Copyright Scott Bourne 2000 - All Rights Reserved

Photography is a two-dimensional pursuit happening in a three-dimensional world. When you see flat, boring, uninspiring photos, this can be just one of the causes. The photographer may not have understood the important relationship between the foreground and the background. You can use this relationship to add interest, change perspective and depth to a photo.

When I’m working a subject, I study the background first. It’s a very important part of any scene. It can be distracting or it can help draw the viewer’s eye to the subject. But beyond those facts, the background can serve as an important linchpin for your foreground.

For instance, if you photograph a wolf on the run in the foreground, it’s very difficult to demonstrate his speed and power if he’s just frozen against a static background. If however, you slow down your shutter speed and pan with the wolf, the background becomes an important element due to the blur created by the pan. The wolf stays relatively sharp against the blur and the blur appears to move across the shot making it easier for the viewer to understand the motion that was involved.

This connection between the foreground and the background is something you might want to think about when demonstrating size, importance, depth, etc.

For example, if you use a very wide angle lens and position it very close to a small foreground object, the foreground object will appear very large in the frame and something as large as a mountain in the background will appear to shrink. This tactic can be used to great effect to tell stories, shift viewer focus, change relationships and add a new dimension to the final photograph.

I could give many more examples, but hopefully you get the idea. Think in layers. Think about how the foreground and the background interplay with each other. My goal here is to get you thinking about the part that the background plays in your images and then – to get you to think about how to combine that with the foreground in such a way as to create more impact in your pictures.

NOTE: If you want to turn this into more of an advanced exercise, take the layering concept to another level by concentrating on the foreground, background and even the middle ground. Trying to add something of interest in all three layers of the photo really adds a sense of being there for the viewer. Exploring the relationship of size, closeness, location and import between the foreground, middleground and background will help make your photos pop.

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If you’ve ever run out of juice when trying to make an important photograph, you already know the rule – as soon as you buy a new camera, go out and buy a second battery for it.

But assuming you ignored that rule or shoot a bunch and both batteries are near death, you’ll want to read these tips for getting the most out of your digital camera’s battery life.

1. Buy decent batteries to begin with. I don’t see any reason to try to save a few bucks when buying something as important as your camera’s battery. The same goes for flash batteries. Buy good quality batteries – hint – that means NOT going to the Dollar Store for your batteries.

2. Read your manual and pay attention to the boring section on batteries. Believe it or not, there’s some good information in there. Read it and believe it.

3. Keep your batteries warm. Cold batteries run out faster than warm ones.

4. Don’t chimp. Bending over looking at your camera’s LCD to see if that last shot was great or not may be thrilling, but in addition to potentially costing you that NEXT great photo opp because you were too busy looking in the wrong direction, chimping drains batteries.

5. Don’t delete images in the camera. It takes battery power to review and delete. Save that for when you get home.

Guest post by Mitch Aunger – publisher at planet5D.com

Ever since the Canon EOS 5D Mark II was announced, there has been a lot of hype/
anger/excitement/confusion about why video was added to a DSLR. Just why did
Canon add video to a still camera?

Canon would likely call it ʻconvergence – “converge (verb) (of several people or things)
come together from different directions so as eventually to meet.” In this case, the
merging of stills and video into one camera. There’s also a term for it in the output,
merging stills and video into one result is now called “fusion”. No matter what we call it,
there’s great debate about this convergence.

So, let’s not get into the details or try to decide which viewpoint is ʻrightʼ because that’s
a losing battle. Let’s talk about the future by looking at the past. Five years ago, digital
cameras were finally coming into their own, with good quality and good images. At that
time, there were people still clinging to the belief that film would never be replaced by
digital. I think the same discussion is happening now with stills and video. The future is
not one or the other, it is both.

Think back those five years ago and there barely even a thought of something like
Youtube (note: it launched in 2005) And now look at the use of video by just about everyone and the growth is stunning. Video used to be expensive. Video used to be only for those who could afford expensive equipment. Now, you can buy a Flip for $200 and record 720 HD video any time, any where.

Sure, there are arguments that there’s nothing really new in this “fusion” of video and
stills, people have been doing it for decades. But the revolution is that it is now so easy
and inexpensive, that even mom and pop can use software to easily generate their own
fancy schmancy home DVDs in HD.

Just look at these Internet video projections from Cisco:

“Internet video is now approximately one-third of all consumer Internet traffic, not
including the amount of video exchanged through P2P file sharing.

The sum of all forms of video (TV, video on demand, Internet, and P2P) will
account for over 91 percent of global consumer traffic by 2013. Internet video alone
will account for over 60 percent of all consumer Internet traffic in 2013.”

