Posting Eighteen
“Watch Your Backgrounds”
Part Three
Thanks to Hockomock Digital Photographer, Rick Alvarnaz, for his permission to share this with you.
Did anyone out there surf the photo vendors to check the prices on those “monster lenses?” And, where did you apply for the bank loan?
From lenses we shift our focus to filters, which are another tool used to alter one’s backgrounds. A diffusion filter on your lens will soften the background to varying degrees. How much? Well, that depends on the filter you chose, as some will soften the entire image while others allow the subject to remain sharp but not the edges. Vignetting filters actually obscure or cover the areas around the center of interest in different window shapes and colors. The aforementioned filters are more popular in portrait photography but have been successfully used in other areas.
In the digital darkroom era much of this filtering is done via the computer. One of the more successful techniques involves the use of the blur tool – especially, the Gaussian Blur. Also, selecting your subject and using the unsharp mask can make the background appear “soft.” Unwanted objects in the back of the photo can be removed using several of the various clone tools. In CS5 a content awareness feature has been added which gives a whole new meaning to removal of objects - seamlessly!
As you can see, there are many ways to control the background of our images. So there is really no excuse for not creating the photos we want and with all the impact we wish to convey to our viewers.
A last word on this, going the extra step of dealing with unwanted or distracting backgrounds will keep the viewers (and those judges) more focused on where YOU want their eyes to be!
Monday, March 21, 2011
Monday, March 14, 2011
Posting Seventeen
“Watch Your Backgrounds”
Part Two
Thanks to Hockomock Digital Photographer, Rick Alvarnaz, for his permission to share this with you.
So did you find any distracting areas since we last met? Were you able to step to the left or the right to eliminate them? Good for you!
Rick suggests several different techniques you can use to give you the kind of background to enhance your main subject.
The most obvious technique would be your point of view. Can you move up, back, sideways, or lower to the ground to give your subject a more pleasing background? This simple movement is greatly underused. All things being equal, the distance from the lens to the subject also affects the sharpness of the background. So the closer the focused object is to the lens, the less in focus the background should be. Also, the further the background is from the main subject, the less detail will be seen.
Camera settings can help to create the proper background. The f/stop on your lens controls how sharp your background will be. A low number f/stop (f/1.4 or f/2.8) will help to soften while the higher values of f/16 or f/22 will more clearly define that background and make it sharper.
Ever notice those long lenses on the sidelines of sporting events? These “big glass” lenses are used to isolate the main subject from the usually distracting stadium crowd or other players. These “monster” lenses are very helpful in wildlife photography as they are capable of blowing out the cluttered environments behind the animals.
In the end it’s all about you and how much of your background do you want in the overall image
Part Three will look at how filters and some of the tools from the digital darkroom can impact those backgrounds.
“Watch Your Backgrounds”
Part Two
Thanks to Hockomock Digital Photographer, Rick Alvarnaz, for his permission to share this with you.
So did you find any distracting areas since we last met? Were you able to step to the left or the right to eliminate them? Good for you!
Rick suggests several different techniques you can use to give you the kind of background to enhance your main subject.
The most obvious technique would be your point of view. Can you move up, back, sideways, or lower to the ground to give your subject a more pleasing background? This simple movement is greatly underused. All things being equal, the distance from the lens to the subject also affects the sharpness of the background. So the closer the focused object is to the lens, the less in focus the background should be. Also, the further the background is from the main subject, the less detail will be seen.
Camera settings can help to create the proper background. The f/stop on your lens controls how sharp your background will be. A low number f/stop (f/1.4 or f/2.8) will help to soften while the higher values of f/16 or f/22 will more clearly define that background and make it sharper.
Ever notice those long lenses on the sidelines of sporting events? These “big glass” lenses are used to isolate the main subject from the usually distracting stadium crowd or other players. These “monster” lenses are very helpful in wildlife photography as they are capable of blowing out the cluttered environments behind the animals.
In the end it’s all about you and how much of your background do you want in the overall image
Part Three will look at how filters and some of the tools from the digital darkroom can impact those backgrounds.
Monday, March 7, 2011
Posting Sixteen
“Watch Your Backgrounds” - Part One
Thanks to Hockomock Digital Photographer, Rick Alvarnaz, for his permission to share this with you.
How many times have you heard this at competitions or image study meetings, “Watch your background!” Just what does it mean? In truth, your background is just as important as the subject in your image.
Photography is all about communication and your message is more effectively presented with the proper background. Ask yourself. . . is a sharp detailed background what you want, or does a soft muted background better suit your subject? It’s your picture, so it’s up to you!
Even with the use of Photoshop, it is always better to fine tune your image as much as possible in the camera. The most effective way to assure a proper setting for your subject is to use a critical eye when taking the photo.
