Photo Tips

Photo Tips — No Comments
5
Sep 10

Changes in the Air

 

Officially summer doesn’t end until September 23th, but nature doesn’t pay much attention to our calendar. Nature is preparing for the changing season as we speak. While photographing mule deer this weekend, I came across this young buck that was definitely in the middle of changing to his winter coat. Mule deer wear reddish-brown coats during the summer months and switch to a gray winter coat.

There are other signs of the changing seasons. You may have noticed that the sun rises later and sets earlier. Or perhaps it’s the subtle crispness in the morning air. If you look closely, a few leaves are showing signs of fading green, perhaps showing a bit of red or yellow.

My favorite season is fast approaching. In the Colorado high country, the aspen will be donning their autumn gold in pretty short order. A couple of weeks from now, it’ll be impossible not to notice the changing colors. Late September through mid-October are usually the best times for photographing the season’s splendor.

Keep an eye on this blog as I’ll be talking more about fall colors in the Colorado Rockies—where to find them and how to photograph them.

Enjoy

Frank

Great Places / Photo Tips — 4 Comments
30
Aug 10

Preconceptions

I think all of us have planned a photo trip only to come home disappointed with the images we captured. Then we trot out all the usual excuses for why the we didn’t get any great images—the light was poor, the weather was bad, there weren’t any wildflowers, etc., etc. I know I’ve done my share of finding excuses for my images. But the more I learn about photography, the more I’m coming to realize that the most important element in a photograph is me, not the light, not the weather, or anything else.

 

If I set out with my mind set on shooting a particular image or type of image, the more likely I am to be disappointed. No matter how hard I try, nature does not do what I want it to do when I plan to be there. After a lot of disappointing shoots, I’ve come to the conclusion that the problem isn’t nature, it’s me. My preconceived ideas were forcing me to focus on what I wanted to shoot. It blinded me to what nature was doing. Nature is always doing something, but I couldn’t see past my preconceptions.

This point was really driven home this past weekend. I was conducting a photo seminar at St. Vrain State Park, near Longmont, CO. St. Vrain is a great place for bird photography—in the spring. At the end of August, however, it’s a different story. The hatchlings have fledged, so the nests are abandoned, many of the birds have dispersed to other roosting and feeding grounds, and some may have begun their migrations.

I arrived at the park a day early so I could scout out some shooting possibilities for the seminar. I didn’t expect find much, and I wasn’t disappointed. I didn’t find much. When we gathered before sunrise for the shoot, I was almost in a panic. There were a dozen people waiting for me to show them how to take great photos where I couldn’t find any. Disaster was about to come crashing down on me like a mountain.

After about 20 minutes of frantically looking for something to shoot, someone stopped me and asked, “What is this plant?” It was a simple milkweed, very common in the area. The flowers were gone, so its only distinguishing feature were several large, knobby seed pods. This woman was totally fascinated by the shape and texture of the pods. Pretty soon, a number of people were photographing milkweed pods. Then they started to notice other things, things that I had overlooked as being too common or not interesting enough.

To make a long story short, these folks found beauty in what nature offered rather than in what they expected to find. They turned out some very impressive photos of what I had considered to be insignificant subjects because I was focused on more glamorous subjects.

It was a very good lesson for all of us. If you’re shooting this Labor Day weekend and can’t find what you want, cast aside your wants and see what nature is offering. The beauty is always there if we’re able to see it.

Good shooting

Frank

Photo Tips — No Comments
22
Aug 10

Depth of Field for Point and Shoot Cameras

I’ll bet that there are a number of people who skipped my last couple of blogs because that depth-of-field stuff is for camera geeks with high priced DSLRs. If you use a point-and-shoot camera, you may believe that your camera doesn’t need to be adjusted for depth-of-field or isn’t able to do it. You may be surprised to know that many—dare I say most—point-and-shoot cameras do have some capability to adjust the depth of field.

The camera manufacturers have carefully disguised this capability to avoid scaring people off with a bunch of photographic techno-babble. If you dig deep into the owner’s manual, there’s a very good chance that you’ll find that the depth-of-field on your camera can be adjusted. But let’s face it, nobody reads the whole manual, nor would I suggest that you do. Most of us only read enough to be able to change the battery, turn it on and take a photo. I only use mine as a reference manual when I need to understand a particular function.

