Archive for August, 2012

Long-Exposure Photography

Thursday, August 30th, 2012

Summer Project #3

Long-exposure photographs give you a myriad of creative possibilities and a great deal of “wow” factor. Many amateurs are afraid of the dark and avoid night photography as being too technical for them to tackle. While long-exposure photography may take some trial-and-error for you to perfect your technique, employ these simple tips to get you started:

1. The most important piece of camera gear to bring along on your night-time adventures(and perhaps the most obvious) if your tripod. What basically happens in a long exposure is that the shutter stays open for from 30 seconds to an hour or even longer. Movement of the camera will most likely ruin your photograph. You can also set your camera on a wall or ledge, but it’s usually most convenient to have a tripod on hand.

2. Nearly as important as a tripod is a remote cable release. Although you may not realize it, it is nearly impossible to press the shutter button on your camera without causing it to move a bit. To eliminate any possibility of camera shake, a remote cable release allows you to open the shutter without even touching your camera. You can also use your camera’s self-timer, but if you are planning on taking a lot of exposures that night, it will save you time to use a cable release.

3. Another useful piece of equipment is a lens hood. Why do you need a lens hood at night? Long-exposures capture all available light and while the sun may not be causing glare, street lamps might. Lens flare may be an element that you wish to incorporate into your images, but it’s hard to predict or control so many photographers like to avoid it altogether.

4. Turn auto focus off and change settings to infinity. Long-exposure photography is the capturing of light in motion and if you leave your auto focus on, it will constantly be changing its focus throughout your exposure.

5. The length of the exposure is usually dependent on the amount of available light. Photographing a city at night, you may need 10-30 seconds of exposure time. Capturing star trails( a lifelong hobby for some photographers) will require 8 min to an hour or longer.

6. Long exposures are usually done with DSLR cameras, but film cameras can also produce wonderful results. In fact, depending on the type of film you use, an analogue camera can cause some unique effects such as color shift. Tungsten film, though sometimes difficult to find, is known for giving excellent white balance in night photography.

There are many tutorials and websites dedicated to helping amateur photographers to venture out-of-doors at night and tackle long-exposure photography. Some professional photographers prefer to photograph stars, some prefer urban landscapes. Each scenario requires slightly different techniques–trial-and-error is part of the learning process for every photographer. If you live in the city, grab a coffee, set up your gear somewhere and open your shutter. If you love far from city lights, seize the opportunity to photograph the stars. Summer is coming to a close, and soon those clear nights may be accompanied by less comfortable weather. Now is the time to experiment!

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To Use, Or Not To Use….Lens Filters

Tuesday, August 28th, 2012

For the amateur photographer, lens filters are perhaps a lesser-known area of photography gear. There are many different types of filters–some to create artistic effects, others for practicality such as protecting the lens from dirt or UV light. Rather than fiddling with their images in image-enhancement programs, some photographers prefer to use filters to increase saturation, when doing long exposures, or to blend shades of light to create a smooth ambiance in landscape photos. Today, we’ll look at the three of the most common lens filters and then some tips for caring for and using lens filters.

First up is the polarizing filter, generally just known as “polarizers”. If you’ve ever had polarized sunglasses, you have some idea of what these filters do. Most often used by landscape photographers, polarizers reduce glare and remove reflections from the surface of water, as well as increase color stauration. Using a polarizer can be tricky, though; when used with a wide angle lens, polarizers can cause unnatural looking skies by deepening the color in part of the image while leaving the rest light. Shooting with a polarizer also requires you to be aware of your position in relation to the sun as certain angles will increase of decrease the amount of polarization that will occur. There are two types of polarizers–linear and circular. Circular lens allows for autofocus, while linear cannot be used with most SLR cameras.

Another filter often used in nature photography is the natural density(ND) filter. They are used when doing a long exposure in nature photography to blur moving subjects to suggest action or for artistic effect, such as turning a waterfall into a soft blur of color. An ND filter also reduces the amount of light that gets through to the sensor, eliminating over-exposed images. A good example can be seen here.

The third lens filter that we’ll look at today is the UV filter, which is intended to protect your camera lens from dust and smudges while also reducing haze that often occurs when photographing on sunny days. UV filters are generally not necessary on digital cameras, but many photographers still use them as they are a clear lens that protects against scratches.

If you do use lens filters, one key tip to remember is to never hold onto the filter by the glass. Lens filters pick up fingerprints easily–be sure to clean your lens filter often. Like anything in life, you get what you pay for; if you’re going to buy a lens filter, be sure to buy a good quality one.

