Traveled to Woods Hole, MA this spring. Great place for photography.
Used a three shot bracketed stack to bring out the colors. An advantage to the stack is that it gives the illusion of a long exposure, a flat misty ocean. This is a good alternative with no ND filters and tripod.
Photography always comes down to; did you capture it right?
Blogs, websites, and Twitter are full of helpful hints and guidance on proper use of a DLSR. ISO, Aperture, Shutter Speed, White Balance, Histogram, Program Controls, Manual Controls are all significant aspects of making an image.
But a good photograph still depends on the underlying foundation of Composition and Perspective.
Last weekend I was walking the dog down by the tracks in town and came upon this scene.
The rail line is a spur connecting the regional line to a few businesses and the local university (Susquehanna University). Trains are uncommon, at perhaps few times a week, and the rail bed is in rough shape. One line is out of commission. The panorama above captures pretty well the location and environment. It is not particularly photogenic as a landscape or an architectural shot. Other than the dog, the only good aspect is the sky.
But the tuft of grass growing in the rail bed was interesting. However the background, at best, detracts from the shot and had to be removed. The angle from the shot above plows the grass into the tracks and bed. This necessitates it being tighter and lower to the ground.
I used a f1.8 35mm DX lens. That’s the rough equivalent of a 50mm lens on a full frame sensor. Fortunately these inexpensive primes are clear from side to side. Additionally, it let me open way up to render a nice soft bokah. Note that the for ground and background are blurred. At f2, only the grass is really in focus, which adds emphasis. My other walk about lens is a 18-105 mm 3.5-5.6. With that lens, I’d be able to shoot at maybe f4.8, which would have brought the ugly houses in the background into significantly sharper focus.
What did I do in Post? Not a whole lot. I’m a journeyman at best in LR and PS. At 35mm, I had to crop out the telephone pole and building on the left. I did have to warm the white balance, which was much to cool for the actual image and brought out the yellows/oranges a bit to make it pop. Finally, because it was a cloudy day, I shot at a half stop over and used the gradient tool to mute the clouds which were too bright. A higher resolution version is found here.
Hope you liked my process on this shot. I’ll be posting as regularly as life and employment allow.
I’ll be happy to field questions if you have any.
Night photography is challenging to do well and there are thousands of fantastic shots.
My half hearted attempt was really just an excuse to try out my new shutter release cable.
Shot at f3.5, 18mm, and 35 second. A little post production to liven it up.
I’ll update with a properly worked up photo later.
Feel free to comment.
It took a lot of work getting over my hesitation toward street photography and shooting strangers in particular. Getting past that aversion has been yielded some of my most satisfying images.
This blog has several posts on my spring 2013 trip to New Orleans, Louisiana (NOLA) for a conference. While the conference was good, the photography was much better. NOLA is a great place for street photography. The area is still recovering from hurricane Katrina and there is a construction boom going on. With tourism and Bourbon St in particular being such a draw, its a safe place to walk alone day or night. Lots of police, who in general, are pretty chill. Having said that, I’m a fairly imposing male, kept a close eye on my surrounding and never put myself into anything sketchy. Its easy to walk the wrong direction and end up in a really bad part of town.
I’m always hesitant shooting people on the street. I completely understand that some people don’t like to be photographed. Which is why I carry the camera, ahem. But after a while, I distilled my own techniques and philosophy. In general, if I’m not going to intrude on someone, I’ll take the shot. If interaction with them is inevitable, I’ll go with my gut. That’s translates to understanding what the environment is like (e.g. a party, argument, festive, relaxed, intimate) and gauge what I hope their response will be. But some of the most meaningful shots are of people you’ve talked to and then asked for a portrait.
Below is a shot taken a block or so off of Bourbon St. These guys were on break from their kitchen jobs and smoking on the street. Another nice thing about New Orleans is that everyone I met was honestly nice. Its partially the southern thing, but also a tourist thing. They knew I was from out of town by my clothes and camera and yet were genial and open. This would not have been the case in a lot of other cities. I talked to them for a while about my time there and inquired after them also. After feeling more comfortable, I asked if I could take their picture. They agreed.
