqued.  Now with that said, a good story doesn’t always equate to a great photo, but what I’m talking about is getting the shot that not everyone is willing to get and the value in really working for a photo.

These reasons can all work against the photographer though.  If I don’t like a photograph, I then have to ask why not.
- Sometimes it’s as simple as the photo’s not in focus.
- Is the composition static?  What I mean is, does the eye not move across the page?
- Is it unbalanced to the point of distraction?
- Are there spots or unimportant details that also distract me?  Maybe I’ve captured a beautiful sunset, but power lines cross right through the frame in an unattractive pattern.
- Did I fail to fill the frame?
- Is the exposure all wrong?
- Is the subject matter compelling?

What really matters at the end of the day is making photographs that you enjoy.  That’s why you started photography in the first place, right?   Keep in mind that what is most important to me in a photo will not be the same for you.  I’ve just given some basic tips that have lasted the test of time.  Use them to bump your shots to the next level, or to remind yourself what you’ve known all along.

A self critique is an excellent beginning but sometimes having a friend or a third party review you work can be helpful too.  John blogged on the subject HERE.  However, if you don’t trust your friends or family to give you honest yet tastefully constructive feedback then you’re in luck!  We will be continuing John’s online critiques once December begins.  To ensure enough time for quality responses we will limit the enrollment to six, so send John an email to let us know that you’re interested.
The cost for two assignments including useful feedback from us is $50 and you can pay securely by PayPal.  Feel free to email john@batdorffphotography.com with any questions or fill out the form below.

Today you can find me relaxing with the comfort in knowing that my applications are in and I’m proud of the work submitted.  Have a good week, and remember GPS systems are nothing to throw fists over.  A wide angle lens on the other hand…

Playing Chess

I mentioned earlier last week that I  planned on testing two lenses.   I’ve been debating buying an 85mm for quite some time now, but I’ve been unsure if I truly needed one.  I decided to rent a Canon 85mm and the Carl Zeiss 85mm manual focus.   Long story short,  I’ve come to the conclusion  that  I need this lens.   And as luck would have it I’m in love with the Canon, which happens to be the more expensive of the two.  I was really glad I rented the lenses and tried them out first, because originally I was leaning toward the Zeiss.   The Zeiss is built like a tank, and the manual focus doesn’t even bother me, but at the end of the day I just liked the images from the Canon better.  The one thing I’ve come to realize throughout the years is that optics are a critical part of our profession.  For years, I’ve always focused on the camera body, but now I tend to think more in terms of the optics.  I’m not a golfer, but my buddy is always trying out new clubs and I’ve often heard him go on about the “sweet spot”.  He would go on and on about how he couldn’t miss!   Well, that’s exactly how I felt shooting the Canon 85mm.  When I opened the aperture up on this lens the bokeh was simply amazing and the colors vibrant.  One giant sweet spot!

A funny story

So here I was playing with the 85mm near the Lakeshore.   I came across some Russian gentlemen playing chess and asked them if it would be ok to take a few shots.  “No problem” said  one of the gentleman in his broken English.  I shot a few frames and got ready to go and he asked to see the shots.  I brought the camera over and showed him the shots.   He looked at me and said,  “How do you say it?”   I said, “Say what? “   He said , “Not good,”  and he made this picture box with his hands and says, “hmmm, NOT…..good composition”.     I looked at him and said, “The composition is all wrong,  is it?”  He replied, “Yes, but you come here next week this time and bring me big, big, big print”.   He smiled and I laughed. Everybody is a critic…. And everybody loves free prints!

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