Granted, we have to take that with a grain of salt. Of course video traffic consumes a lot
of the Internet traffic, the files are huge-much larger than the HTML content of the web
page itself. But the bottom line is that video growth is coming.

Getting back to the 5D mk ii. There are two sides to the popularity of the camera, the
photographers and the videographers.

For photographers who’ve never shot video, the other side of the fence can be a bit scary. But with the 5D mk ii and a little bit of practice, the still photographer can leverage all of their knowledge of lenses, composition, lighting etc. quickly to video. Don’t believe me, then look at this video “The Nichols Family” made by a family portrait photographer. I asked about her video experience? “Nothing more than the family camcorder” was her reply. Sure, experience and some training will help her improve, but the customers were happy right off the bat!

Wedding and portrait photographers are quickly adopting the “Fusion” skillset – merging
stills and video to produce beautiful montages that couples and families just love.
We’ve even found people branching into the senior fusion market – something that
wasn’t around last year. Heck, we’ve even seen people creating demos, podcasts and
someoneʼs even used the 5D2 as a webcam. I’ve often seen photographers on twitter
comment that they bought the 5D mk ii for the stills, but once they dipped their toes into
video, they were stunned by the quality and wanted to learn more about the video
capabilities.

Not only were photographers impressed with the stills and video from the 5D2, but
videographers are coming out of the woodwork wanting to use the 5D Mk II for movies,
commercials and online broadcast. Canon says they aimed the 5D2 at the traditional news media – who could shoot stills and video with one camera thereby removing the need for two sets of equipment in the field. They didn’t aim the camera at the movie industry, but that didn’t matter, directors and DPs have flocked to it like moths to the light even tho it initially didn’t have full manual controls.

Oh yea, the news media is doing what Canon thought they would. They’re buying them
in bulk and giving them to all their staff photographers – for stills and video in one kit.
You may not want it to happen, you may want to stay in the digital photography world,
but like it or not, just like the move from film to digital, there’s a huge move on to
incorporate video into the DSLR and I can almost guarantee that every new model
announced by all of the major vendors will now include video. So, like it or not, the
future is here and video is here to stay.

Copyright Scott Bourne 2003 - All Rights Reserved

We hear the word community thrown around a great deal. Online community is a hot topic. What I’d like to write about is REAL community. People actually going somewhere and meeting face-to-face. People speaking WITH each other in the same room at the same time, rather than texting or emailing or Twittering to each other.

In photographic circles, we used to call this a camera club. Now, it’s called a meetup or a Tweetup or a —- Well you get the idea.

Real communities can improve your photography in ways that might surprise you.

Last year, I had the opportunity to meet up with some photographers in Salt Lake CIty on my way to lead the Aperture Nature Photography Workshop near Teton National Park. They were from Photowalking Utah. We just met at a local restaurant and talked. But it was fun and interesting and good to just hang out with some fellow photographers.

Since meeting these folks (and forgive me since I am old and meet many people so I will forget a few names) I have followed several of them on Twitter. Rich Legg (@leggnet), Ann Torrence (@anntorrence) and Scott Jarvie (@jarvie) are just a few of the members of this group.

They’re all smart people and good photographers. They happen to be good people too.

Our own Nicole Young (@nicolesy) has recently relocated to the Salt Lake City area and I noticed she immediately fell in with this group and had an instant community of like-minded friends.

Nicole’s move to Salt Lake could have put her at a disadvantage photographically. After all, she might not know where all the great places are, what the local laws and customs are, which models to work with, where to get gear, etc. Both by following their group on Twitter and talking to Nicole on the phone I came to realize they’re a very active group, shooting with each other, helping each other, etc.

There’s no doubt this will improve the group’s collective and individual photographic skill and opportunity. It’s impressive and inspiring to me and sometimes makes me wish I lived there :)

But guess what – no matter where you live YOU can be the catalyst for just such a community. Get something going. Start a meetup group. Join a local photo walk. Suggest a weekly shoot-up. Don’t be shy. This stuff matters and can really help you grow as a photographer.

Apologies to the Salt Lake Photowalkers. I didn’t mean to intrude on your group here, but it was the best example I’ve seen of a real photographic community. I hope it inspires everyone as much as it has me. Oh yeah – thanks for taking care of Niki too.

It’s a common question we get at Photofocus. Should I buy a refurbished camera/lens? Is it safe? Will it work? What about warranty?

In my 30 plus years of experience buying cameras, I’ve never had a bad refurb experience. I have HEARD about a few people being unhappy with their refurb purchases, but then again some people just don’t want to be happy.

I purchased a Canon 20D, 30D and 40D for gifts and prizes – all came with a 90 day Canon warranty. All of the bodies came in white boxes with all the accessories and instructions. All were as good as new in my opinion. I’ve also purchased a Canon 70-200 F/4 lens refurbed, a Canon 20 mm F/2.8 lens refurbed and a Canon 580 flash refurbed. All were flawless and worked perfectly.