Someone once advised me to look through the viewfinder as if you were seeing a framed print already on the wall. Examine the ENTIRE frame – is everything there being included purposefully, or are there elements that are distracting and therefore taking attention away from your main subject?
Some distracting examples are unwanted bright spots, objects protruding from one’s head, or anything that does not support your subject. Did you see that beer can in the corner of your landscape shot? How about the blue Volvo just entering your capture of a red-tailed hawk? Is your main subject too close to the edge of your frame? What about the branch that appears to be sticking out of your spouse’s head? Look carefully through your image BEFORE clicking away.
This has got to hurt! If I took a few steps to the right, the flag would be in front of him adding to the overall impact of the image.
Monday, February 28, 2011
Posting Fifteen
"The Patience Filter"
Several years ago when I was sitting at a competition at my former camera club, Greater Brockton, one of the judges referred to using a patience filter. He then took the time to explain why this simple tool is often left behind when we are trying to compose our shot. Now, with the onslaught of digital cameras we seem to be in more of a hurry to get the shot and move on – more of a need for the patience filter.
In essence, we should be taking in the surrounding scene and all of its nuances. What was it with this setting that made you stop to capture it? Your patience filter will help you with that answer.
All too often we are in a rush to get the shot and miss out on the better captures. Case in point as witnessed a few years back – just before the sun set at the South Rim of the Grand Canyon the tour buses pulled up and emptied their passengers with cameras strung around their necks. They ascended like locusts to the area behind the gift shop ready to get the setting sun. Moments after the sun appeared to set, they were gone as quickly as they arrived. What they left behind were the truly better images of the evening sky over the Grand Canyon. Now, if they had their “patience filters” handy, they would have captured some remarkable skies.
The tripod is one tool to help you practice with that patience filter. When using that three-legged support, there is a tendency for the photographer to slow down his/her image taking. Opportunities to look through the viewfinder for distractions, the proper angle, and other details make for a well thought out shot.
The patience filter takes up no space in your bag and won’t add any weight to your case. It won’t distort the image captured by your very expensive lens and it impossible to break. However, it is very easy to forget.
Back to that Greater Brockton evening, one member asked, “Where can I purchase one of them?” There was one of those pregnant pauses that seems to last forever. The rest of us exercised complete control and didn’t even crack a smile!
By now I trust you have a patience filter in your camera bag but, if you are still in the market for one, I can ship it to you for $29.95 plus tax!
"The Patience Filter"
Several years ago when I was sitting at a competition at my former camera club, Greater Brockton, one of the judges referred to using a patience filter. He then took the time to explain why this simple tool is often left behind when we are trying to compose our shot. Now, with the onslaught of digital cameras we seem to be in more of a hurry to get the shot and move on – more of a need for the patience filter.
In essence, we should be taking in the surrounding scene and all of its nuances. What was it with this setting that made you stop to capture it? Your patience filter will help you with that answer.
All too often we are in a rush to get the shot and miss out on the better captures. Case in point as witnessed a few years back – just before the sun set at the South Rim of the Grand Canyon the tour buses pulled up and emptied their passengers with cameras strung around their necks. They ascended like locusts to the area behind the gift shop ready to get the setting sun. Moments after the sun appeared to set, they were gone as quickly as they arrived. What they left behind were the truly better images of the evening sky over the Grand Canyon. Now, if they had their “patience filters” handy, they would have captured some remarkable skies.
The tripod is one tool to help you practice with that patience filter. When using that three-legged support, there is a tendency for the photographer to slow down his/her image taking. Opportunities to look through the viewfinder for distractions, the proper angle, and other details make for a well thought out shot.
The patience filter takes up no space in your bag and won’t add any weight to your case. It won’t distort the image captured by your very expensive lens and it impossible to break. However, it is very easy to forget.
Back to that Greater Brockton evening, one member asked, “Where can I purchase one of them?” There was one of those pregnant pauses that seems to last forever. The rest of us exercised complete control and didn’t even crack a smile!
By now I trust you have a patience filter in your camera bag but, if you are still in the market for one, I can ship it to you for $29.95 plus tax!
Monday, February 21, 2011
Posting Fourteen
"Photographing Butterflies"
Living in Massachusetts, we are most fortunate to have accessibility to two (2) indoor butterfly facilities - one in Westford and the other in South Deerfield. For a nominal fee and an early arrival, one can tote in a tripod and have a fairly crowd-free environment. Speaking to Hockomock Digital Photographers’ resident nature expert, Frank Gorga, I was able to gather some helpful tips on how to capture these very flighty insects. Check out Frank’s blog for great images and suggestions: http://gorga.org/blog/
Lens Choices:
Best: 300 mm lens with extension tubes is probably the best
combination of working distance and magnification.
