Category Archives: Composition

composition: aesthetics, arrangement, balance, beauty, combination, concord, configuration, consonance, constitution, content, design, distribution, form, formation, harmony, layout, make-up, placing, proportion, relation, rhythm, shape, spacing, structure, style, symmetry, weave

Tips for Better Smartphone Photography

This article contributed by Liz Pekler(Bio).

SmartPhone Photography is on an up-trend

Smartphone photography is the source of millions of images per day worldwide. It is not only an important aspect of social interaction, it is also a way to express yourself. Find out how to improve your shots and make the best of your smartphone photography.


Smartphone Photography is attracting more and more people. The number of images made on mobile devices exceeds the number taken on compact or DSLR cameras. Who could blame these keen users? Smartphones are easier to carry, cheaper to maintain, and are more user-friendly than the DSLR. And, with the constantly evolving smartphone camera apps and accessories, the future of smartphone photography seems assured. Indeed, smartphones and tablets are used in conventional photography too.

Is smartphone photography the new norm?

There’s no denying that DSLRs or mirrorless cameras are still the best types of cameras to have despite their larger size and weight. They have powerful sensors that offer the most megapixels. They allow complete user control over camera settings. However, more than that, they provide flexibility and freedom to use a range of accessories, like interchangeable lenses. The flexibility and control provided by a fully functioned DSLR can help you achieve the highest quality output.

Smartphone photography provides well for general image needs, like social media sharing and family records. Using mobile devices has become standard practice in recent years. Their hardware will need time to catch up on the quality and functions of more advanced cameras. However, there are many smartphone photography accessories available. These add-ons can enable your mobile device to get quite close to the high standard of DSLRs.

As long as smartphone manufacturers continue to develop higher specs and more powerful sensors smartphone photography will be likely to trend upward. However, no matter how good these mobile devices become, using the camera will require some user skill. The best photographs are not the product of the camera. They are a reflection of the vision and skill of the photographer – no matter what the device. Smartphone photography can be artistic, can be beautiful, can return great images.

You can get the best out of the built-in camera in your phones by practicing these helpful tips below:

Tips for Better Smartphone Photography

1. Pay Attention to the light levels

As with DSLRs, think, and make sure everything is good before touching the shutter button. Make sure the image is well-lit. One way to do so is to tap your subject on your phone’s display screen. In the smartphone camera on Auto mode, tapping on your subject will command the camera to focus on the area of the tap. Then the camera will make the exposure adjustment. That will ensure your subject is lit to its best advantage. The camera adjusts the overall image in proportion to the exposure. This shows the subject to its best advantage.

To manually adjust the scene’s brightness, swipe the ‘sun’ or ‘bulb icon’ after tapping on your subject. If you want to revert back to the default value, tapping anywhere on the screen of your smartphone usually does the trick.

Brightness changes are not the best way to lighten your scene. You can over-whiten highlights – leading to distracting white burnouts. Instead, try manually adjusting your ISO levels. Higher ISO means the sensor is more sensitive to light. A high ISO number gives a brighter scene in proportion to the ambient light in the rest of the picture. This helps you adjust your image to avoid burnt out highlights.

Raising the ISO has a penalty. High sensitivity to light levels can make your photos look grainy. It is called digital noise. Dimly lit areas brightened by higher ISO are especially likely to show noise if you boost the ISO too high. Practice with ISO a bit to get a feel for the way to use it.

The best way to avoid digital noise is to add light sources or work with natural light. Camera sensors work well with good light levels. So, think about how you can enhance the light rather than rely on high ISO, if you can.

2. Apply the Principles of Composition

Another thing to significantly improve your smartphone photography is to compose your image. This means taking photos to create a more visually appealing image. Try not to “shoot from the hip”. The quick snap often leads to poor shots.

It helps to keep these basic rules of composition in mind when taking photos:

  • The Rule of Thirds – Mentally divide the screen into a grid with 2 horizontal lines and 2 vertical lines. Then, align your subject with any of the guide lines or intersecting points to achieve a more natural-looking and attractive image.
  • The Golden Ratio Smartphone Photography | External link - opens new tab/page – When you compose your photo, leave 1.6 bits of empty space for every 1 bit of occupied space to achieve a balanced image.
  • Leading Lines – Using lines in your composition will help influence viewing behavior, draw your audience’s eyes across an image or towards a subject, and adds motion and dynamism.
  • Three-Layer Image – Having a foreground, a subject in the middle, and a background adds a sense of depth and interest to your photo. See “River Scene” below.
  • Rule of odds – multiple subjects in an image are more attractive if they are an odd number. The most famous case is to have three of something, but five and seven are often used too.

Smartphone photo showing three compositional layers

:: River Scene ::
This smartphone photograph shows three compositional layers. Introducing clear layers into your image helps to bring out a three dimensional depth and structure. Try to use foreground, mid-ground and distance layers in your images.
(Taken on a Galaxy S6 – Android phone)
(Click here to view large)


There are many ways you can use composition to improve your images. There is a whole page of composition links for you learn more here: Composition resources on Photokonnexion

3. Move as Close to your Subject as Possible

When using a smartphone to take photos, opt to move closer to your subject instead of using its zoom feature. Smartphone camera lenses usually have fixed focal lengths so they can’t zoom optically. Instead, it zooms digitally, which visibly distorts, pixelates, and lowers the quality of your images when overdone. Alternatively, you can use a compatible lens attachment that offers optical zoom capabilities.

