Shutter Mike Photography

It is the first of July, that means we are only a few days away from photographing fireworks.  I do not have a lot of experience in this area to offer solid first hand advice on how to capture the best fireworks photographs.  But I do have a few pieces of advice from my fireworks photography outing last 4th of July.  I have also complied what I feel are some great resources out on the Internet to help guide you through the process.

My Fireworks Photography Tips:

1. A tripod is ESSENTIAL.  I’d go so far as to say “don’t even try it without one.”

2. A remote shutter release cable can help significantly as well.  It allows you to release the shutter without touching the camera thereby reducing camera shake and blur.

3. Location is key.  It really helps to scout out the area where the show is going to be the day before to find a spot where you will get the best vantage point.

4. Read up on the best settings to use for photographing fireworks ahead of time so you can limit your experimentation during the show when time is limited.

5.  Above all else, have fun with it.

Here are some resources I have found that offer tips and tricks on getting the best Fourth of July fireworks shots:

Digital Photography School – This is a great resource for all things photography related.  Their How to Photography Fireworks guide is one of the best and well worth taking a few minutes to read.

Photographyreview.com – The Fireworks Photography Guide from photographyreview.com goes more into the technical aspects of getting the best shot.  Even if you are not familiar with all the technical aspects of photography this is a good read.  No time like the present to start learning anyway.

Canon – You don’t have to be using a Canon camera to take advantage of their advice.  The Canon Digital Learning Center’s Quick Tips: Photographing Fireworks article includes a helpful section on how to best compose your fireworks shots.

Portrait photography has never been my forte.  In fact I have pretty much avoided it at all costs.  It scares me a bit.  First, you have to please someone other than yourself; your subject.  In the nature, landscape and architecture photography I have focused on almost exclusively the subject has little to say about how the final image turns out.  Second, I very much enjoy the solitary aspect that photography can have.  I can go to the middle-of-nowhere and be alone with my camera and engross myself in something I love.  Portrait phot0graphy, by its very definition, does not allow for much solitude.

But I have decided, for the sake of improving and expanding my photography skills, I need to branch out.  I started photographing a friend and my niece.  Then last week I had a portrait photography first for me; a four year old child.  I think I may have jumped in with both feet on this one. But that is a good thing and a great way to learn something.  Sink or swim so to speak.

These photographs are from my first shoot of a young child and the tips here are a few things I discovered in the process.  Some are specific to photographing kids, some can apply to any age subject and some even work for any photography subject, human or not.

1. Be prepared – Get everything set ahead of time.  Make sure your camera and flash settings are where you need them before your subject arrives.  Get tot he location early and scout out a few good locations.  Whether shooting a child or adult don’t keep them waiting while you get things set up.
2. Lighting is key – If you aren’t using studio lighting, but natural light, be watchful of how that light is interacting with your subject.  Are there shadows across their face?  Is the  sun in their eyes?  Move around to find the best lighting and try using a reflector to bounce light back up at your subject.
3. Talk – Keep the kids engaged and having fun by talking to them, asking questions and not making the experience so much like a chore.
4. Kids move fast – Keep the camera ready and shoot.
5. Let kids be kids – Don’t try to force smiles or poses.  Kids acting natural will result in great, fun poses.
6. Work with the Kids – Let the kids make decisions of where and how they want to pose.  Let them play naturally and capture them being a child.  It will result in photos that don’t appear forced and will hopefully keep your subject relaxed and more photogenic.
7. Be Unconventional – You don’t have to limit yourself to the traditional “head shot” portrait.  If you take points 4, 5 and 6 into account these “unconventional” shots will just happen.  As cliche as it may be, think outside of the box too.
8. Take lots of photos – This is easier done with digital photography.  But, especially for those of us just starting out with portraits, shoot as much as you can and edit down later.

