Photography Tip: Have One Subject

Try to have only one subject per picture. Any more and it gets confusing. A group of people or objects can function as one subject if you compose them as a single unit. You can separate the subject from a busy background by using a shallow depth of field.

Photography Tip: Portrait Orientation

Amateur photographers often shoot the majority of their pictures in landscape (horizontal) orientation. Professional photographers mix it up, particularly when the situation calls for it. A common instance of using portrait (vertical) orientation is when doing portraits (of humans or animals ;) ). Another one is when shooting vertical objects (e.g., trees, buildings, columns). So, don't forget to turn the camera 90 degrees once in a while. The composition takes on a completely different dynamic.

Photography Tip: Get Close (I Mean, Really Close)

When an amateur takes a shot of a flower, it's usually from five feet away. That's fine. The pro, however, will then walk 3 feet closer, then take the shot. And, then, walk 2.5 feet closer, and take another shot. And, then, walk so close the lens becomes a part of the flower.

The real lesson, of course, is that you should just walk right up to the subject and get in so tight that the camera can't even focus (if that happens, back away an inch or so, buddy). Rarely, do you regret wasting digital film by taking close up shots; in fact, you usually wish there were more. So, make sure you get right up to the very thing you're shooting. If you're shy, wait until the crowds have gone or invest in a good telephoto lens. I prefer the former (it's cheaper). :P

Photography Tip: Golden Hour (a.k.a. the Best Time to Shoot)

The half hour after sunrise and before sunset gives photographers a warm, golden light to work with. Also, unlike sunlight that you get during the middle of the day (which is contrasty and casts harsh shadows -- particularly, on the face), the light comes in sideways. Here are a list of things that improve with "magic hour" light:

• Texture: the directional light emphasizes things like the wood grain on the pier posts in the photo above.
• Skin tone: great for portraits because it flatters the skin, giving it a more pleasing tone.
• Landscapes: everything is bathed in a rich, yellow glow.
• Shadows: they get longer for a more dramatic effect. 

Photography Tip: How to Eliminate Blur in Photographs

Get it? We're discussing things that are "tack sharp"? Hehe.

Hate losing good shots because of camera shake? Want tack sharp photos? Well, there's hope! The answer is, of course, a tripod. If you have a wireless remote that activates the shutter, even better (cable release ones are fine, too). If you don't have a remote, you can always use your camera's self timer (that's what I do).

No tripod? Well, if you're lucky, there's either a steady, flat surface you can place your camera on or there's a sturdy wall you can lean against for stability. Make sure your "Image Stabilization" or "Vibration Reduction" feature is turned on.

Still don't have a wall or table to use? Try holding your breath when you press the shutter button (I'm serious! And don't jab it!). Have as much light on the subject so that your shutter speed is at least 1/60th of a second. If necessary, kick up your ISO.

If all else fails, there's "Unsharp Mask" in Photoshop that will help do the trick in post production (but don't rely on post processing!).

Photography Tip: Use Plain Backgrounds

When possible, simplify your background. Whether that's using a studio backdrop, moving your subject in front of a plain wall, or slipping a piece of paper behind a decorative ball (see above), it'll prevent visual distractions and makes sure the attention is solely on your subject.

Photography Tip: How to Get Horizontal Horizons

Unless you're deliberately doing something artsy-fartsy, please keep your horizons horizontal. When I see land/sky or sea/sky horizons even 1/2 a degree off level, it drives me nuts, primarily because there are two EASY ways to fix a misaligned horizon. 

1. In camera (when you're shooting it) - Some cameras' LCDs even display the grid for the rule of thirds (my el cheapo DSLR does!). Just line it up to the bottom or top horizontal line on the grid and voilà: instant composition AND a level horizon. Wow. They just couldn't make that easier for you.
2. In Camera Raw (Photoshop/Bridge) - In case you managed to screw it up while shooting, Camera Raw has a miraculous tool known as the "Straighten Tool." Just use that sucker to line up two points on the horizon and you'll look like a pro.

And if you still couldn't/didn't do either, just try your best to rotate the picture (when cropping) to make it level.

Now, I expect no more lopsided photos. ;)

Photography Tip: Why All the Negativity Around Negative Space?

A photograph's subject doesn't necessarily have to fill the entire photograph. Photographers shouldn't be afraid to use lots of "empty" or negative space to tell a story along side with their subject. In fact, negative space may tell a story in its own right or it can just give eyes a place to rest.

Photography Tip: Mind Your Foreground!

Many amateur photographers forget to pay attention to their foreground. They either

• Exclude it entirely: which may ignore possible framing possibilities (this then usually puts the subject in the foreground).
• Include too much: which produces visual clutter. 

Photographers should first determine if foreground adds to the composition (it's perfectly fine to not include it). If so, they then need to determine how much to add.

Here, I used the foreground to give us a feel that we're part of the game. I suppose I could have angled the camera lower to further emphasize this point of view, but I wanted to demonstrate all three visible levels: the foreground (black pieces), middle ground (the two center pawns), and background (the gray/white wall and the brown pieces).

Photography Tip: How to Get Blurry Backgrounds

A frequent question that seems to pop up is how to photograph a subject in front of a blurry background. This effect is actually rather simple and can even be done on a point and shoot camera. Here's how to do it:

If you have a digital point and shoot camera/compact camera:

1. Set your camera to "macro" mode (usually indicated with a flower icon -- consult your instruction manual if you can't find it).
2. Get really close to your subject (make sure the focus is on the subject).
3. Get far from your background.
4. Take the picture.