Better: a long lens (200 or 300 mm) with a short minimum
focus distance.
Good: a macro lens is of limited use as one simply can't
get close enough to a living insect to make good use of it.
Critter Chasing Options:
Hand-holding Camera with image stabilization
Monopod or tripod (if allowed) set up where the butterflies are
likely to feed – just wait. . .
Lighting:
Fill flash needed as some critters may be back lit.
Set your flash to one or two stops under.
From the Enchanting Kerala site (link below), there were these additions:
1. Keep tripod head loose for butterfly movements.
2. Watch your background – distracting? Change your angle.
3. Keep your movements fluid and not jerky!
4. Avoid casting YOUR shadow on the colorful critters!
5. Keep the camera sensor parallel to butterfly’s body.
6. Wear muted colors when shooting.
7. Personally, avoid heavily scented perfumes, deodorants, or
after-shaves lotions.
A couple of helpful links on capturing butterflies:
http://photonaturalist.net/7-tips-for-photographing-butterflies/
http://enchantingkerala.org/digital-photography-school/14-tips-for-photographing-butterflies.php
"Photographing Butterflies"
Living in Massachusetts, we are most fortunate to have accessibility to two (2) indoor butterfly facilities - one in Westford and the other in South Deerfield. For a nominal fee and an early arrival, one can tote in a tripod and have a fairly crowd-free environment. Speaking to Hockomock Digital Photographers’ resident nature expert, Frank Gorga, I was able to gather some helpful tips on how to capture these very flighty insects. Check out Frank’s blog for great images and suggestions: http://gorga.org/blog/
Lens Choices:
Best: 300 mm lens with extension tubes is probably the best
combination of working distance and magnification.
Better: a long lens (200 or 300 mm) with a short minimum
focus distance.
Good: a macro lens is of limited use as one simply can't
get close enough to a living insect to make good use of it.
Critter Chasing Options:
Hand-holding Camera with image stabilization
Monopod or tripod (if allowed) set up where the butterflies are
likely to feed – just wait. . .
Lighting:
Fill flash needed as some critters may be back lit.
Set your flash to one or two stops under.
From the Enchanting Kerala site (link below), there were these additions:
1. Keep tripod head loose for butterfly movements.
2. Watch your background – distracting? Change your angle.
3. Keep your movements fluid and not jerky!
4. Avoid casting YOUR shadow on the colorful critters!
5. Keep the camera sensor parallel to butterfly’s body.
6. Wear muted colors when shooting.
7. Personally, avoid heavily scented perfumes, deodorants, or
after-shaves lotions.
Pack your patience filter – you’ll need it!
A couple of helpful links on capturing butterflies:
http://photonaturalist.net/7-tips-for-photographing-butterflies/
http://enchantingkerala.org/digital-photography-school/14-tips-for-photographing-butterflies.php
Monday, February 14, 2011
Posting Thirteen
"How to Impress Those Judges – Part Four"
This four part article was authored by Jack Alexander and appeared in The Lens Tissue, The newsletter for the Greater Brockton Camera Club.
Jack finishes his helpful hints.
Just what catches the eyes and the hearts of the judges as much as people – animals! Easily available critters would be your pets and those belonging to your friends and neighbors. Kittens and puppies score well with most judges – IF properly set-up. Filling up a basket of kittens or having a puppy frolic with a ball are sure winners.
Looking for something a bit wilder – try the zoo! Remember to keep the hand-of-man (fences, cage bars, bales of hay, dirt roads, sawed-off limbs, and phony looking rocks) out of your image. On a more positive note, zoo directors take considerable time and money to give their animal residents a more natural setting!
Now, how does one make a zoo shot not look like a zoo shot? Your zoom could be all that it takes. Zoom in tight for a head shot on larger animals. Avian houses offer interesting bird photos in a very natural setting. Again, the use of your zoom and a flash might get you that winner.
One of my favorite local spots for shooting animals has been Roger Williams Zoo – especially the polar bear enclosure. We are very fortunate to have a couple of butterfly conservatories in Massachusetts – Westford and South Deerfield. With some advanced planning and a little luck, you can catch these winged beauties resting on colorful flowers. (ED Note – next week’s blog will address shooting butterflies).
For a more controlled environment, check out the opportunities at NECCC Amherst. Here you will not only get some rare and exotic animals but the organizers at NECCC provide the proper lighting as well. If it’s adventure you are seeking, our national parks provide great photo ops for wildlife. Yellowstone is probably the premier park for variety - bison, elk, wolves, moose, deer and coyotes. One of my favorite bird locations is the Anhinga Trail in the Everglades – you should be able to catch a few gators there as well.
Well, that wraps up Jack’s tips on “How to Win More Acceptances.”