BBC Wildlife Magazine is well known for its spectacular wildlife photography form around the world.  The pages are graced time and time again with wildlife and nature photography that will make you want to go on safari or deep into the jungle tomorrow.  But above and beyond beautiful photography the expert photographers at BBC Wildlife also offer advice and tips on photographing animals and nature through a series of Photo Masterclasses.  Now you can get all 21 Photo Masterclasses packed with advice, tips and expert know-how on a vast range of nature photography how-to topics.  The classes all of the basics for improving your photography skills.  Here are just a few of what is available all for FREE:

• Plant Portraits
• Animals in their Environment
• Bird Portraits
• Urban and Garden Wildlife
• Zoo Photography
• Extreme Close Up

Each topic is concise and full of great advice that will help you to improve you photography of animals and nature.  You can download all 21 Photo Masterclasses in PDF format.

When it comes to the rules of composition in photography there are two things you need to know: 1) all the basic rules of composing a good photograph and how to execute them and 2) when to disregard those rules.

To start, composition in photography refers to how the elements in the frame are constructed and arranged to result in the desired final image.  There are a lot of these rules and a lot of expert opinions on how and when they should be executed.  Knowing them will help you be a better photographer and help you know when they do not apply to the image you are trying to construct.  I have already talked about framing the subject, leading lines and vertical vs. horizontal composition so up next is filling the frame.

Filling the frame is about making your intended subject the center of attention by doing just that, filling the frame, from top to bottom and left to right with nothing but your subject.  By cropping out the background “noise” and distraction you bring the subject to the forefront and leave no doubt as to what your photograph is about.  But as with all of these photography composition rules this is not an absolute rule.  You can’t zoom in on the intended subject and cut out everything in the background and expect a good rule obeying photograph.  Sometimes the background is part of the story or it enhances rather than distracts from the main subject or maybe that “distraction” gives your particular image the creative touch you were looking for.  This is where part two comes into play, know the rule and then know when it does not apply.

Photographing your pet is something most every pet owner does.  But getting a good photograph of your pet eludes most of us.  Pets tend to not be as cooperative as human subjects (although sometimes the opposite is true).  This makes the pet snapshot much more common than the pet portrait.  However, there are a few things you can do to capture a good portrait of your pet.

1) Avoid using the flash – The flash can cause some eerie effects in the eyes of your pets, from red eye to green glowing demon eyes.  In addition a particularly skittish pet can be easily frightened by a flash going off.  A tripod and proper exposure settings can compensate for the lack of flash when an abundance of natural light is not available.

2) Keep it natural – Natural light is ideal for most portraits when you can get it.  This is especially true for your pets given the negative effects of using a flash.  Natural light also allows you to capture your pet in their natural setting.  A cat in a sun filled window or a dog in a grassy back yard provides both natural light and puts them in their element.

3) Fill the frame – Using this composition technique can make for a great pet portrait.  Get in close, preferably with your zoom lens so as not to startle them, and fill the entire frame of the image with your pet.  This keeps out the distractions of the background and keeps the focus on the subject of the photo, your pet.

4) Don’t try to pose – Trying to pose your pet and getting them to keep the pose long enough to take the photo is an exercise in futility.  Both you and your pet are going to end up frustrated.  Keep it natural and let your pet chose their own pose.  It will make for a much better portrait.

5) Get down to their level – The angle from which you shoot can make all the difference.  Some of the best pet portraits take into consideration that anything but being at the cat or dog’s level (or lower) is going to be little more than a great shot of the top of their head.

6) Try the unconventional – Not every portrait has to be a head shot.  Paws, tails and ears can make for great detail shots.  Don’t limit yourself to just the conventional.

7) Have patience – You have heard the expression “it is like herding cats.”  Cats in particular can be a challenge and their natural disinterest in cooperation can make photographing them difficult.  The same can be true of all but the most well trained and obedient dogs.  Patience will go a long way and be prepared for a lot of takes for the one good shot.

Beyond Megapixels had a very timely post for me recently on Curing Photographer’s Block.  There are times when I head out with camera in hand and nothing inspires me.  I may try to shoot something hoping for the best but come back with an empty memory card or images that are uninspiring.  Tiffany at Beyond Megapixels offers 5 great tips for getting beyond the block and back to shooting.  If you don’t have her blog on your reader be sure to add it.  It is well written and offers some great tips and information on photography.

