Monthly Tip (May 2012) Seeing in Tones
Some of us in the old, old days long ago, used a thing called film. You put this small cartridge in the back of your camera, (now where your LCD is ..) advanced it to ‘#1’& you made only 24 or 36 exposures (not 240 or 360?), then you had to rewind it back in the cartridge, take it out & then have it processed somewhere…
Wowwwww that’s sounds so complicated. Well actually in a way, it was simpler as you did a lot of the creative work ‘in the field’ (much less post processing) & you learned to ‘see’ in tones & not in colour to improve your images.
If you like to challenge yourself by simplifying your images, try thinking in B&W!
Howdya Do That?
I approached this image like I would have done with film. By concentrating on other “visual ingredients” - shapes, lines & texture of the trees, grass etc. I vastly improved the image. This marsh in the Bruce Peninsula was beautiful, although the shapes & tones were paramount not the colour.
Technique:
In bright, overcast light using a near far approach, stopping down to f13 & used Lightroom for processing afterward, playing with the individual colours (or ‘tones’ in this case) to create what you see. Pure B&W fun in the sun!
I know when I shot B&W film in the past it made me see in ‘tones’. I’m grateful for doing that self assignment a few years ago & now I can do the same digitally.
This is way easier than the old film days ... Try it, it works!
Enjoy,
Rob
Monthly Tip (Mar 2012) Forego Reality
“Dreams have no titles” Man Ray
Ever wonder what it would be like to capture the fast paced world we live in as an observer from another time & place?
As photographers we are constant observers. I’ve always been fascinated by dreams & there meaning, so I wondered what would a static everyday scene look like with the passing of time. What if we captured the world at a pace that we normally don’t see, over time…
This image was shot handheld @ 8 seconds long at night right after a coffee break at a local Tim Hortons’, Previously shooting on a tripod for a few hours, I decided to forego reality as my ”reality cheque” bounced…& tried to capture what I felt & not what I saw in this urban setting. The subject was local traffic in Toronto on Yonge st. I simply observed the flow of traffic for a moment & when it felt right, let my camera move around during the long exposure & was pleasantly surprised at the outcome. You’re thinking, anyone can do that! While it may be an easy technique, it’s not quite so easy to pull off.
Being visually aware of the surroundings, years of experience & trail & error, help to achieve the end result. And yes, maybe a little bit of luck also.
Remember: “Luck is when preparation meets opportunity”. So not only did the coffee break give me a boost, it helped me capture motion that I may never have done without it. Thanks Tim!
Happy Capturing,
Rob
Monthly Tip (Feb 2012) Mastering The Art of Enjoyment
'A Master is one who can simultaneously give the effect of simplicity and restraint, yet you can go right up to it and explore it endlessly with the greatest joy.' A. Wyeth
I remember a very special restaurant dinner a few years ago, when we were served, the waiter in his broken-english quite loudly & boldly suggested us to “JUST ENJOY” our dinner.
I often feel this way shooting in the field when I come across a subject or situation that is truly beautiful or inspiring in some way, I try to remember those eloquent words…
Where do I start?
Often I’m asked where do you start? when out shooting in the field. This is a bit of a rhetorical question as it really depends on a few factors.
- What drew your eye to the subject matter intially
- Your level of interest in the subject/ scene
- Your personal interpretation & curiosity play a key role.
If inspired by what I see, I’m often “in the zone” & not thinking much about these things. Rather staying present & visually aware of what’s around me.
Humans have this strange ability to think too much, at times, inhibiting creativity. I’ll start with whatever lens is on my camera…if it’s not feeling right, then I’ll change it.
Tip: When in the field shooting:
Rely on your instinct, be forever curious & open-minded.
This can truly help you be more creative & make the experience more enjoyable.
Staying in the moment was easy at this location as this was pure glory.. some of us on the workshop didn’t want to leave to go to breakfast…it wasn’t enough to simply photograph, we had to take this inspiring scene in afterwards for a moment in silence. Breakfast can wait...
I used a polarizer & 3-stop Neutral density filter to obtain a 15 second exposure of this glorious early morning sunrise on the Bruce, the rest was pure bliss.
Most important piece of equipment I used that morning was my alarm clock!
R.K.
Monthly Tip (Jan 2012) Photographers Best Friend
I’ve seen some wild & crazy tripod etiquette in the last few years of instructing workshops. Things like; Cameras with wings, ‘Humpty Dumpty Nikons’ falling down, to the ‘Leaning tower of Canons’, etc.