It was shot with a Nikon D5000 and 35mm f1.8 DX lens. I’d only had the lens a couple of months and this was the first opportunity for street photography. This is a great little prime lens, especially given the low cost. The ISO was pushed out to 3200, which for the lit streets, typically worked well. A better sensor in the newer Nikons would have been great for lower noise, but this was acceptable. That night the camera was set to aperture mode and used wide open. A 35mm lens at f1.8-2.4 with subjects at 10-35 feet usually had an acceptable depth of field. That is assuming the subject was in focus. The downside of the lens is that it does hunt a bit at low light. But I suppose most lenses would.
Notice the nice bokeh in the background kept the emphasis on the guys. In post, I had to increase exposure and make it black and white. There were a mix of lights that cast strange tones in red and green.
I did make several mistakes on this shot. One is that I shot Aperture mode. I should have shot in Manual. That would have blown out the background, but properly exposed the subjects. A 1/750th of a second is way too fast. If it was at, say 1/125, I’d have them better exposed. That was a bit of an issue on those streets. The light levels change a good bit, but given the potential for backlighting or improper exposure, its better to preset the camera. Having said that, you need to periodically check the exposure and not depend on the dynamic range of the sensor.
Alternatively, I think the sensor was set to Matrix instead of spot focus. That would have properly exposed the subject but potentially blown out everything else. A lot of people were wearing black so too tight a exposure meter could have over exposed the whole image. Also, on aperture mode the shutter speed would have been so slow everything would have been blurry.
After more practice and experimenting, I now typically push the ISO way up and use manual mode. The shutter speed is fast enough to prevent subject motion blurring (1/90sec and faster) and still follow the 1/x rule for lens length. Aperture is usually close to wide open. At this point I depend on the dynamic range of the sensor and shooting in RAW to help me fix anything in post. I’m finally getting enough of a feel for the camera to make on the fly adjustments (shutter speed usually) without chimping the histogram after every shot.
Hope this helps.
Feel free to comment. I’ll be happy to respond.
Fog has always provided a sense of mystery and unknown. In photography, it can be used to enhance or hide details. I love shooting in fog just for this reason. In central Pennsylvania there are plenty of vistas and sites that would make a high quality composition. But I rarely have the time to plan out capture that requires me to sit for hours in preperation. Between a job and family, I’m lucky to make it three blocks from the house without my dog on leash. So foggy mornings are highly valued as a way to convert a boring scene into something interesting.
Below are three shots taken on my iPod. All three shots are of a local high school soccer field framed by tree branches and another row of maple trees in the distance. And all were taken from roughly the same perspective, at least viewing through the same trees.
The top photo was shot in a frozen fog. The world is black, white and a color drained green. The foreground tree branches provide a nice contrast to the white fog. In the distance a row of maples line a road that is currently obscured. A couple of cars are visible as is the infield of the baseball diamond. Without knowing the landscape, this is a romantic field lined with trees that fades into the distance. A little more post work could remove the cars and even up the imperfections. But in general, I really like this shot. An instagram version is found here.
The next day was a typical December morning. All of the components from the fog shot are there, the framing branches, the trees and field. Even the sky is similar, a dull white cloud cover but dominates the image. But without the fog, the field looks worn, the baseball field is a smear, the roads slicing through the right side, and the school is injected on the left. Its a dreary, somewhat depressing, and eminently forgettable image.
So what about a bright sunny day and blue sky? Sure, its better than the gloomy day above, but its still rather stark. The blue sky is a great improvement over the clouds. While there are virtues of shooting on cloudy day, those images tend not to capture the clouds as a prominent component, but use the soft diffuse light to evenly light an object or face. This bright blue sky puts the field, road, trees, and school in a more positive winter mood.
In short, fog adds mystery and romance to an image. Its ability to mask details as a gradient means that by moving to compose the shot, undesirable components can be hidden.