If you have a DSLR (or can manually set your aperture on your camera):

1. Open up (wide) your aperture: set it to a small number (e.g., f/1.2, f/2.8, f/5.6, etc).
2. Get really close to your subject (make sure the focus is on the subject).
3. Either get far from your background or use a long focal length (telephoto!)
4. Take the picture.

If you have any questions, feel free to ask. :)

Photography Tip: The Rule of Thirds

One of the first "rules" of photography (or art, for that matter) that most people learn is the "Rule of Thirds." This is achieved by dividing a photograph horizontally and vertically into equal thirds. This rule is actually not set in stone and is meant to be more like a guideline. Here are a few common suggestions:

• The horizon should be as close to the top or bottom horizontal line (see above). One of the marks of an amateur is placing the horizon dead center, effectively cutting a photograph in half.
• The subject should be as close to one of the four intersection points (see below).

• The eyes of a person should be on the top horizontal line (when doing a standard portrait).
• Vertical subjects should be lined up to one of the vertical lines. Don't put a person dead center, as well.

Just because you use the rule of thirds does not mean the photograph is automatically a masterpiece. You must consider the composition as a whole. For example, if you place a person on one of the vertical lines but that person is then positioned with an electric pole or tree branch that appears to stick out of their head, then that is not a good composition. After getting the hang of this rule, you are encouraged to break it to produce equally, if not more, intriguing photographs.

Review: "Composition Considerations" by Chris Orwig

I watched five clips that comprise a 20-minute chapter named "Composition Considerations" on lynda.com. It is part of a greater body of work called "Narrative Portraiture: Foundations of Portraiture" by Chris Orwig. The first clip, "Photo review: Composition examples," compares a few photographs that demonstrate the power of moving either the subject or the camera, despite using only a simple camera and lens. The second part, "Thinking about composition," emphasizes the concept of framing. It's not good to place the subject dead center or to have too much clutter within the frame. He recommends using the "rule of thirds" to create mystery, but within reason. The goal is to have the viewer look at the subject and then travel around the frame to look at everything else. "Composition and the story," the third installment, has the camera person actually mimicking the actions of a photographer as he considers leading lines, moves closer to the subject, tilts the camera, shifts the camera to the left and right, and drops down or raises the camera for more options to tell a story. Relaxing the subject is the focus of the fourth video, "Position and positioning your subject." By having the subject do anything with their hands/arms (holding them up, leaning against something, hiding behind the subject's back, etc.), the subject is able to breathe and look more natural. Even having the subject briefly look away can be effective. The last clip, "Photo review: Composition in print" explains how although a photo (as a stand alone) may not be great, it may still be compelling together with other photos in a portfolio.

If you're looking for hard and fast rules, these are not the videos for you. If you want a demonstration of how to react to a particular shooting environment and the decisions you may make, then perhaps this series would help. I suppose I'm looking for the former, but it was nice to see a good photographer walk through the thought process of shooting.

Review: "Creating Effective Compositions" by Dane Howard

I watched a 10-minute clip on lynda.com by Dane Howard on "Creating Effective Compositions." He explains that the elements we need to pay attention to for photographic compositions are 1) lines and direction, 2) motion and direction, 3) depth of field, 4) focal point, and 5) value. The important idea that I walked away with was the concept of a "first read" and "second read," which pertain to what the eye gravitates toward in a photograph. He states that we, as photographers, have control on how we effect the read. To understand the process, he recommends blurring one's eyes and then seeing what sticks out in the photograph. For example, in the first read, we may focus on human eyes or the brightest part of a photo. I also liked how he discusses the use of triangles (leading lines, forced perspective) to emphasize something in the first read.

Review: "Image Composition" by Taz Tally

I watched a 20-minute video clip on lynda.com titled “Taz’s Guide to Shooting Fundamentals: Image Composition” (which is part of Taz Tally's "Digital Photography Principles"). Taz briefly discusses the significance of the following concepts:

• Orientation - portrait vs. landscape: depends on what you are emphasizing (e.g., trees are vertical; therefore, use portrait).
• Asymmetrical composition: place the subject anywhere other than the middle.
• Fore-, middle, background: we don’t want flat pictures. The goal is to let the eye to take a journey though the photograph. We don’t always have to add foreground though.
• Horizon placement: placing the subject in the middle = dull.
• Add interest (people, paths, tree, sky, etc): you can use a zoom lens to add/subtract things from picture.
• Avoid busyness: too much foreground detracts from the subject.
• Crop images: either in camera or in post production to emphasize the subject.
• Use a tripod or monopod: to maintain focus/sharpness.
• Control depth of field: lower the f-stop to create a blurry background, while keeping the subject in focus.
• Use focus to soften the image: create a dreamy effect by deliberately making the picture slightly out of focus.
• Use polarizing filters: especially if u shoot outdoors, polarizers create more contrast (particularly in the sky/clouds).
• Bracket exposures: if uncertain which settings look best, bracket.
• Use fill flash: for example, if near a window, the camera will focus on the light coming through, leaving the subject in the dark. Use flash to light the subject.
• Control image placement: redundant topic to “asymmetrical composition” (above).
• Use framing effect: used a tree to frame mountains.
• Create eye lines: want to move eyes through a picture, like following a river’s path.
• Shoot early and late: shoot when light is the most interesting (mornings and afternoons/twilight/dusk).

Overall, the clip was a cursory introduction to many elements one has to consider when thinking about a photograph’s composition. It was not intended to go into full detail about how to apply these elements. He shows effective examples of what to (and not to) do.