If you want to save yourself lots of money, time & the hassle of getting your camera repaired or replaced.When used correctly, a tripod can be a valuable tool & a photographer’s best friend.
Here are a few important things to remember when setting up & using your tripod.
Safe Tripod Practice: Tripod Etiquette
When Camera is attached:
1. Never leave your Tripod unattended.
2. If you break rule #1, always lower your tripod to your waist-level. (or lower)
3. Always have your leg width fully extended. (width not height)
4. If you have a safety lock on your head, use it. (Tripod head that is…)
5. Buy the best you can afford. (Try before you buy! No toothpicks please..)
6. Never leave home without it. (Keep it in the trunk of your car 24/7)
Enjoy,
R.K.
If you want to save yourself lots of money, time & the hassle of getting your camera repaired or replaced.When used correctly, a tripod can be a valuable tool & a photographer’s best friend.
Here are a few important things to remember when setting up & using your tripod.
Safe Tripod Practice: Tripod Etiquette
When Camera is attached:
1. Never leave your Tripod unattended.
2. If you break rule #1, always lower your tripod to your waist-level. (or lower)
3. Always have your leg width fully extended. (width not height)
4. If you have a safety lock on your head, use it. (Tripod head that is…)
5. Buy the best you can afford. (Try before you buy! No toothpicks please..)
6. Never leave home without it. (Keep it in the trunk of your car 24/7)
Enjoy,
R.K.
Monthly Tip (Dec 11) To Blink or not to Blink
This image was made at mid-day on a cool, sunny day in February. I was studying the motion in the water of a nearby creek & was inspired by the shapes in the water.
When shooting large or small areas of water we have to be ‘visually aware’ of the light & the surrounding surfaces being reflected in the body of water.
Tip : Shooting water or any reflective surface in bright light, leave some * Blinkies to give the highlights in the water some life. Without this, the image would have never made it past the waste bin. If fact, sometimes, the highlights are part of the story.
The shadows of nearby trees gave this image a lot of its’ personality, although the highlights balance this darkness, making for a captivating image.
Technique: Shot with a longer lens for isolation @ F9 &1/40 sec to try & freeze the shapes in the water.
In processing, I used a tungsten setting to create the blue, that’s it...
Remember: When you are shooting highly reflective surfaces, a little blink is o.k.
* Blinkies is the camera telling you that there may be over-exposed highlights in your image.
Cheers,
Rob
When shooting large or small areas of water we have to be ‘visually aware’ of the light & the surrounding surfaces being reflected in the body of water.
Tip : Shooting water or any reflective surface in bright light, leave some * Blinkies to give the highlights in the water some life. Without this, the image would have never made it past the waste bin. If fact, sometimes, the highlights are part of the story.
The shadows of nearby trees gave this image a lot of its’ personality, although the highlights balance this darkness, making for a captivating image.
Technique: Shot with a longer lens for isolation @ F9 &1/40 sec to try & freeze the shapes in the water.
In processing, I used a tungsten setting to create the blue, that’s it...
Remember: When you are shooting highly reflective surfaces, a little blink is o.k.
* Blinkies is the camera telling you that there may be over-exposed highlights in your image.
Cheers,
Rob
Monthly Tip (Nov 2011) When Light is Crude Shoot for Mood
The strong shapes, lines & shadows of this funky Café Decor immediately drew my eye.
The juxtaposition of curves against straight lines here was paramount. I visualized this monochrome as the design was far more important than colour. This only enhanced the other “visual-ingredients” making them that much stronger.
Apropriote Light:
This image was made at “high noon” in hard light. The light is apropriote for the subject, creating beautiful shadows that are an important part of the design.
Howdya Do That?
Camera position: was key in obtaining the placement of the shadows, curves & lines. Moving around quite a bit was necessary to obtain the final result.
I made many compositions that day, although this was one of my favs.
Technique was simple: Using a medium focal length lens stopped down to F13 to ensure detail throughout. If any areas were slightly soft the image wouldn’t have the same impact. I did not want or need detail in the shadows, so exposure was slightly under meter reading to retain the highlights, keeping the shadows black.
Don’t ever forget the power of shadows. They can add drama & mood to your work.
Enjoy,
Rob
The juxtaposition of curves against straight lines here was paramount. I visualized this monochrome as the design was far more important than colour. This only enhanced the other “visual-ingredients” making them that much stronger.
