Photography Information Tips for Photographers
The Following information is for Vancouver Photographers aspiring
to advance their photography skills.
Part 1. Composition
One of the most fundamentally challenging
aspects of photography to the beginner photographer is composition.
Poorly composed photographs subconsciously leave the viewer feeling
uncomfortable and apprehensive. Finding the perfect photographic
crop placement is a skill that is developed over time and can be
honed with conscious effort and practice.
It is difficult to define the shape of our vision but we can usually
assume that the outer confines our ocular window can be defined
as two horizontal ovals overlapping and spreading across approximately
180 degrees of view. To roll ones eyes from side to side trying
to define the exact shape can be frustrating. Since we are born
and live within the confines of our field of vision we rarely notice
it. If by chance we were born with a long cardboard tube attached
to our eyes revealing a narrow circular field of view, it would
be unlikely that we could imagine having our vision any other way.
On the contrary if our vision was transmitted though a perfect sphere
on the top of our heads enabling a fully 360 angle of view we would
feel pity for those who only could see directly in front of themselves
with a 180 degree angle of vision as we do.
This leads to the main problem with photographic composition. Our
natural field of view enables us to take in large scenes with relatively
no distortion. Our eyes dance from element to element while continually
taking in the entire scene as a whole. When we capture a scene though
a lens we are cutting out a large portion of the field of view.
Yes we could use a super wide angle lens to encompass the full 180
degrees yet we would be introducing an unacceptable and unreal element
of distortion. Also by using a 180 degree lens we would be diminishing
the importance of any singular element that in life we would zero
in on.
To compose properly one must be conscious of the selection of view
to be captured in the frame. To view and interpret a scene with
your eyes and then simply take a photo would be novice. to understand
What will be captured composition wise in the final image one must
truly look through the viewfinder with a new intensity and focus.
Think to yourself:
"What is the subject and how can I lead the viewer to it?"
"Is this really how I want the photo to look in the end on
paper?"
"Are there any conflicting elements?"
"Am I using Rule of Thirds or Dynamic symmetry?"
"Are there any leading lines to my subject"
"Are the corners of the frame free from distracting elements?
One other point about the challenge of realistic composition is
the fact that we have two eyes. Viewing a scene in stereoscopic
vision as we do can dazzle the eye and make a scene appear to be
more interesting in person than on captured photograph. One way
to combat this deception is to evaluate a scene with one eye closed.
This will remove the stereoscopic sensation and help to judge the
scene in a more photographic manner.
As well we are printing on to a perfectly rectangular paper which
is not conducive to the natural way we see things. It is the translation
of how we see in everyday life and what is selected to be revealed
in the photo which defines the art of composure.
Study famous and popular photographs and be aware of their composition. How did they place the subject in relation to borders of the photograph? Did they lead into the subject with an element? There are really only so many places one can place a subject in a frame that will result in a pleasing outcome. Study the rule of thirds , dynamic symmetry and the golden ratio. Try to be aware of how your are taking a rectangular slice out of our view and placing into a photograph.
Part 2. Dynamic Range
Dynamic Range
Dynamic range is a much misunderstood and often overlooked element
of professional looking photographs. Dynamic Range in regards to
photography is classified as the total range of viewable tones in
a given image ( the amount of brightness or darkness that the camera
can reproduce). When we look at a given scene with our natural eyes
we can resolve both dark and light points quite easily and effortlessly.
In the realm of the camera it is not so easy. The total range of
lightness and darkness that we can see and interpret exceeds that
of the ability of the camera.
Lets say we are outside on a sunny day and looking into a single
car garage. We see beautiful dark blue jaguar glimmering inside
the garage. Outside on the ledge of the garage window is a flower
pot overflowing with bright flowers. When we look our eyes naturally
and unconsciously strain to make out the detail in the darker areas
of the scene, while still being able to make out the light as well.
So we would be able to see the bright flowers sitting on the window
ledge as well as make out most of the detail on the car.
