EDITOR’S NOTE: Photofocus is proud to announce the addition of Andrew Darlow as a regular contributor to our site.
Post by Andrew Darlow - Follow Andrew on Twitter
Electronic flash has many uses when outside. For starters, flash can reduce or eliminate “raccoon eyes,” a look that can occur due to shadows being cast under the eyes when the sun is high in the sky. “Fill flash” is a term generally used to describe the use of flash to “fill in” underexposed areas. Fill flash can be enabled in several ways: by using the small flash found on many point-and-shoot cameras; by using a camera’s pop-up flash; with a detachable flash unit (examples are Speedlites, made by Canon, or Speedlights, made by Nikon); or with an off-camera flash unit, such as monobloc flash units like the AlienBees brand of strobes. The icon on most point-and-shoot cameras to turn on fill flash is usually a lightning bolt-press the flash button until you see the lightning bolt stay on (with some cameras, you need to be in “Manual mode” to make the flash fire in bright light).
A removable flash unit that sits in your camera’s hot shoe, or an off-camera flash is generally best. That’s because you can separate your camera lens from the flash, which reduces the chance of red-eye in your subjects, plus you can create larger catch lights in your subjects’ eyes by using a diffuser over the flash. Diffusion options range from homemade diffusers made from tracing paper and tape, to products like the LumiQuest BigBounce diffuser. An off-camera flash has the added benefit of allowing you to light from any angle.
It’s important to point out the importance of catchlights-they can help transform a photo from “ho-hum” to “holy-cow”! Flash opens up so many possibilities for creating distinctive (or in some cases, problematic) catch lights.
I photographed the little girl and her Pug above on a sunny day at about 1 P.M. in late August. An off-camera compact flash unit (Vivitar 285HV, a “classic” and widely available for under $100 new) was placed slightly camera right with a large diffuser about two feet (.6 meters) from the subjects. I used manual mode on the flash and camera to find the right balance between the natural light and flash.
I generally use Manual mode on both my camera and flash when outside. To do that, I usually set my shutter speed between 1/60 and 1/125 sec to help ensure sharpness, and I set my aperture and ISO to expose the background properly before turning on the flash. Then I adjust the flash power and distance from my subject(s) until I’m happy. There are more automated ways to get great looking outdoor images with flash (especially with matching flash and camera brands). Flash Exposure Compensation (FEC) is the primary tool offered on most camera/flash systems. Test it at about -2 to start, and bracket the flash intensity (-1, -3, etc.) to see the effects.
An outstanding resource on flash photography covering Canon-brand cameras and flash units (but helpful in general for understanding this subject and more), can be found here: http://photonotes.org/articles/eos-flash/
Copyright Scott Bourne 2010 - All Rights Reserved
I’ve been looking into how my photos are viewed on Flickr. I don’t know if there’s anything to be learned from this, but it’s fun.
I’m not very active on Flickr, but do occasionally enjoy posting an image there.
Flickr keeps amazing stats on your photos like how many times they were viewed or “interestingness.”
I’ve been looking for patterns in the response there to my images and can’t really find one other than folks are interested in things that occasionally surprise me.
The most views I’ve ever received were for this picture of an osprey catching dinner.
The ninth most popular image in my Flickr portfolio happens to be the one that received the most comments.
Three of the top 20 images are simply pictures of gear – nuff said :)
Perhaps someone smarter than me can make more sense out of the stats Flickr provides. In the mean time, I’ll continue to monitor it and can recommend the service as a fun way to show people your work.
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This post sponsored by WHCC – White House Custom Colour – Get Five Free 8×10 Prints From WHCC
EDITOR’S NOTE: This is a guest post by Stacy Pearsall. I met Stacy when I was teaching in Maui last year and found her story and her photography inspiring. Please allow me to introduce you to Stacy.
Guest Post By: Stacy L. Pearsall
I used to believe that the one thing in life you can count on – is that you can’t count on anything. I joined the U.S. Air Force when I was 17 and figured I would be in the service for most of my life. I enlisted as a still photographer and my primary mission was to cover daily Air Force activities. At the time, the Air Force was consolidating career fields and photography was one of them. In fact, they merged U-2 aircraft (spy plane) film processing with the basic still photographer. I was a product of the newly combined field and didn’t think it would affect me. I was clueless. I ended up in a darkroom for four years straight, processing highly light-sensitive black-and-white Kodak surveillance film.