In photography, composition refers to how the elements in the frame are constructed and arranged to result in the desired final image.  There are many “rules” of composition in photography that are designed to produce an image that is appealing to the human eye.  Of course there is no one thing that is universally beautiful.  So these rules are not absolute so much as they are guidelines to use and expand upon to produce images that are appealing.  As a photographer you have to interpret and often break these rules to get the images you are after.  They do not have to be, nor are they meant to be, set in stone and followed blindly.

A good (and relatively easy) rule of photography composition to start with is framing the subject.  Simply put, framing a subject in an image is a photographic technique similar to physically framing your image in a picture frame.  Only in the case of photography you are using elements in the image to frame the part of the image that you want to draw the viewers attention to.

When you are composing your shot look for natural elements in the scene that could act as a frame for the main subject you want to draw the viewer to.  It does not need to be a solid, four-sided physical frame however.  It can be an implied frame, a hint of a frame on only 2 or 3 sides or anything you feel is appropriate for the image you want to make.  Remember the rules are made to be broken.

The fundamentals such as proper exposure and composition are a critical part of photography.  By understanding these photography fundamentals you can improve your images immensely.  But there are also some very basic things you can do without much studying or mastering new concepts.

1) Know your camera, really know it! – Whether you have a point and shoot or an advanced DSLR your camera is a sometimes complex machine full of features, buttons and dials.  The best thing you can do to really know your camera  is to read the manual from cover-to-cover.  The manual will give you all the basic information you need so that you can become familiar with all those functions and dials and buttons.

If you don’t have a manual for your camera you are not out of luck.  There are a couple of options for missing camera manuals.

• Most camera manufactures have online versions of their manuals available for download.  Here are some of the more common ones:
  • Canon Camera Manuals
  • Nikon Camera Manuals
  • Sony Camera Manuals
  • Camera Manuals Online – a comprehensive resource for many makes and models
• For an even more comprehensive “manual” than the one that came with your camera try the Magic Lantern series of books.  These are well written and detailed guides to your camera that guide you to everything you need to know about your camera.

2) Take your time – Rushing through a photo shoot is going to result in images that look like you rushed.  Take the time to explore your subject; to shoot from different angles; to really think about what you are shooting and the end image you would like to capture.

3) Pay attention – Pay attention to your surroundings and those of your subject.  Yes, the subject itself is important, but so is everything around it.  A distraction in the background can ruin the perfect shot.  If you have ever seen a tree growing out of the top of someone’s head in an image you know what I mean about the background.  But it is not just the background that is important.  All the elements of the setting can influence the final image.  Here are just a few things to be on the look out for:

• Shadows – yours, your subjects and any others that might be creeping into your image
• Distractions – in the background or in the foreground – anything that takes the focus off your main subject
• Lighting – Glare, bright spots, dark spots, uneven lighting

4) See what everyone else is doing – One of the best ways to improve what you are doing with your photography is to see what your fellow amateur photographers are doing.  The Internet is full of resources for this.  Look, ask questions, make comments, post your own photos, ask for feedback.  Participate in the online photography community.  Here are a few places to start you off:

• Flickr
• Faded & Blurred
• Photo.net
• My Shutter Space

5) Shoot, shoot and shoot again – Cliche as it is, practice makes perfect.  Even if you don’t know the difference between shutter speed and aperture you can improve the images you capture by shooting and shooting often.  But don’t just shoot.  Take a critical look at your images and note what you like and what you would like to improve on next time.

White balance has to do with color temperature.  If you have ever shot photographs using film indoors you are probably familiar with the yellow/orange or bluish cast that often washes over the scene.  The reason for those casts of color is that all light has a temperature associated with it.  The temperature of the light you are shooting in impacts the image by pushing the overall color towards red or blue.  The lower the temperature, such as tungsten or standard household lighting, the more the color shifts towards red.  The higher the temperature, such as fluorescent lights, the more the color shifts towards blue.  In film photography you either deal with the color cast in your images or use filters on the lens to balance the color out.

In digital camera, particularly DSLRs, the camera generally has a white balance setting.  You can select auto white balance or select from a number of pre-set options such as daylight, shade, cloudy, tungsten, etc.  The camera will then compensate for the lighting conditions and color temperature so that the overall color hue of the image is accurate.