There are many types of filters on the market that come in many sizes and with varying applications. For some photographers, the cons of lens filters outweigh the inconvenience of modifying the image in Photoshop later on. Lens filters, since they are an extra piece of glass over your lens, tend to reduce image quality or contrast. If not properly suited to your lens, light will leak in through the lens filter and the lens and cause flaring or vignetting. Some photographers don’t use a UV filter, but a lens hood instead to block out haze.

There are many photographers on both side of the debate–some photographers swear by using lens filters, while others can’t be bothered with them. There are pros and cons to lens filters, just as there is with any type of photography gear. It really comes down to a matter of opinion, the only way to find out what you think of lens filters is to try them out or ask other photographers about them. To use, or not to use…experiment! Use until you decide not to.

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Street Photography

Thursday, August 23rd, 2012

Summer Project #2

Last time, we took a look at the fascinating science of light as demonstrated by the phenomenon of pinholes. In the next week or so, we will discuss photography projects you can enjoy while the sunny weather lasts. Summer is a great time for experimenting with various aspects of photography—getting out of your comfort zone, traveling to new places, and making new friends. Street photography is one area of photography that can accomplish all three of these things.

There are wedding photographers, sports photographers, paparazzi, and myriads of other classes of photographers. However, for some reason, street photographers seem to be in an entirely different class. There are many street photographers that become famous for particular styles or moods they tend to bring out in their work. What is the appeal of street photography? One blogger at photo.net sums it up in one word: serendipity. You never know when a wonderful photo opportunity will present itself. Out of the street, especially in a big city, there are hundreds of people each going about his own particular business and experiencing life in their own unique way. A street photographer tries to freeze small, yet significant, moments in the lives of the strangers they see through their camera lens. Another appeal of street photography is that every person that sees the photo may interpret it in a completely different way than how the photographer did. In a way, a street photographer’s work and what it means to him is always changing.

Street photographer David Gibson, when asked about the future of street photography replied, “Street photography is real and therefore people respond to it. Trends in photography seem to go in cycles, but street photography has always been there…” Especially in metropolises such as New York, exhibitions and galleries of street photography are featured prominently, and are continuing to gain popularity. Many people feel that street photography can help to capture the essence of an entire city.

So, what should you do to try street photography for yourself? Firstly, you will need either a camera with a wide angle lens, or a camera with an excellent autofocus and a zoom lens. If using a wide angle lens, it is recommended that you set a high ISO, 400 or 800. David Gibson recommends shooting in late afternoon to avoid glare and get the most flattering light on your subjects. Secondly, don’t be afraid of strangers! Go up to someone, give them a compliment, and ask if you can take their photograph. One photographer’s favourite trick is to ask a pet owner to pose with their pet. However, most street photographers are looking for those wonderful candid shots. If you can be sneaky with your camera, all power to you! If someone gets angry at you for taking their picture–be polite, show them the shot that you got, and try to start a dialogue. Either they will want you to delete the picture, or you will end up having a nice chat with someone. Just keep your finger on the shutter and soon enough you will discover why so many photographers make street photography their first pick.

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A Camera Obscura and a Pine Nut

Tuesday, August 21st, 2012

Although photography is considered to have been invented in the early 19th century, the science behind it really began to be explored as early as the days of Aristotle. In the tenth century, Persian scientist Ibn Alhazen wrote a book entitled Book of Optics, in which he described the behaviour of light when passing through a small opening. Basically, when light passes through a small opening it throws an inverted image onto an opposite wall or the ground. This is also the way that the human eye takes in life; the eye takes in light and is reflected in an upside-down image on the retina. For the first few days, infants see the world upside-down until the brain trains itself to flip the image so we see things right-side up.

When photographic paper was invented in 1800, the exploration of the concept of pinhole cameras was able to be explored more fully. The first real photograph taken with a pinhole camera was not realized until 1850 by Sir David Brewster, the man who also popularized the name “pinhole camera”. Thereafter, the science of photography began to expand dramatically—with the invention of film by George Eastman(who would later found the Kodak company) to the beginnings of color photography in 1908—pinhole cameras were only used for a small portion of the photography timeline.

Today, there is a resurgence of interest in the roots of photography such as pinhole photography, solar-graphs, and do-it-yourself film developing. There are several websites that sell kits for making your own pinhole camera out of paper, tin cans, cardboard, and more. Why bother with all that fuss? Pinhole photographs are known for a dreamy quality and often have vignette around the edges of the photo. Its also fun to experiment and explore the inner workings of photography at its most basic. There are pinhole enthusiasts world-wide, with competitions, travelling galleries, web pages, and forums dedicated to the art.