The part you want to read is the part about how to take different kinds of photos, like portrait, scenery, or close-up. Most cameras have these settings, although they may be named a little differently. Each of these settings has a built in aperture setting to utilize the best depth-of-field for that particular type of photo. Once you understand what your camera is doing, you can choose the depth-of-field that suits the photo that you are taking.

This table gives a quick look at what the camera is typically doing. Different manufacturers may use different settings, so it’s important to check your owner’s manual.

Camera Setting Approx Aperture What it means
Portrait Wide open; around f4 This setting is a shallow depth-of-field. It is intended to get a face in focus and leave the background out of focus.
Scenery Moderately open; around f8 A moderate depth of field that keeps most of a scene if focus. It assumes that most of what we’re shooting is quite a distance from the camera.
Close-up Small aperture; about f11-f16 It is allows you to take close ups. The depth-of-field is maximized.

 

That’s the way the camera manufacturers think most people take photos. But let’s say you want to take a photo with flowers in the foreground and distant mountains in the background and the scenery setting won’t quite get the foreground flowers in focus. Try switching to the close-up setting to increase the depth-of-field a little bit more.

A little time spent reading the appropriate parts of your owners manual will tell you what the camera is doing when you select one of the preset modes. Once you learn how much depth of field each one provides, you can use that information to create the type of image you want. You may be surprised to find that your point-and-shoot camera can do a lot more than you thought.

Good shooting

Frank

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16
Aug 10

Making the Most of your Depth-of-Field

You’ve undoubtedly noticed that many great landscape photos have great depth-of-field. A flower a few feet in front of the lens is in sharp focus as well as the snow-capped peak on the horizon. This is accomplished largely by controlling the depth-of-field through the right combination of lens, aperture and point of focus.

 

Here’s how it’s done. In the diagram below, you’ll notice that the flowers in the foreground are out of focus and the farthest object in focus is behind the mountain. 

The backside of the mountain and what’s behind the mountain aren’t going to be in the photo anyway, yet they are in focus. That part of the available depth-of-field is not being used in this photo. With a little planning, you can utilize that unused portion of the depth-of-field to get as much of the image in focus as possible by pulling the point of focus back closer to the camera. The new point of focus that utilizes all of the available depth-of-field is called the hyperfocal distance.

 

 

When the camera is focused at the hyperfocal distance,  the unused depth-of-field behind the mountain is eliminated. Now the flowers in the foreground are in focus as well as the distant mountain.

 

It sounds easy, but this is the point where things can get a little confusing. How do you know where the hyperfocal point is? The hyperfocal point is a mathematically calculated distance that is unique for each lens and aperture setting. Fortunately, you do not need to be a math wiz or carry a calculator around so you can determine your hyperfocal distance. However, in this digital age, there are smart phone apps for calculating the hyperfocal distance. For those of us that are digitally challenged, there’s a very simple solution. Go online and search on hyperfocal distance calculator. You’ll find that there are a lot of hyperfocal distance calculators available. Select one that you’re comfortable with and enter the required information for your particular lens. Select the smallest aperture (largest f number) since the smallest aperture provides the greatest depth-of-field. The calculator will give you the hyperfocal distance. This is the number that you’ll need to achieve the maximum depth-of-field for that lens. You can memorize the hyperfocal distance for each of your lenses or tape a small note on the back of your camera.

My favorite lens for landscapes is a 24mm lens. When set at f22, the hyperfocal distance is 2.9 feet. That means when I set the aperture at f22 and focus 2.9 feet in front of the lens, everything from 1.45 feet to infinity is in focus. In the field I want to spend my time shooting, not calculating, so I just remember that 2.9 feet is my hyperfocal distance.

One thing to remember if you use autofocus–you will need to focus at the hyperfocal distance and lock the focus while you compose and shoot. My preference is to turn the autofocus off and focus manually. Either way, you can maximize your depth-of-field to get those stunning landscapes.

Enjoy

Frank

Photo Tips — No Comments
9
Aug 10

Depth of Field

Depth of field is essentially the range of focus in an image. Depth of field defines the portions of the image that are in focus. If you research depth of field, you’ll quickly find yourself immersed in a complex set of geometric diagrams, charts of numbers, mysterious depth-of-field calculators and technical jargon that will make you throw your hands up in despair. Just remember that for any given lens, as your aperture changes, so does the depth of field. An aperture of f4 will have a much shorter depth of field than an aperture set at f22. Use your camera’s preview button to see what is in and what is out of focus at various aperture settings.