Apropriote Light:
This image was made at “high noon” in hard light. The light is apropriote for the subject, creating beautiful shadows that are an important part of the design.
Howdya Do That?
Camera position: was key in obtaining the placement of the shadows, curves & lines. Moving around quite a bit was necessary to obtain the final result.
I made many compositions that day, although this was one of my favs.
Technique was simple: Using a medium focal length lens stopped down to F13 to ensure detail throughout. If any areas were slightly soft the image wouldn’t have the same impact. I did not want or need detail in the shadows, so exposure was slightly under meter reading to retain the highlights, keeping the shadows black.
Don’t ever forget the power of shadows. They can add drama & mood to your work.
Enjoy,
Rob
Monthly Tip (October 2011) Shooting Hand Held
There is no golden rule for hand-held shooting, although I use a guideline of doubling or tripling the shutter speed for the focal length used.
Remember: most digital cameras are 1.5 or 1.6 magnification, resulting in longer lenses.
Hand-Held Guideline: (with 1.5 or 1.6 magnification)
e.g. 50mm lens is actually a 75mm lens = (75x2) = 150/ sec
100mm lens is actually a 150mm = (150x2) =1/300 sec etc.
I f you’re using full frame, double your focal length to be safe. e.g. 50mm lens = 1/100 sec
Of Course, when you’re using VR or IS lenses you can get away with much slower speeds.
When shooting portraits, I'd use a slightly higher ISO with F5.6 or f8 making higher speed as my priority. It’s always a trade-off… Better to be safe than sorry.
Howdya do that?
Recently at an Antique car show north of Peterborough, I gave myself an assignment to use only “wide-angles & no tripod”. Overwhelmed by tons of subject matter & a bright, beautiful day, I decided to take an intimate approach to my subjects by getting close & isolating as much as possible with the limitations of my ‘self-assignment’.
Technique:
This hand-held image was shot with a 28mm lens (film equivalent) @ 1/40 sec & f8.
With wider lenses, you can usually get away with a little less than double as I did here…
The intent was to capture the feel of a longer lens while getting close with a wide-angle perspective. Going wide is usually a good option when hand-held, although it’s not always the answer. Even though I was tripod free, I composed like I was using one.
Better to have something sharp, than have a "perfectly exposed image" that's soft...
It really depends on your intent & what you want to capture
Cheers,
R.K.
Monthly Tip (September 2011) Get Down on your Honour
Sometimes getting away from our “eye level” perspective & exploring the world with “new eyes” is all we need for inspiration. By getting down on your butt or knees, removing yourself from your normal “day to day” perspective, can be a creatively uplifting experience!
Some situations just scream ‘low angle’ & you’ve got to go there…Only thing is, you’re going to get wet, cold, cramped, stiff & much more but well worth the effort.
It must be the Scottish in me as I love the wet, cold, damp environment, although I’ve never worn a Kilt or played Bag- Pipes, so I guess I’m not that Scottish… I immensely enjoy this style of photography & believe it can add character & personality to your work like nothing else. That’s part of the fun of photography is getting down & dirty… so to speak…
Howdya do That?
This image was made on a rainy, nasty day, although once it stopped, I knew I was in for a ‘good ol’ time’ with some wet & wonderful trees, leaves whatever was near to the ground in this damp location in Forks of the Credit.
So down I went on my knees & oh yes, I did make a few images or two... My intent was to keep the design simple yet moving with rhythm which this image has in spades!
Technique: Using a medium-length lens @ f11, I had to move around a bit as the wet bark created many reflections. I was without polarizer, so I found an angle that was apropriote with good detail & some needed reflective areas. (I wouldn’t remove all the reflections even if I was using a polarizer, as it wouldn’t look realistic)
In processing, all I did was warm the colour temp a little & remove a touch of green. That’s it!
Tip: Get down low & be yourself just like when you were a child.
Never leave home without your Tripod, Knee pads & Rain gear…
Happy Capturing,
Rob
Monthly Tip (August 2011) Seeing in Black & White
If you like to challenge yourself by simplifying your images, shoot in B&W!
By removing colour & concentrating on other important “visual ingredients”, you will see in a whole new light. (pardon the pun..)
I know when I shot B&W film a few years ago, it made me see in ‘tones’.
I’m forever grateful for doing that self assignment & now I can do the same digitally.
Howdya Do That?