I had to get out of the darkroom and the only way to do so was to volunteer for a “special duty” assignment. I really wanted to get into a specialty unit called the 1st Combat Camera Squadron (1CTCS), but I didn’t have a strong enough body of work. I started building my portfolio by shooting on the weekends and holidays. I shot with a Nikon N-90 and a medium format Bronica, which the military had on hand. On rare occasions, they would let me shoot the Nikon N90s with the Kodak DCS 400 digital back. Nowadays we’d consider it a clunky dinosaur, but it used to be awesome. As I gained more confidence in my shooting, my portfolio grew stronger. Eventually, the stars aligned and I submitted my resume and portfolio to 1CTCS.
I was accepted to 1CTCS just in time for 9/11. Naturally, when the war in Afghanistan began, photographers from my unit deployed. Knowing my time would come soon; I felt the pressure to train myself on the camera and satellite systems being used by my colleagues. I was in over my head. They were using state-of-the-art transmission systems such as BGAN and shooting with the new digital SLR Nikon D1H. Not only did I struggle with the new technology, I was nowhere near up to par photographically. I trained constantly and shot assignment after assignment on my own time. I openly admit that I spent many nights crying out of pure frustration. I didn’t feel like I was meeting their standards and I also felt isolated. At the time, I couldn’t blame them. After all, I was a woman in a predominantly male outfit and could barely ingest a compact flash card.
For three months straight, I cut out social events and television. I lived and breathed photography. On weekends, I would often go out and shoot a picture story, ingest, caption and transmit. I repeated this process until I was doing it in my sleep. Eventually, I started to demonstrate my capabilities to my superiors and was afforded real assignments all around the world. Within one year, I was placing as a finalist in the annual NPPA Military Photographer of the Year (MPOY) competition.
My photographic momentum continued to accelerate as my career progressed. I traveled to 42 countries including Iraq and Somalia. I traded my Nikon D1H for a D2H, then a D2X and ultimately a D3. I went on to win first place MPOY twice and was considered the quintessential combat photographer of my time. Just as I reached the pinnacle, I was wounded in combat – abruptly ending my military career. After a year-and-a-half of painful rehabilitation, I found myself without purpose. I was medically retired from service in 2008 amidst the dissolving newspaper photography industry. Finding a staff position was impossible. I began competing with unemployed Pulitzer Prize winning photojournalists for freelance assignments that paid next to nothing.
As bills began to pile up, I knew I had to do something drastic. I began by thinking of ways to adapt my skills as a combat photojournalist into the commercial/advertising photography genre. I established a website and blog to showcase my portfolio past and present work. I advance my knowledge in various lighting tools such as Nikon SB900’s and Elinchrom RX’s. Since I spent 12 years in journalism, I didn’t know the first thing about soliciting commercial clients. So, I spent hours reading books on the topic and finally a light bulb went off. I had to exploit my knowledge of military tactics by creating a niche market for myself. I realized by tailoring my photography, I could isolate clients who best suited my style. I had success! I shot my first commercial assignment for a body armor company based in Europe. With that boost of accomplishment, I went on to shoot many more military related assignments.
At the age of 29 and only 6 months after being medically retired from the Air Force, I purchased my own studio in Charleston, S.C. I started teaching various photography classes and workshops and found that my studio, Charleston Center for Photography, gave me a platform to share what I had learned over the course of my photographic journey. Now 30, I continue to keep up with current photographic trends and am shooting photo and video with a Nikon D3s. I have learned how to properly capture audio using the Marantz PMD 660 recorder and even learned to edit using Final Cut Pro. As you can see, I never stop evolving or adapting who I am as a photographer.
Before, I relied on photojournalism as my only source of photographic expression. By doing so, I limited who I was or who I could become as a photographer. By a shear twist of fate, I found a whole new side of photography – and me in the process. The biggest lesson I learned was that success started with me. I had to put in the effort to get back the desired results; I gave it my all. After all of my technical struggles, physical disabilities and employment troubles, I now believe that I can count on something – myself.