A blog post I read recently by Autumn Lockwood (here) reminded me of an attempt at a self-portrait a few months ago. I had recently picked up a Nikkor 35mm f1.8 for my D5000. I’d played with for a while and set it aside. On a gloomy day, I was looking for something to shoot. It was rotten outside but it did make for a nice soft light inside.
The image below is the RAW output (converted to jpg) from the camera, 1/50s, ISO 400, F4. The camera had been set up on a desk and put on a timer with the autofocus set for the center of the frame. Since I knew where it was focusing, I just made sure I could see my eye in the center of the lens.
I’m really rather reticent in putting my image online. There is a reason why I’m the guy with the camera, I’m not a big fan of my own image most of the time. But if your holding the camera, its less likely your image will be the one captured. And now that I look at the image, I’m not exactly all that photogenic to begin with.
But there is a reason why its posted. I liked how the eyes were captured. But it just didn’t come out very well. Photoshop, more specifically the RAW plug in, allowed me to non-destructively manipulate the image. The non-destructive nature was important. After 17 jpeg versions I finally landed on one that I was fairly satisfied with, below. The image was achieved by increasing the contrast (100), exposure (+0.45) and brightness (+144), but they are not blown out. Vibrance (+51) and saturation (+21) brought the eyes out. The orange and blue on the cropped sides were from gradient filters, but the face had no spot treatment.
The colors in the eye are all natural, albeit exaggerated with increased vibrance. Wiping out the skin tone and leaving only the most contrasted parts of the image, nose, eye brow ridge, and eye brows, adds emphasis to the eyes.
But still, the asymmetric nature of the face bugs me. Can’t bitch too much because its my face, but the right eye seems more awake than the left. What would it look like isolated? The window of natural light are clearly seen in the reflection, but only really dominates the top part of the eye and is somewhat lost in the eyelid. The bottom part is clear and shows the iris quite clearly.
It is a bit softer than the first two images, but that is more likely from post work than anything else. This bottom image was converted from the RAW file in LR4.4 instead of a previously generated image using the RAW editor in CS5. The cropped eye is certainly a much stronger image than the whole face. In the whole face image, the nose, cropping, and asymmetry really draws the eye from the best parts of the shot.
Summary: A gloomy day self-portrait was changed into a more artistic shot. But the most revealing feature, the eye, was isolated for the most impact.
Autumn is my favorite time of year for photography. In central PA, the mix of hills and trees make for rich and varied work.
This is an image of a nearby yard that I’ve enjoyed walking by. The photo was downloaded from LR through Mosaic on my iPod, which explains the lack of resolution. Most of this post was done on my iPod. As I get more familiar with WordPress, the more dynamic WP really seems to be.
I spend my fall collecting images because the winter is typically uninspiring and dull. Below is a bit or rural decay. I’ve noticed that most street photographers and urban photographers, are just that urban. Living in an old small town that has slowly declined as manufacturing jobs have moved over seas, these types of images are prevalent. And I live in a one of the better towns.
Winter will be spend working up older photos, waiting for the occasional nice day outside, and shooting macro inside.
Before the Nikon DLSR was the Kodak point and shoot. Not a bad little camera for the technology at the time. The photography bug had bitten, but I had not realized how much I really needed a DLSR to learn the craft. Yes, composition and eye are more important than equipment. But the right tool for the right job is equally valid.
Below is the sixth photo taken with the Kodak. Murphy was a great chocolate lab and had amazing photogenic qualities. He’ll be a frequent object of these stories.
Below could, arguably, be called an artistic shot. I’ve gone through the hundreds of images taken with the Kodak and concluded that it does a pretty good job of documenting an event. But that’s about it.
Some of the driving factors to getting a DLSR are shown here. I’ve always appreciated close up work and macro work. but when you can’t manually focus the lens and control the depth of field to any degree, its time to move on. I spent a lot of time trying to get close up shots of some detail. And most of them turned out like the crab apples below. The fruits are blown out and poorly focused. Everything has a sheen of light on it except for the shadow, probably me, and looks like the light balance is off.
Later stories will be on images taken with the Kodak. But those will be more from the emotional importance or documenting an event idea, not quality photography.