One of the most fascinating aspects of pinhole photography is the fact that anyone can create a working pinhole camera out of household materials. All you need is a container that seals out light, photographic paper, and a photographer’s thirst for experimentation. Making your own pinhole would make a great kid’s science project, something to do with grandkids, or just a fun summer experiment. One young photographer even built a pine nut pinhole camera and made it his graduation thesis.

There are many websites that offer detailed instruction on how to get started with pinhole photography. Since it requires a sunny day to get the best results, it really is the best summer project one can hope for. So while the summer lasts, round up some photographic paper and a container and experience for yourself the beginnings of the science of photography.

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Your Camera in Your Daily Life

Thursday, August 16th, 2012

There are hundred of sites and blogs dedicated to helping amateur photographers improve their skills. The truth of the matter is that it doesn’t matter what type of equipment you start out with—whether you have an analogue camera, a point and shoot digital, or an expensive camera with assorted lenses and filters—all you really need is to practice with what you have. If you aren’t comfortable using a simple point-and-shoot, you’ll be even more uncomfortable with a top of the line model.

One prominent photography community has a set of “golden rules” for beginning photographers: Rule #1 is to take your camera everywhere you go. Perhaps that one simple guideline is the best advice that anyone can give to an amateur. If you are just starting out with photography or video as a hobby, you need to get used to handling your camera and equipment. It’s frustrating to any beginner to have to fool around setting up your equipment while a perfect photo opportunity passes by.

Taking your camera everywhere you go will get you in the habit of using your camera, even if you aren’t shooting anything in particular. Take a day off, go downtown or out to the countryside, and just walk around taking pictures of anything at all that catches your eye. Don’t think, just shoot, is a motto of many analogue photographers although it certainly applies to digital photographers as well. Don’t be afraid to take photos without messing around with settings—experiment! Of course, don’t neglect the settings on your camera; adjust ISO or shutter speed, but don’t spend all your time trying to get the “perfect” shot.

Another reason to take your camera everywhere is to develop an eye for composition. Not every photo has to be of a person, or a prominent landmark or subject—learn to appreciate and incorporate small details into your photographs. Macro photography may be what immediately comes to mind, but don’t forget about street signs, interesting textures, or things that are out of place. Small details can change the entire mood of your photo; the only way to discover them is to be on the lookout.

You can’t improve your photography skills without practicing. If you wait for the perfect time of day, location and subject for a photo-shoot, you’ll be too busy trying to make everything perfect to have fun and enjoy taking the photos. Just look at the world through your viewfinder or LCD screen, and start shooting. Don’t wait to get a better camera or to take a photography class. Although both of those are wonderful steps toward improving, you are the photographer and you must discover your own way of viewing the world. Take your camera everywhere you go!

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Video Blogs Are More Than A Trend

Tuesday, August 14th, 2012

Recently, video-hosting sites(most notably, Youtube) have changed the way people browse the internet, exchange information, or even promote themselves to universities or employers. Youtube was created in 2005, and in only a year was worth $1.65 billion. It is the third most visited site in the world, behind Google and Facebook. One major trend to emerge from the advent of Youtube was the vlog. What is a vlog? It is a shortened version of the word “video” and “blog”–the latter itself being an abbreviated form of the word “weblog”. A vlog is a video diary, whether it be a public vlog created for subscribers and viewers or a private hobby for your own amusement.
What is the appeal of a video blog? Well, there are several main reasons video blogging might be for you:

1. You’d like to keep some sort of diary, but you don’t have a flair for writing. As a tween, I spent my allowance on many a pretty journal, certain that this time I would use it regularly. I simply lacked the motivation to write about the simple things that I experienced every day. Recording little moments on video can be far more rewarding than writing down something that you may be tired of trying to describe in different ways.

2. You’re creative, and want to show off your video-making skills. With sites like Youtube, where anyone can post and anyone can view, talent always gets noticed eventually. Users who upload good content will receive subscribers and eventually may find themselves with a loyal fan base. Many popular vloggers began their Youtube accounts for personal use, attracted attention, and ended up turning it into a career. If nothing else, vlogging can give a you a creative outlet that is valuable in itself.