Naturally, many photographers want images that have everything in sharp focus, since that is the way we tend to see the world. But sometimes it’s better to have portions of a photo out of focus. Landscapes generally look best when the entire image is in sharp focus. For those times when you need to reduce clutter in an image to emphasize the main element, keeping other elements out of focus is a benefit. You can do that with selective focus and a short depth of field, bringing the subject into sharp focus and causing the foreground and/or background to be out of focus.

Next week I’ll talk about how to make the most of your depth of field.

Good shooting

Frank

Photo Tips — 7 Comments
29
Jul 10

A Different Perspective

I missed last week’s post while I was out chasing what many belief to be the epitome of wildflower photography in Colorado—the Colorado columbine. Although it is not unique to Colorado, it is found primarily in the Colorado Rockies. That may be why it was chosen as the state flower.

Most of the time it is photographed as a single blossom since its large size cries out for close-ups. Next on the list are clusters of columbines followed by columbines in a field of wildflowers. There can be no doubt that all of these viewpoints are capable of producing stunning results.

I spent a day with a couple of friends who had traveled from across the Great Plains to photograph the legendary columbine. Since I live where the columbines grow, I must admit that I have grown a bit complacent about them, so the enthusiasm of these fellow photographers seeing something that to them is rare and unusual was quite refreshing and also quite contagious. This photo of a columbine cluster leaves no doubt that the flowers are as spectacular as ever when seen through fresh eyes.

A beautiful cluster of columbine in a rocky slope.

But the next day I was shooting by myself and the previous day’s infectious enthusiasm had waned more than a little. I was left to wrestle with my own desire to shoot something different. With the plethora of images now available, that’s a challenge for all photographers. While shooting fairly typical columbine shots, I was startled by a mouse scurrying through the grass. As I turned to watch its activities, my attention was caught by a particular columbine blossom. The color wasn’t the magnificent blue that is the preferred color, but instead was a less desirable purplish coloration. In spite of the color, my attention was captured by the soft sensuality of the petals and spurs on the back side of the blossom.

An atypical shot of a colubmine blossom from the back.

I spent the next hour (as well as several more on subsequent days) photographing columbines from the back. I have no delusions about this being an award winning photograph, but it did satisfy my need to create a columbine image from a different perspective. It also points out the need to push ourselves creatively to find that unique image, our own perspective on the world around us.

Enjoy

Frank

Photo Tips — 2 Comments
17
Jul 10

Keep it Simple

 

It’s not unusual for beginning photographers to try to pack everything into one photograph. We’ve all seen this in the stereotypical vacation photos where the photographer is trying to capture a photo of a loved one against a stunning background scene. We’re left wondering what we should be looking at, the person or the scenery. Unless you know the person, these images fail to hold your interest.

The strongest and most interesting images are those that have one, clearly identifiable subject. The old saying “keep it simply simple” applies directly to photographs. One subject with minimal distractions usually provides the best image. It leaves a very clear image in the viewer’s mind with no doubt about what he should be looking at.

Find your subject then work on eliminating all elements that distract from the subject. Keep only those elements that support or enhance the subject and you’ll wind up with better images.

Good shooting

Frank

Equipment / Photo Tips — No Comments
11
Jul 10

Point and shoot

 

I photographed these wall flowers with a point-and-shoot camera and a DSLR. The is the best shot from the series and it came from the point-and-shoot camera.

I know that I’ve said this before, but I think it bears repeating. The camera does not create a photograph, you do. The camera isn’t any better than the person using it. I’m sure the camera manufacturers will disagree with me, but then they’re only interested in selling cameras. This question came up at recent seminar I was conducting, so I set out to prove my point–again.

So I borrowed a point-and-shoot camera (for the technophiles, it was a Nikon Coolpix 4300) and went after rain dappled wildflowers. I wasn’t particularly familiar with the camera that I borrowed, but then I figured that most of us aren’t as familiar with our cameras as we could be, so I was in the same boat as most amatuer photographers. Naturally, there were a few surprises. Due to the overcast and fog, the camera decided it needed a flash even though I didn’t want to shoot with a flash. So who do you think won that battle? I’m embarrassed to admit that it wasn’t me. I couldn’t figure out how to override the flash. In spite of that little hiccup, some of the results were pretty good.