You can leave the white balance set to automatic, but as will all of the settings on your digital camera taking them off automatic opens up the possibilities for more creativity with your photography.  Experiment with the different white balance settings and note how they each impact your subject.

These images were all taken of the same subject in direct sunlight.  I adjusted the white balance setting on the camera itself to show the effect of each on the image.  There is no Photoshop work on these images other than to re-size them and combine them into the one collage.  The camera did all the white balance adjusting.

Notice in the tungsten photograph (bottom left) the blue cast.  Since tungsten light has a lower temperature it shifts towards red.  The tungsten white balance setting on the DSLR attempts to compensate for this by adding blue.  But in a setting such as mine, where I am using the tungsten setting without any actual tungsten lights, the blue tone takes over the photograph.

For this post, when I talk about color in photography I am not talking about using color film vs black and white film (or changing a digital setting to black and white). Although the choice between shooting in color or black and white can be a critical one, this post is about using color to enhance your composition and even as the subject of your photograph. For many amateur photographers we don’t often think about the mechanics of color when shooting, but all those technical details can really help make or break an image.

First things first, you probably remember the color wheel from your art classes in elementary school.  The color wheel is the basis of how colors relate to one another.  The official definition (via Wikipedia) is:

An abstract illustrative organization of color hues around a circle, showing relationships between colors considered to be primary colors,secondary colors, complementary colors, etc.

Keeping the color wheel in mind there is a lot you can do with the composition and subject of your photographs.  Here are 5 ways to experiment with color next time you are shooting.

1. Monochromatic

In a monochromatic image one color is used in varying degrees of saturation (the intensity of a color) and lightness, or shade.  This results in several contrasting shades of the same color in your photograph.  Look for a scene with one central color, blue for example.  Factors such as the lighting can influence the shade of that color and make for a more interesting image.  Avoid the obvious such as a photograph of the sidewalk.  Yes, that will result in a monochromatic photo, but the excessive lack of contrast can make for a boring photograph.  Using some creativity and your photographer’s eye you are sure to find a subject with varying shades of one color that make the photo both monochromatic and interesting.

2. Analogous

Analogous refers to two or more colors that are next to each other on the color wheel.  Yellow and yellow-green for example.  One color tends to be the dominant color in the image while the other(s) are used to enrich the overall image. An analogous photograph is similar to the monochromatic one, but offers more variation in color and tone.  If you take your time you can find analogous subjects to photograph in both nature or the man-made environment.  You could also set up your own scene and experiment with different analogous color schemes.

3. Complimentary

Colors that compliment each other are opposite each other on the color wheel.  Red and green or violet and yellow for example.  When colors are opposite each other they are thought to be in balance when they appear together.  The intensity of each color is also increased when complimentary colors appear next to each other.  This is referred to as simultaneous contrast.  You can easily set up a scene to capture complimentary colors by gathering some objects and arranging them together for your photograph.  Or challenge yourself and head out to find complimentary colors in your everyday environment.

4. Color and Light

The source of the light you are shooting in can have a dramatic impact on how color is perceived.  The intensity of sunlight, for example, differs by hour of the day and time of year.  Early morning and late afternoon light is much warmer (red) than midday light which is cooler (blue).  Shooting the same subject in varying natural light will impact the colors of that subject.  Other lighting sources, such as shade, florescent and tungsten bulbs and even flash can all result in the same color appearing very different in your photograph.

A great way to get a feel for the impact different light sources can have on your subject is take one (portable) solid colored subject and photograph it in varying light sources.  Shoot it in the morning and again at midday and at sunset.  Then move it indoors and shoot under regular household light (usually tungsten).  The tone and intensity of the color will vary, sometimes greatly, depending on your light source.

5. Color as the Subject

Once you have an understanding of the color wheel and the various ways in which colors relate to each other you can step your photography up a notch and try getting artsy.  One possibility is to use color itself as the subject of your photograph.  Although there can still be a physical object in the photograph,work with the color itself making it the primary focus of the photograph.  Use different tones, light intensities and complimentary, monochrome and analogous colors to create the image and see what you come up with.