3. It costs very little to get started. Vloggers that have been doing their thing for several years usually invest in high-quality video equipment. However, all you need to get started is a camera(point-and-shoot digital, the built-in webcam of your laptop, or even the camera on your phone) and a room with decent lighting and an uncluttered background. A small tripod is always useful. For a beginner, any basic editing program such as Windows Movie Maker, is sufficient.

In 2005, the internet saw a huge surge of interest in video blogging–there are books, websites, and blogs dedicated to helping people get started on Youtube and other video hosting websites. Some people do it in the hopes of making money online; some people merely do it as a hobby. Whatever the reasons behind it, there’s no denying that people are taking hold of the internet and carving out a place of their own. If you want to keep a record of your daily life or showcase your creativity at very little cost, video blogging might just be for you.

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The Best Photography Mistake Ever Made

Thursday, August 9th, 2012

On Tuesday, we looked at the advantages and disadvantages of slide(reversal) film and color negative film(in case you missed it, check it out here). When you drop off your film at the photo lab to be developed, the technician looks at the type of film that is in the canister. The type of film determines what chemical solution it is processed in. Slide film is designed to be processed in a solution known as E-6, while negative film is processed in the solution C-41. But what happens when film is processed in the “wrong” solution? This “mistake”—known as cross-processing—alters the original images on the film and can increase vibrancy, enhance shadow details, or cause shocking color shifts. Cross-processing has been used by photographers who develop their own film as early as the 1960s. So, what does cross-processing do to your film and why should you risk it?

The most common type or cross-processing is that of developing slide film in the negative-film solution. Depending on the brand of film, the cross-processing can turn skies deep purple, bring out an overall green tone, or make blue tones pop out. Some films, most famously Fuji Velvia 100, allows for dramatic color shifts, while Kodak Elitechrome increases saturation and contrast without color shifts. Either way, you can never quite know for sure what you will be getting—but it’s sure to be eye-catching!

Less common is the practice of processing color negative film in E-6, the chemical solution intended for slide film. The result of this type of cross-processing is much less dramatic; instead of heightening contrast or shifting color spectrums, negative film usually comes out with muted, pastel-like colors. This is especially attractive for photos of wildflowers or portraits or for photos with a vintage feel. Different brands yield varying degrees of change in saturation and color. There are even some films that are designed to be cross-processed, there is such a growing demand for this type of alternative photography.

You may be asking, “Why should I risk getting results I don’t like, when I can change colors however I like with computer programs?” Well, the simple reason is: you already know what you’re trying to achieve. Cross-processing allows you the opportunity to view the world in ways you have never seen it before. Although you can predict your results to a degree based on experience with a film brand, you don’t really know until you get your photos back what they’re going to turn out like. Many photographers love to be surprised and cross-processing is definitely fun and unpredictable. It’s a far cry from the digital work we live in where we can view a photo right after its taken—recent years have seen a resurgence of young people abandoning digital photography and experimenting with analogue.

Maybe you’re of the younger generation and have never shot photographs on film before. Maybe you abandoned film and kept up with the ever-changing whirl of advancing technology. Whatever boat you’re in, it’s worth a bit of time and money to give cross-processing a chance. At the very least, you’ll get to have a photography day; at best, you may be at the threshold of a new hobby—cross-process photography!

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Slide Film vs. Negative Film

Tuesday, August 7th, 2012

If you ever happen upon photography blogs or forums, you may have seen “comment wars” concerning the superiority of one film format over another. Namely, slide(reversal) film or negative films. Although both formats have their advantages, it is true that slides are universally used by professional photographers. That doesn’t necessarily make slide film “better”, it’s simply trickier to use, so amateurs tend to stick with negative film. So, what do you use? Do you use negative film because that’s what you started with and never bothered to switch? Or do you use slide film to try and step up your photography? Let’s look at the pros and cons of each film and why each format has its place in your camera bag.

The main reason that slide film is considered to be the “professional’s film” is that it must be shot within its ISO limit. If you’re using a 100 ISO slide film, you must shoot it outside on a sunny day in order to get photos that are properly exposed. If you’re shooting an 800 ISO film, you must use it in the evening or your photos will be overexposed.

One big reason to use slide film is that it has a much finer grain than negative film, which means that it can be enlarged much more easily. This is why professional photographers use slides—large format prints can be made for publication in magazines and such. Also, colors are generally more saturated with better contrast. Many of the photos you see in National Geographic or travel magazines are taken with Fuji Velvia 100, the most famous slide film for nature photography.