This image was an attempt at using shapes, lines & texture as my focus. Initially drawn by the sky, I decided to remove all colour, keeping the focus on the strong converging lines created by shooting low & tilting my camera upward. This, along with late-day light, adds dominance to the unique sky.
Technique: I instinctively wanted everything in focus, so I stopped down to f13 with a 11mm wide lens, giving me lots of depth of field. The juxtaposition of foreground & background was paramount.
Design was far more important than any colour or technical aspects. Pure B&W fun in the sun!
Camera Tip:
Using raw capture, set your camera to the B&W setting. By shooting raw you will retain all the information of a colour image (no quality loss). If you have shooting banks, you can preset one solely for B&W.Why? This helps you to see in Black &White! You’ll explore the world in a simpler, more graphic way, using simple design elements.
You’ll see a B&W image on your LCD for viewing, (it’s actually a jpeg) while the raw file is holding all the information.
This is way easier than the old film days ... Try it, it works!
Enjoy,
Rob
Monthly Tip (July 2011) Go Long
Using different focal lengths is essential for a photographer to maintain perspective control and spark originality. Lenses are our tools, our ‘hammer & nails’ if you will…don’t overlook them, understand what they do and use them.
Long lenses used ‘in the field’ add an abstract, intimate quality with traditional landscapes. Most would go for the wide lens to include more in the image...well there is nothing like the compression of a long lens to get your point across. Simplicity rocks!!
Howdya do that?
The Lines & curves of this field immediately drew me in. I decisively went with a long lens & a high vantage point. The image below is a great example of long lens compression, making objects appear stacked or on top of each other, giving a simplicity that’s hard to beat. The longer the lens, the flatter or more compression there is.
Technique: Using my 70-300mm lens around 375mm (film equivalent). I decided to exclude as much flat land as possible, enhancing the curves & lines in the field. I had to climb a bit of a hill to accentuate the lines making them sing.I stopped down to f16or20, & focused a third into the image to obtain as much depth of field as possible. Any lines out of focus would have been a distraction.
Next time you’re up against a stunning, rolling landscape, Go Long! You may be surprised at the outcome. Nothing ventured, nothing gained…
Happy capturing,
Rob
Long lenses used ‘in the field’ add an abstract, intimate quality with traditional landscapes. Most would go for the wide lens to include more in the image...well there is nothing like the compression of a long lens to get your point across. Simplicity rocks!!
Howdya do that?
The Lines & curves of this field immediately drew me in. I decisively went with a long lens & a high vantage point. The image below is a great example of long lens compression, making objects appear stacked or on top of each other, giving a simplicity that’s hard to beat. The longer the lens, the flatter or more compression there is.
Technique: Using my 70-300mm lens around 375mm (film equivalent). I decided to exclude as much flat land as possible, enhancing the curves & lines in the field. I had to climb a bit of a hill to accentuate the lines making them sing.I stopped down to f16or20, & focused a third into the image to obtain as much depth of field as possible. Any lines out of focus would have been a distraction.
Next time you’re up against a stunning, rolling landscape, Go Long! You may be surprised at the outcome. Nothing ventured, nothing gained…
Happy capturing,
Rob
Monthly Tip (June 2011) Go for Secondary
In this fast paced, media driven world we live-in, we can sometimes be desensitized visually. When used intelligently, the calming effect of secondary colour in photography can be a much needed change, giving our work importance & longevity like nothing else.
I love bright, bold primary colours as much as the next guy, but if you want to create a soft, subtle mood, secondary colour is the way to go...
While the colour red may be highly rated in some camera organizations (at times highly over-rated) Why not go for a soothing, subtle approach using greens, purples or oranges? etc.
Howdya Do That?
This image was made on a recent Lens Painting Playshop. I was compelled by the colour in this floral arrangement & decided to ‘play’ with purple & green only.
Obviously this style of photography is subjective, although isn’t most great art work? Yes it may be that the colours are complimentary (near opposites) making them pop, although I feel it’s the warm/cool relationship & the secondary hues that tie it together, making it work.
Technique was simple, using a slow-shutter around 1/8 second & motion as my guide…(too many choices to mention here)
After later viewing, this image is one of my favs as it is calming, subtle in feeling & statement. Go for secondary colour, you might enjoy it!
Happy Capturing,
Rob
I love bright, bold primary colours as much as the next guy, but if you want to create a soft, subtle mood, secondary colour is the way to go...