Copyright Scott Bourne 2010 - All Rights Reserved
As I made my way from Gig Harbor to Las Vegas for the WPPI convention, I was reminded of how important photography is in our world. The highway is lined with billboards containing photos. People drive by with pictures on their car or in their windows. When I stopped for food and gas breaks the restaurants and gas stations were full of images.
All of these photographs, good and bad, can serve up inspiration for photographers. The most routines places and experiences in our lives can motivate our photography. Where else can we find inspiration?
1 - Movies
I don’t have much time to go to the movies these days, but when I do go, I go for two reasons. The first is to hope for entertainment. The second is to look for imagery. If you study the work cinematographers like John Alton or Charles Bryant Lang, Jr., you can’t help but be inspired. Cinematographers have to struggle with the same issues we do as photographers. Look at how they tell stories with motion picture cameras and learn from their expertise.
2 – Old Family Photos
I love looking at old family photos. I don’t even care if they’re from my family. ANYONE’S old family photos can be a source of inspiration. What backgrounds caught my eye? How did the pose from the old days compare with one I might find now? What patterns moved me? Old family photos can be a gold mine of information and inspiration for modern-day photographers.
3 – Museums
Whether or not your local museum displays photography, there’s plenty of visual stimulation at the average exhibit. Movement, shape, color, form, lighting, etc. are important to many art forms. Look at how other artists use these tools to create their art and apply it to your photography.
4. Music
Now this might sound weird, but I often find myself visually inspired by auditory input. When I listen to certain types of music, I start to create visual imagery in my head that goes with the music. That seems to get cataloged somewhere in my tiny brain and just when I least expect it, instead of being able to remember my Safeway Customer Loyalty Card Number, I hear the melody and see a corresponding image that causes me to want to make a photograph.
5. Go For A Walk
When I was in Florida last month, I regularly went for a walk along the beach. I often came upon patterns, reflections, and other things that would cause me to think about photography. Maybe the information I took away from walking down the beach didn’t directly and immediately translate to a photo opportunity, but it often stimulated me to take action on a photographic idea later.
6. Read the Sunday Paper
If you have access to a major Sunday Newspaper – spend 15 minutes looking at the images. Don’t read any stories, just look at pictures. Most Sunday newspapers have a Sunday magazine or a features section that will be full of the best work from talented photojournalists who are master storytellers. I find this sort of imagery very instructive and inspiring. It helps me to see in new ways.
7. Get a New Lens
Okay, I had to throw in something for the gear junkies. (I can see it now, hundreds of photographers furiously printing this post out on their inkjet printers to show to their spouse or significant other to use as an excuse to make a trip to the local camera store!) Sometimes literally looking through a new lens can cause you to be visually inspired. I’ll never forget the first time I looked through a fisheye or a tilt-shift lens. It had a big impact on me and caused me to want to spend more time trying new things with my camera.
8. Buy a Child a Disposable Camera
This is one of my favorites. Kids aren’t afraid to try new things. Heck, to them, everything IS new. They haven’t learned to be self-conscious or doubting yet so they just go for it. Kids don’t care if the picture “comes out” as much as they care about the experience. If you hand a kid a disposable camera and say, “Let’s go shooting together,” be prepared for your inspiration meter to peg hard to the right. Kids see things differently (and sometimes more clearly) than we do as adults. Follow their lead and you will be inspired.
9. Photograph for Charity
If you are bored with your photography, one of the quickest ways to get a pick-me-up is to stop thinking about yourself, and start thinking about helping somebody else. Years ago I started a project taking inner-city youth out on a monthly photo walk. I don’t think the term “photo walk” had even been invented yet. We’d go photograph around town and a local lab would develop contact prints for each child. We’d have a little contest and give EVERY kid a $50 grocery gift certificate so they could be assured of food on the weekend. Talk about inspiration. Watching and working with these kids gave me so many ideas that years later, I still thrive by them.