Although slide film is mainly used by professional photographers, it is a good idea for beginners to use slide film. Negatives are color and light corrected when you order prints, but with slide film, you can see exactly what you got with your camera. Of course, you will need a light table or a slide projector, but this can be an excellent way to learn from your mistakes and know what you are doing wrong.

One downside is that slide film is generally much more expensive than negative film, and an amateur photographer may not want to invest money in “experimental film”. Also, slide films are difficult to find abroad, so if you are traveling you will need to bring your full supply with you. Another disadvantage is that slide film can be time-consuming to develop and a hassle to print. Many typical photo labs are not equipped to develop slide films and must send them away to more specialized places. This can take several days and add to the processing cost. However, it is becoming more common for photo-labs to be equipped with scanners to make prints from slides; it’s simply a matter of finding the most affordable lab.

Negative film, the most common and affordable film format has its advantages as well. As mentioned before, negative film is much more flexible with the lighting conditions it can be exposed to. You can take a photo on a sunny day of wildflowers in your back yard and then come inside and take a portrait of a family member. Even if you forgot to adjust your camera’s settings, both photos will most likely turn out just fine. Negative film can be corrected in the lab to fix any slight under or over-exposure. It’s just a much more hassle-free format. Secondly, it’s much simpler to get negative film developed and printed. As it is the default film format, you won’t have to look for a specialty lab and if you run out of film while traveling you can find it anywhere in the world.

The main downsides of negative film is that you have less control over your finished product and negatives don’t last as long as slide film. Like we said before, with slides what you see is what you get. With negatives, you can’t view your photos unless you scan the negatives yourself, and the prints you get are the result of a lab technician’s color correcting and adjusting to make them look how he thinks they should. You may have excellent photos, but if the technician was having a bad day, you may never know it. Lastly, negatives fade away much faster than slides do. Even when stored in a dark place, negatives generally are quite faded in 40 years, while prints have been made of slides twice that age.

There are two sides to every story, and there are excellent arguments for each format of film. However, there’s no need to pledge your allegiance to one camp or another. Both types of films deserve to be explored fully and to find a place in your film collection or camera bag. Never tried a slide film? Start out with Kodak Elitechrome 100, well known for vivid color and saturation. If you’re feeling more adventurous, give the world-famous Fuji Velvia a whirl for intense red and purple tones. Don’t be afraid to try something new—it just might open a door for many future photography adventures.

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Sports Photographers—Overlooked, But In High Demand

Thursday, August 2nd, 2012

In the spirit of the Olympics, today we take a look into the lives of the photographers who spend hours on the sidelines viewing sporting events through the lens of their camera. Sports photography is a competitive field—but one good shot can establish a photographer’s career. One excellent photograph of an athlete crossing the finish line to win gold will sell copies for websites, newspapers, and magazines around the world. Little wonder that sports photographers put so much time and effort into their work.

Most sports photographers got their start in high school, taking photos of their school’s sports teams and selling them to the local newspapers, or the athletes themselves. The best sports photographers have in-depth knowledge about the sport they are covering. Knowing the perfect moment or angle to take a photo is about more than just instinct for a sports photographer—it means understanding the proceedings of the event and the mindset of the athlete. At the Olympics, there are hundreds of photographers present, and they each have one goal: to beat the other guy to the right place at the right time and take a photo that stands out. Capture the look of joy—or disappointment—on the face of a gymnast when her scores are announced. Freeze a goalie in mid-air of missing the soccer ball. A photographer needs to know the sport intimately in order to document it effectively.

If you have ever paid attention to the photographers at the Olympics, Super-bowl, or other major sporting event, you may have noticed the tremendous amount of equipment they cart around. Most photographers use SLR digital cameras because there are a variety of lenses available that can be taken on and off quickly. Oftentimes, the space set aside for photographers to set up is quite far away from the action, so they need to have a good selection of zoom and supplementary lenses. A sturdy tripod is also essential, because cameras with the long lenses get quite heavy after long periods of photo-taking. Having a tripod that is tall enough is also very important, as the photographer generally must stand peering through the screen of his camera for several hours—being hunched over is an unnecessary strain.

Sports photography is a highly competitive field—hardly surprising, considering that those who take photos for big name newspapers get all expenses paid trips to the Olympics and other events. The pay for beginners is low, but many amateurs would argue that it isn’t work if you love what you do. So there you have it—next time you tune into a sports event or pick up the sports section of a newspaper, take a moment to appreciate the hours of work photographers have put in to record a fleeting moment of sporting history.

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