I’ve also purchased a few Nikon teleconverters and lenses that were refurbs. Again – all were flawless. In most cases, refurbs are simply floor models or retail returns where someone sent the camera back for whatever reason. The refurb process includes making sure the product is restored to its original new condition. The only thing you don’t get is the longer warranty and pretty box.

Not all camera stores offer refurbished products. More importantly, and the only potential gotcha here is, not all camera stores are ALLOWED to sell refurbs. Stick with very well known retailers if you’re thinking of buying refurbished products. Also, ONLY buy refurbs from an authorized reseller representing the brand you like. For instance, if XXX Camera Store in Brooklyn sells Canon refrubs, make sure that Canon can confirm XXX Camera Store is indeed an authorized reseller. If not, run away as fast as you can. If you deal with a reputable reseller and seek refurbished gear, it’s almost always a good buy and always a better deal than you’d get if you bought new.

Please note we’ve changed the NON-iTunes feed – this is the regular MP3 feed for the podcast. We’re in the process of changing podcast hosts and accordingly, have a new feed. If you prefer the non-iTunes feed here it is. http://photofocus.podomatic.com/rss2.xml

We’ll be updating the iTunes feed soon. Sorry for any inconvenience. We simply outgrew our old provider thanks to your enthusiastic support.

Image and Post by Rick Sammon – Follow Rick Sammon on Twitter

Photographers certainly need the right camera to record their memories. They also need accessories to protect their gear – especially during the summer months, when quick rain and sun showers can show up in a flash.

In this quickie blog post, I’ll share just a few of my favorite accessories to keep you gear safe and sound – in and under water.

Small plastic bag

A small plastic trash bag is the most affordable accessory listed here, but it can save the day in the rain, sleet and snow. It can make the difference between a photograph and no photograph. Sure, store-bought camera protectors are available, and some are listed below. But if you keep a plastic bag tucked in your camera bag, you will never miss a shot during a sudden downpour.
I recommend using small bags to avoid too much bulk around your camera. Before you go in the field, cut a small opening for the viewfinder in the bottom of the bag.

Keepin’ Dry

A step up – a big step up – from a plastic bag is Kata E-702 Large Digital SLR Camera Raincover. This accessory protects your camera so you can keep shooting under any conditions. The transparent cover can be adjusted to fit any pro digital SLR using the pull cords and the PP hood accommodates a variety of lens diameters. The sleeves on either end are spacious, allowing you to easily access your camera’s controls.

Tote your gear in all weather

For the traveling photographer, the Lowepro Stealth Reporter D550 AW Camera Bag
shoulder bag allows you to quickly access your gear, which can be organized however you like it with the removable, adjustable dividers. An all-weather cover and hood wraps entirely around the bag for ultimate protection against the elements. The bag also includes a foam-padded shoulder strap and waist belt slots to distribute the weight more evenly.

Enter the Dry Zone

The Lowepro DryZone 200 Camera Backpack has a water-resistant exterior and a 100% watertight inner dry pouch, so even if you drop the bag into a running river, your gear is fully protected. Other great features of this rugged backpack include a well padded interior that can be customized to fit your equipment, adjustable shoulder straps, a tuck-away tripod holder, self-draining mesh pockets, and attachment loops for accessories.

Protection in rain, sleet and snow and even underwater

Ewa-Marine flexible camera housings are designed for photographing underwater, but can also be used to protect your camera from rain, ocean spray, humidity and sand. The housings are made of thick PVC and come in several variations to fit nearly all types of digital compact and SLR cameras. Secure and durable, they adjust to the water pressure and allow you to take your camera to depths of down to 150 feet. Contact: Ewa-Marine (RTS Photo), (631) 242-6801, www.rtsphoto.com.

Take a Dive

The underwater systems offered by Ikelite are heavy-duty, thick wall housings that are molded from clear polycarbonate material. You can choose from the many different models to fit your specific camera. The compact systems, safe to use at maximum depths of 200 feet, give you full access to the camera’s controls, sealing them with reliable Quad-Ring seal glands. The provided magnifier offers improved viewing while wearing a diving mask. Contact: Ikelite, (317) 923-4523, www.ikelite.com.

I’m experimenting with AudioBoo – if it works it will allow me to do short Q&A sessions in between regular Photofocus podcasts. You need to follow me on Twitter to find out when I post a boo. Follow me at http://www.twitter.com/scottbourne.

“Photofocus Via Audioboo” by The BooBot on audioboo.fm

Listen!

UPDATE – You can also follow me on AudioBoo at http://audioboo.fm/profile/ScottBourne

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