10. Ignore the Critics
One thing that will kill your creativity faster than anything else is the critic. Ignore negative people. They exist for one reason – to steal your inspiration. Look at them and treat them like thieves. Stay away from them. Exclude them from your life. The trolls can’t do what you can do so they have no choice but to try to make themselves feel better by cutting you down. Don’t fall for it. The most inspirational thing you can do is surround yourself with people who support your photographic efforts. Find people who are rooting for you to win – not people who are hoping (and helping) you find find failure.
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This post sponsored by WHCC – White House Custom Colour – Get Five Free 8×10 Prints From WHCC
Author: Peter Watson
Publisher: Photographers’ Institute Press
Review by Conrad J. Obregon
Most landscape photographers who are serious about their work easily learn how to expose film and focus properly. After that, the difficulty is learning how to arrange the landscape, or more properly, arrange oneself with respect to the landscape, so that a beautiful compelling picture can come out of the camera. Arranging the landscape, and the light, which is the other side of the landscape coin, is what Peter Watson talks about in Reading the Landscape: An Inspirational and Instructional Guide to Landscape Photography
The organization of the book is quite simple. On the right side of the gutter is usually a full page landscape. On the left side is a description of some of the photographer’s considerations in taking the picture, followed by a thumbnail image with annotations of the considerations. The book is divided into chapters by environmental type, like Urban and Rural Landscapes, and Coastal Landscapes.
I found the book quite provocative. The images from the British Isles reminded me of the work of other great landscape photographers, like Tom Mackie, Peter Ward and David Noton, and indeed the great English landscape painters like Constable. Their pictures seem so much alike, it made me wonder how much the land and the light imposed the composition of the image. This was further impressed on me when I looked at Watson’s North American images and they seemed to have a different feel to them. (To be fair, I also have seen the same piece of landscape captured by two different artists and noticed the difference.) Given the constraint of the subject, how does the photographer create something that is his own?
Watson’s solution is to carefully select the place from which the image is taken, plan for the light that will convey his vision, wait for the moment, and then take his photograph. These are amorphous considerations and not easy to convey. For example, in a particular scene he says that he feels that having the foreground in shadow will call more attention to the midground, and so he waits for the light. He indicates how long he waited for the light for each image and occasionally he waited several days.
The photographer’s images are beautiful, without being spectacular. There are few majestic mountains here. Even his American pictures are more likely to be of abandoned buildings surrounded by woods than steep crags.
The author has used annotated thumbnails in at least one previous book, but here the small image does not seem to have as much information as previously, showing mainly how he positioned a graduated neutral density filter.
Watson is still using film and a view camera to capture his images, so that on the one hand he has the advantages of being able to control his plane of focus, but on the other lacks any of the bells and whistles of modern digital photography, including post processing techniques like high dynamic range photography.
To learn the most from this book, one ought to have well developed technical skills and be able to study each of the images with the author’s considerations in mind and then apply some of those considerations to one’s own landscape photography.
I received a question about circular polarizers from Photofocus reader David Katzbeck (as well as several other people in our audience,) so I decided to answer it here on the website.
Here’s the question: “What polarizer do you use? If it’s B+W, what are all the different designations all about?”
The answer? I use the good stuff.
I’ll never understand why people are willing to spend thousands of dollars on a great-quality lens, but then want to put the cheapest plastic polarizer filter on top of that lens they can find.
I use B+W circular polarizing filters. I buy only the Käsemann-type filters because they are neutral in color. I also buy the MRC, slimline models They are expensive, but they are also of very high quality.
The B+W filters use the world’s best Schneider optical glass. They limit light leaks by using all brass rings.
The MRC models are designed for use on DSLRs meaning that they won’t produce ghosted images. They have an anti-reflective coating on both sides of the filter.
The slimline models are valuable because they are less likely to cause vignetting on very wide lenses. One thing to note about the slimline models is that you can’t put a traditional lens cap on them due to the lack of threads on the front side.
While you may not need the very best polarizing filter money can buy, if you can afford it, you won’t go wrong with anything from B+W. I’ve been using them for years with zero defects or problems.