To take a photograph of this scene your would be disappointed in
results. Since the current state of photographic technology (film
or digital) will not allow you to display both the dark car and
light flowers outside. You would have to make a choice and sacrifice
one element of the scene.
So if we exposed for the car the flowers outside would look far
too overexposed and be barely visible. If we exposed for the flowers
outside , we would not be able to see the car at all because the
car section would be underexposed.
Thus is the problem with the limiting dynamic range of cameras.
What to do?
(a) Do not try to shoot the scene.
In most cased this is the easiest and most efficiency way to take
excellent and tonally pleasing photographs. Seek out scenes that
fill up but do not exceed the dynamic range of your camera or film.
Find an area that does not have so much contrast and shoot it. If
you are shooting digital, Check the histogram on the back of your
camera after shooting. Is there a nice "mound" of dynamic
information or is the histogram clipping at both ends?
In most cases for portrait and general photography this is really
the best way to shoot. Have you ever noticed that your most tonally
pleasing shots are those that have nice full ranges slope in the
levels histogram in photoshop?
(b) Bring Light to the Dark Areas (or shade the
light)
By Blasting the interior of the garage with a strobe light you will
balance out the tonality of the scene and your camera will be better
enabled to resolve the information in both parts of the image.
Alternatively you could shade the bright outside of the garage,
bringing the flowers to the same amount of shade of the inside of
the garage. In this case this would be somewhat impractical but
for other applications it can work well.
(c) Double exposure
You could also take two photographs from a tripod exposing for each
element separately. So you would take one shot to expose the car
and once more to get the proper exposure for the flowers outside.
You would later sandwich the files together and mask out the images
separately to reveal an even tone . As well there are HDR (high
dynamic range) programs out there that can maker this process easier
for the less experienced. Shooting is Raw format as opposed to jpeg
will help you with more revealing more range in a given image.The
Future of Dynamic Range in Digital Cameras.
In the mean time, I would suggest finding scenes that make good
use of your dynamic range while not exceeding
it. Study your histogram and learn which histogram results yield
the best looking photographs.
Part 3. Digital Processing and Retouching
Initial Concepts to contemplate:
• Try not to shoot with retouching
in mind. Do everything in your ability to capture the best possible
image. Pay attention to details while shooting to save time in post
production.
• Make sure your digital work flow is comprehensive in respects
to colour and display. Use icc pinter profiles. Use a CRT monitor
or very high quality lcd monitor to retouch your photos. Laptop
screens will yield poor and unpredictable results.
• Make as many adjustments as possible in the Raw conversion
stage of processing. The raw file is more flexible and more susceptible
to density and colour manipulation than tiff or psd files. Personal
Processing Procedure
Raw Conversion Stage:
• assess what needs to be done to the image. Is it under or
overexposed, too flat or contrasty? Is the colour true?
Adjust the following in the raw conversion program:
• Exposure
• Colour Balance
• Curves
• Levels
• Dynamic range
• Sharpness Convert the Raw to a Tiff file.
Photoshop Stage:
Determine what needs to be done to the image
• Smooth out skin (use the long and tedious clone tool method)
• Brighten eyes (remove red from the whites)
• Brighten teeth (remove yellow)
• Clean up the hair - Remove stray hairs or out of place hairs
• Lessen the bags under the eyes
• Remove any distracting elements
• Deal with the overall density - Complete vignetting or compositing.
Photoshop tips:
If cutting out images use the polygon lasso tool, it takes longer
but will yield more convincing results.
Feather selections to soften the edge.
Use adjustment layers to complete non destructive edits.
Use layer masks and quick masks instead of cutting or erasing parts
of a layer.
Use keyboard shortcuts to save time,effort and confusion.
Use dual monitors to increase screen real estate and save time.
Use actions and batch processing to deal with repetitive tasks.
Do multiple passes on your images. Sometimes a sleep between looking
at the image will reveal more issues that can be retouched.
Composition | Digital Processing | Dynamic Range |
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there will be more tips for vancouver photographers added periodically so please stay tuned. sitemap
© copyright Tom Hawkins Photography Vancouver BC Canada