While the colour red may be highly rated in some camera organizations (at times highly over-rated) Why not go for a soothing, subtle approach using greens, purples or oranges? etc.
Howdya Do That?
This image was made on a recent Lens Painting Playshop. I was compelled by the colour in this floral arrangement & decided to ‘play’ with purple & green only.
Obviously this style of photography is subjective, although isn’t most great art work? Yes it may be that the colours are complimentary (near opposites) making them pop, although I feel it’s the warm/cool relationship & the secondary hues that tie it together, making it work.
Technique was simple, using a slow-shutter around 1/8 second & motion as my guide…(too many choices to mention here)
After later viewing, this image is one of my favs as it is calming, subtle in feeling & statement. Go for secondary colour, you might enjoy it!
Happy Capturing,
Rob
Monthly Tip (May 2011) Making Mistakes: Don't be hasty...
“It was a fine idea at the time, but it turned out to be a brilliant mistake”
Elvis Costello
Yes I’m asking you to take changes, follow your heart & make mistakes. This image is simply a ‘brilliant mistake’ or ’duh moment’ I made while shooting on a night photography workshop.
Howdya Do That?
I was attempting to light paint this railing & overshot it a bit … thinking I’ll do it again & ‘get it right’ the next time. While after later viewing, I realized that this was ‘the shot’ & I was oooooh so glad I didn’t erase it at time of exposure. I enjoy this image more than a lot of others I made that night, as it’s unique & gives a sense of mystery to what I visualized.
Design: I deliberately put the line on the back wall in the centre to divide the image in ½, thus creating tension. A no no.. I realize...but I felt the tension from the painting error on the right as well as the lantern on the wall, gives counterpoint & pull, balancing the image.
Exposure: 30 seconds @ f11 - gave lots of time to ‘light paint’ along the railing with a small flashlight. Colour was achieved by using a tungsten white balance setting in processing with very little tweaking. That’s it!
Tip: Never erase a creative or new idea until you’ve at least had a second viewing.
Once you’ve hit the ‘erase button’ on your camera, the image is gone forever..
(unless you want to retrieve it later with very expensive software of course…)
Bend & break at will!
Happy capturing,
Rob
Monthly Tip (April 2011): When to Break Rules
As
photographers sometimes we have to stop the world from turning, listen to
ourselves, ignore the rules & just have some fun! If we break or bend a few
rules along the way, so be it! When you
make a great find or location you’re so ”in the zone” who really cares about rules
or laws. It’s like you can almost smell the image & nothing else.
Howdya Do That?
On the way home from our winterscape workshop in Algonquin, I almost drove off the road when I saw this abandoned farm house & couldn’t contain myself. With emotions splattering all over my windshield (definitely a ‘holy sh…t’ moment) I decided to break some rules, trespass & explore. If I had second-guessed myself or passed on this opportunity, I would have never made any images or had any fun!
When composing, I decided to include the light source from the window @ the left to give interest & mood to image. Normally I would exclude this, although I felt this was needed in the story.. hence breaking my own rule... Composition is as much about ‘feeling’ & ‘decision making’ as it is about following rules that have been enforced about visual design.
Settings: F11 & be there, (in the zone that is..) I softened the contrast slightly, that’s it!!
I can hardly wait to return to get a second fix!
Rule Breakers Anonymous members celebrate!
Those of you who’ve taken my Playshops, are rewarded with “R B A” Certificates!
Stay brave, bend & break at will!
Your fellow RBA member,
Rob
Howdya Do That?
On the way home from our winterscape workshop in Algonquin, I almost drove off the road when I saw this abandoned farm house & couldn’t contain myself. With emotions splattering all over my windshield (definitely a ‘holy sh…t’ moment) I decided to break some rules, trespass & explore. If I had second-guessed myself or passed on this opportunity, I would have never made any images or had any fun!
When composing, I decided to include the light source from the window @ the left to give interest & mood to image. Normally I would exclude this, although I felt this was needed in the story.. hence breaking my own rule... Composition is as much about ‘feeling’ & ‘decision making’ as it is about following rules that have been enforced about visual design.
Settings: F11 & be there, (in the zone that is..) I softened the contrast slightly, that’s it!!
I can hardly wait to return to get a second fix!
Rule Breakers Anonymous members celebrate!
Those of you who’ve taken my Playshops, are rewarded with “R B A” Certificates!
Stay brave, bend & break at will!
Your fellow RBA member,
Rob