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This post sponsored by WHCC – White House Custom Colour – Get Five Free 8×10 Prints From WHCC
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Photofocus Episode 32
Host: Scott Bourne (www.scottbourne.com or www.twitter.com/scottbourne) & special guest Ara Roselani (http://picasaweb.google.com/aramina/Photofocus#)
Show notes by Bruce Clarke (www.momentsindigital.com or www.twitter.com/bruceclarke)
Welcome to Episode Number 32 of Photofocus with Scott Bourne and special guest host Ara Roselani. Ara was was one of the winners of the Aperture Nature Photography Workshops and is a finalist in the Emerging photographer of the year contest. Photofocus is the show devoted to your questions about anything photography related including gear, technique, locations, etc. Your questions will shape the direction of this show so be sure to send your questions to photofocus@me.com. We will try to answer as many as we can but we get a lot of questions so we’ll try to take a collection of questions that represent a particular topic and present them together.
This week we kick things off with a question about color fringing on less expensive lenses.
Question One – Color Fringing on Less Expensive Lenses
Tom Thomas writes: I find that my less expensive lenses give me photos with color fringing. Is this normal?
Scott: Yes, generally will see this color fringing on less expensive lenses. It’s not the end of the world as you can correct some of these issues in post.
Ara: Yes, I use the hue and saturation channels to pull that down around the edges, particularly if it’s a blue fringe. read more…
Photo Copyright Russ Robinson
Hopefully you’re aware of our Emerging Photographer of the Year Award – to recap, over the next year, we’re going to identify 24 photographers who have outstanding work and offer them the exposure that they can get through our Photofocus website. Then, we’re going to select one to give a special award to.
(The exact prize package is still taking shape but here’s what we have so far:)
1. Copy Aperture $199
2. Copy Nik Complete Collection $299
3. Think Tank Rotation 360 Backpack $279
4. $500 cash from Bourne Media Group
5. $500 worth of free consulting from Scott Bourne on Selling/Publishing Photography
5. One year free premium subscription to lynda.com $375
6. Lensbaby Composer $270
7. $500 gift certificate from Red River Paper
8. One Year NAPP Membership $99
9. One year subscription to Layers Magazine $30
10. One free pass to either Photoshop World East or West (Doesn’t include lodging or transportation – just admission) $699
11. One year free Smug Mug Pro Account $150
12. KIBOKO Camera Bag from Gura Gear $400
13. TrekPod Go! PRO $230
14. $500 gift certificate from Outdoor Photo Gear
15. Trek-Tech T-Pod Mini Tripod w/ Ballhead & MagMount STAR Quick Release System $50
16. Xtand iPhone holder by Just Mobile $40
17. BorrowLenses.com $150 gift certificate
18. Nations Photo Lab - $500 gift certificate
I’m proud to announce our 14th finalist Russ Robinson, a Tampa, Florida-based photographer who specializes in what I like to call relationship portraiture. His beauty work is very clean and simple. He doesn’t rely on tricks or makeup or fancy sets. He focuses on the relationship. While all his work is good, his beauty work is the stuff that really caught my eye, again because of its simplicity.
Take a look at Russ’ work here and congratulations to Russ. We’re going to announce the next finalist in two weeks.
Here’s a complete list of the finalists so far:
1. Ara Roselani
2. Ana Adams
7. Chitra Aiyer
10. Bryan Rowland
11. Haroon Sheikh
12. Jessica Lark
13. Konrad Blum
14. Russ Robinson
NOTE: Cross-posted at PadPundit.com
In this series, I will start to lay out the case for how and why I think the iPad will change photography. Now before you get too excited, I’m not talking about major change, but IMPORTANT change.
Part 1
http://padpundit.com/archives/19
Part 2
http://padpundit.com/archives/50
The transportability of the iPad is perhaps it’s biggest asset to photographers. Back in the day, we used to lug around and ship big books full of photos we called portfolios. We’d get assignments and photo buyers would license our images based on the work we presented in our “book.”
The Internet hasn’t completely eliminated the need for a physical portfolio in some parts of the industry, but the Internet does get emerging photographers noticed so that they can show their book.
I doubt that will change in my lifetime. But I do see some variances. I see a device like the iPad being able to bridge the gap between full-fledged printed portfolio, and Internet web site.
Remember back to the iPad introduction. Steve Jobs sitting on a couch. That was a deliberate choice. Now think about a family or a newly-engaged young couple looking at photos. The act of sitting comfortably on the couch and passing around a digital portfolio that is lightweight, well-designed and attractive seems like a natural event.