"How to Impress Those Judges – Part Four"
This four part article was authored by Jack Alexander and appeared in The Lens Tissue, The newsletter for the Greater Brockton Camera Club.
Jack finishes his helpful hints.
Just what catches the eyes and the hearts of the judges as much as people – animals! Easily available critters would be your pets and those belonging to your friends and neighbors. Kittens and puppies score well with most judges – IF properly set-up. Filling up a basket of kittens or having a puppy frolic with a ball are sure winners.
Looking for something a bit wilder – try the zoo! Remember to keep the hand-of-man (fences, cage bars, bales of hay, dirt roads, sawed-off limbs, and phony looking rocks) out of your image. On a more positive note, zoo directors take considerable time and money to give their animal residents a more natural setting!
Now, how does one make a zoo shot not look like a zoo shot? Your zoom could be all that it takes. Zoom in tight for a head shot on larger animals. Avian houses offer interesting bird photos in a very natural setting. Again, the use of your zoom and a flash might get you that winner.
One of my favorite local spots for shooting animals has been Roger Williams Zoo – especially the polar bear enclosure. We are very fortunate to have a couple of butterfly conservatories in Massachusetts – Westford and South Deerfield. With some advanced planning and a little luck, you can catch these winged beauties resting on colorful flowers. (ED Note – next week’s blog will address shooting butterflies).
For a more controlled environment, check out the opportunities at NECCC Amherst. Here you will not only get some rare and exotic animals but the organizers at NECCC provide the proper lighting as well. If it’s adventure you are seeking, our national parks provide great photo ops for wildlife. Yellowstone is probably the premier park for variety - bison, elk, wolves, moose, deer and coyotes. One of my favorite bird locations is the Anhinga Trail in the Everglades – you should be able to catch a few gators there as well.
Well, that wraps up Jack’s tips on “How to Win More Acceptances.”
Monday, February 7, 2011
Posting Twelve
"How to Wow Those Judges – Part Three"
This four part article, which appeared in The Lens Tissue, the newsletter for the Greater Brockton Camera Club, was authored by Jack Alexander, former member of HDP.
Because of their many moods, people are often the most rewarding subjects to capture with your camera. Look for interesting facial features. Since your camera is a severe critic, let me add some dos and don’ts when shooting people:
1. Tidy up the subject’s hair without overdoing it.
2. Have you subject stand tall or sit – slumping is a negative.
3. Turn the torso at a slight angle to the camera so your subject becomes a slimmer, more flattering photo.
4. A slight tilt of the head can be pleasing as it softens the skin tones.
5. Be especially careful of hand placement. When in doubt leave them out of the frame! Take particular care NOT to cut off a limb at the joints!!
6. Avoid one of the most unflattering areas – the armpit!
7. Generally, the eyes should be in the upper thirds of your frame.
8. If your subject is a child, get down to their level. Never shoot down on them!
9. If a catch light is involved, try to have it fall at either 11:00 or 1:00, if possible.
10.If your subject is wearing glasses, a slight tilt may reduce their reflections.
11. If your subject has prominent ears, have him or her turn until the far ear disappears.
12. Leave more room in the frame toward the front of your subject rather than the back.
13. Working with children, bring along a few toys – great props!
14. Try to shoot your subject at eye level.
15. Since the eyes are the focal points of any picture, focus on them.
"How to Wow Those Judges – Part Three"
This four part article, which appeared in The Lens Tissue, the newsletter for the Greater Brockton Camera Club, was authored by Jack Alexander, former member of HDP.
Because of their many moods, people are often the most rewarding subjects to capture with your camera. Look for interesting facial features. Since your camera is a severe critic, let me add some dos and don’ts when shooting people:
1. Tidy up the subject’s hair without overdoing it.
2. Have you subject stand tall or sit – slumping is a negative.
3. Turn the torso at a slight angle to the camera so your subject becomes a slimmer, more flattering photo.
4. A slight tilt of the head can be pleasing as it softens the skin tones.
5. Be especially careful of hand placement. When in doubt leave them out of the frame! Take particular care NOT to cut off a limb at the joints!!
6. Avoid one of the most unflattering areas – the armpit!
7. Generally, the eyes should be in the upper thirds of your frame.
8. If your subject is a child, get down to their level. Never shoot down on them!
9. If a catch light is involved, try to have it fall at either 11:00 or 1:00, if possible.
10.If your subject is wearing glasses, a slight tilt may reduce their reflections.
11. If your subject has prominent ears, have him or her turn until the far ear disappears.
12. Leave more room in the frame toward the front of your subject rather than the back.
13. Working with children, bring along a few toys – great props!
14. Try to shoot your subject at eye level.
15. Since the eyes are the focal points of any picture, focus on them.
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