But the biggest surprise was how the camera changed the way I created my images. Naturally, the point-and-shoot camera has some physical limitations when compared to my DSLR. I very quickly realized that I had to adapt to those differences. Because I had less control over the aperture and consequently the depth of field, I found that I had to become even more aware of the backgrounds in my macro shots. It meant that some shots that I might have taken with a DSLR I didn’t attempt with the point-and-shoot. That doesn’t mean that I didn’t get good shots with the point-and-shoot.

Which returns me to my opening statement—cameras don’t create photographs, photographers do. The camera is simply a tool and it isn’t any better than the person using it.

Good shooting

Frank

Photo Tips — 5 Comments
4
Jul 10

Focus on the Background

If you want to dramatically improve your macro shots, focus on the background. I don’t mean that you should literally focus your lens on the background. I mean that you, the photographer, should focus your attention on the background. The background in a macro image is critical to the success of that image.   

A soft ,mottled green background enhances the beauty of dew-glittered fairy trumpets.

Usually when we’re shooting, we tend to focus our attention on the subject. Our biggest concern is that it is in focus, that the composition is good and in a close-up that it doesn’t move. All are very important issues for tight close-ups. We can also get caught up in the magnification of the subject. When the lens magnifies the image, we can see things through the camera that we didn’t notice with the naked eye. It’s easy to get so caught up in the excitement of what we’re seeing and forget to pay attention to what the camera sees. Unlike our eyes, the camera sees the subject and the background equally.

Make sure that the subject is where the viewer’s eye is drawn without any background distractions. We can do this by minimizing the background. Creating a simple, uncluttered background will make your subject stand out and make the background, well, fade into the background. That’s not always as easy as it sounds. An out of focus background is relatively easy to achieve, but that doesn’t ensure a suitable background. An out of focus background that enhances the subject requires a bit more effort. Many macro images are disappointing because the background, even though it’s out of focus, is a cacophonous riot of color. Our eyes are drawn to bright areas and to brightly colored areas even if they are fuzzy and lack detail. Color variations in the background should be soft and subtle. Ideally, keep the background, regardless of color, darker than the subject.

Soft variations in light and shadow highlight grasses at Ridgway State Park, CO.

Many times light and shadow provide a background that is mostly shades of gray. This is good, except when the light and shadow create a distracting pattern. As with a colored background, try to achieve a soft, subtle background lacking distinct patterns that is generally darker than the subject.

A change of focus when you spot a suitable macro subject may help your shot. Before you pull your camera out, move around the subject and look at the background. Look for a simple background. Sometimes squinting will help you envision what an out-of-focus background might look like. Spend at least as much time looking for a suitable background as you spend looking for a good subject. Then pull out your camera and start composing. If your camera has a preview button, use it to see how the background will look at the selected aperture.

A good background is just as important to your shot as the subject. Focus on the background to nail that macro shot.

Good shooting.

Frank

Photo Tips — 2 Comments
28
Jun 10

Summer Shade

Shade is great on these warm summer days, especially if you’re shooting flowers. To the human eye, flowers look great in bright sunlight. The sun makes the colors fairly explode into brilliant irresistibility. Our eyes and our brain work as a super camera and filter allowing us to see the brilliant beauty of a sunlit flower. The camera, on the other hand, is a poor imitation of our eyes and brain, so it sees flowers quite differently.

The same flower shot in shadow and in full sunlight

In bright sunlight, the camera sees flowers as harshly lit with blinding highlights and deep shadows. Unfortunately, our eyes and brain do not compensate for the extremes of light in shadow in a photo, so we see a harshly lit flower. Harsh sunlight can make the colors look washed out or create unwanted highlights. The subtlety of the petals coloration is lost.

Flowers photograph to best advantage in soft, diffused light. The petals fairly glow under soft light. Since we envision flowers as soft and delicate, soft diffused light enhances their beauty in our eyes. Look for early morning or late evening light for soft sunlight. If you find yourself with a perfect flower in harsh mid-day light, create your own soft light. Use your body to shade the subject, or if that angle doesn’t work, press a friend into service.

You can also take advantage of thin, hazy clouds that naturally diffuse the sunlight. Since most of us are unable to call up hazy clouds on demand, try using a diffuser. Diffusers are made of translucent material that diffuses the light. There are many manufactured diffusers available online. It is also possible to make a simple diffuser using a variety of materials from translucent plastics to various lightweight fabrics. Beware of color casts that can be created by some colored materials even though they may look white to your eye.

Enjoy

Frank

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