The iPad is less than 10-inches wide, weights just 1.5 pounds and is one half inches thick. No heavy book to lift and pass. No worries about paying to print images over and over in order to show them. Just hand the iPad to the person you want to see your portfolio and sit back, relax and enjoy the experience. You can set up multiple portfolios, slide shows and more. Comparing that with a laptop which is heavier, more complex to use and difficult to navigate for computer novices and the iPad should win.
The iPad offers other advantages over traditional print-based portfolios. You can zoom in for detail on an iPad. A physical print however is just what it is. No digital zoom available. You won’t have to overnight anything via courier to your prospects. They’ll just download your iPad-formatted portfolio onto their own iPad and enjoy.
I believe that we’ll see some amazing third-party portfolio applications that make the experience beyond cool – it will be – well super cool :)
The iPad is perfectly-sized for passing around to the prospective bride or her parents or your kids or anyone whom you want to see your images. We’ll have to see how it works in real life, but I’m very excited about the possibilities.
Guest Post by Tasra Dawson – Follow Tasra on Twitter
At my first photography convention, I hid my camera in my bag and absolutely refused to take it out in front of any professional photographers, which I assumed everyone was. I also assumed everyone I met was better, smarter, and more experienced. The number of opportunities I missed because of that faulty assumption are staggering, especially since I would repeat that behavior for many more conferences. In truth, many were better, smarter, and more experienced, but that didn’t mean I had to hide my passion and desire to learn.
It all boils down to one overriding emotion: FEAR. Fear has been a nemesis in many areas of my life, but perhaps none greater than my passion for photography. Fear kept me from taking a risk at my first photography conference to even claim the name “photographer” for myself, which meant missed opportunities for learning, mentoring, connection, and growth. Fear of failure and rejection made me put my camera down for over a year after a harsh and uninvited critique.
In my work with women and teen girls, as an author, coach, and teacher, I see this all the time. More recently, I saw it at the Pictage PartnerCon Conference in a For Women Only seminar I moderated. I started the meeting by asking each photographer to share her number one fear… the responses were heartbreakingly similar.
This pervasive fear of failure, rejection, and loss keeps some women from even claiming to be professional photographers. If they don’t make a certain amount of money or have the “right” amount of Twitter followers and Facebook friends, they minimize not only what they create with their camera, but their very selves. I believe many women photographers are bound by a fear that keeps them from ever truly reaching their potential.
That has to stop. It’s time for women photographers to step into the frame. The most recent photography conventions I’ve participated in are attended by at least 50% women. This is a dramatic shift from just ten and certainly twenty years ago. Women are gravitating to the profession of photography at a rapid pace, but when I look at the speaking rosters at many conferences, the reviews and articles in industry magazines, and interviews on photo podcasts, I don’t see an equal representation. Why is that? Are women photographers being held back or holding themselves back?
The answer is probably both. But the one that is most easily impacted and changed is the latter. If we are holding ourselves back, then it’s time to work together and stop it. The first step is awareness and I’m working on that every day through my site at tasra mar | transform, speaking engagements for amazing companies like Pictage, and guest blogs on industry leading blogs like PhotoFocus. To really make a difference, you must get involved too!
Here are my top tips for becoming a fearless woman photographer…
(tips might work for men too!)
• Focus on your strengths, not your weaknesses: Women see the world differently, that’s a good thing. Have the courage to take and share images that others aren’t taking. Different is good. Just be you behind the lens.
• Celebrate your successes, learn from your mistakes: Redefine what mistakes mean. They don’t equal failure. If you only compare your progress to where you were the day before, you’ll release yourself from pressure of competition.
• Find a community that encourages your development: You can go it alone, but the journey will be longer than it needs to be. Open yourself up to a community of fellow photographers who can encourage and provide valuable feedback.
• Clarify your purpose in photography: If your goal is fame and fortune, you will take a distinct path from the photographer who wants to express their personality through the art they create. Get clear on who you are.
Bottom line is that it’s time for women photographers to step into the frame. One small step at a time is all it takes. One image a day with the tasra365 challenge has been radically changing my confidence and courage. What will it take for you?