4. Use Natural Light

The built-in flash on smartphones can sometimes be unflattering as it can wash out your subjects and produce harsh shadows. Harsh shadows with sharp lines create an angular appearance. This is particularly unflattering on faces.

To produce the best results, go for natural lighting. Natural light has an attractive quality for our eyes. We are naturally tuned to it. If you really need a flash there are some good attachments. You can use an attachable pocket spotlight or ring flash. Better still, use a more diffused light. An attractive diffused light provides just enough light for your subjects and creates flattering soft light with shadows. Shadows from soft light helps to create depth – giving a three dimensional feeling in the image.

5. Use A Third-Party Camera App

Your smartphone’s dedicated camera app can get the job done. However, third party apps allow you to do more with your phone’s built-in camera. Some of them offer better exposure adjustments, manual focus and camera settings (like shutter speed and aperture), or even integrated photo editing features so you can touch up captured photos instantly. If your interest is in better smartphone photography then use better editing too. Work to ensure you can navigate within the app and help you optimize its features for better photos.

Also familiarize yourself with the menu, settings, and features of your chosen camera app. If you’re a beginner, spend time and effort on learning photography basics. Think particularly about the shutter speed, ISO, and aperture. Also, think about how they relate to each other to create the exposure. Do some reading of this blog or other photography sites. Watch a YouTube tutorial on manual camera settings. Help yourself to develop a rounded approach to understanding both exposure and how best to take photos. Smartphone photography is as good for producing images as a DSLR. That is only true, providing, you know your tools and how to use them to produce a great image.

6. Take Advantage of the HDR Mode

The HDR mode on your camera phone allows it to take multiple shots of the same scene at different exposures, and then blend them together to create an image that pleases the eye. HDR mode blends the shots to create deeper contrasts in the image. This is particularly useful when shooting landscapes or high contrast scenes where there are obviously uneven highlights and dark areas. However, it must be used sparingly, as it can leave your images looking odd and overly edited. Don’t overuse it – try to work the editor so that your eye sees reality in the results. Trust your eye.

As a safety measure, also leave HDR on Auto. Then, you can manually pick out a better photo from the bunch of shots that were initially taken, in case the HDR blend goes badly. Apply the final result afterwards.

7. Post-Process Your Images

Post-processing can never replace good photography techniques. The best images stand alone for their beautiful content. However, it is also helpful to have editing skills. You can work to enhance a great image, or to work for the overall improvement of your photos. Take out spots, noise, or other irritations. Clean the image up so you show the beauty without distractions.

Photo editing apps like Instagram, VSCO, and Snapseed can be very helpful in making basic photo adjustments that will give you your desired result. Their photo filters are also great for setting or altering the mood of your images.

However, keep your edits at a minimum – especially processing ‘filters’. Instead, strive to make naturally beautiful images. This way, you don’t have to make too many adjustments later. After all, viewers can tell when you “cheat” your way to a good-looking image. Over-editing lowers the quality of your photos.

8. Keep Your Lens Clean and unscratched

This is something that is often overlooked by smartphone owners. It may not seem to be such a big deal for a small camera. However, a lens having oil, dirt, and moisture on it can slowly damage the glass. Leaving the lens on a tabletop can lead to scratching and marking. These ultimately affect image quality. Make sure you wipe the lens before use and use a protector or case, especially when doing a lot of outdoor shoots.

Can smartphone photography ever replace the DSLR?

Not all smartphones are capable of the more complex camera functions. However, many of the models some models currently on the market already have capabilities that mimic those found in DSLRs. In fact, many of them already allow control over the important camera settings, shutter speed, aperture, and ISO. These controls are native to some of the phones without having to use a third-party camera app.

Some of the latest smartphones, like the brand new iPhone and the latest Google Pixel, have more powerful and versatile cameras with more megapixels and other advanced features. Optical image stabilization for sharper photos and smoother videos is appearing, for example. The LG G6, released earlier this year, has great built in features. It carries a wide-angle lens that covers a larger area and is ideal for capturing group shots, magnificent architecture, and stunning landscapes. Many smartphone cameras from other brands offer other impressive features too. These advances are appearing just a few years after we thought such innovations wouldn’t be possible.

Smartphone photography is progressing fast. In a few years time, smartphone cameras are going to become even more sophisticated. For now, it’s safe to say that smartphones are definitely catching up, but whether they will ever surpass the DSLR remains to be seen. One thing is sure, the smartphone camera and DSLR are converging on each other. Furthermore, emergent technologies could take us anywhere. Camera technology still has a long way to go. Enjoy the ride!

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Post contributed by :: Liz Pekler

I am a travel photographer with several years of experience in the field. Being a freelance blogger enables me to help photography beginners and enthusiasts to tell wonderful stories of their travels as seen through their lenses. It also allows me to share my thoughts about another advocacy of mine: social equality and change.
Connect with Liz Pekler: Linkedin :: Twitter: @liz_pekler

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Making an abstract image – opening your eyes

A personal path to making an abstract by Alison Bailey
Interplay By Alison Bailey.

Abstract image :: Interplay.
By Alison Bailey.
Seen on: 365project.org Interplay By Alison Bailey | External link - opens new tab/page
Dated: 15/01/2017
Click picture to see full size image.

I became serious about photography through doing a 365 project My 365Project | External link - opens new tab/page in 2011. I got my first DSLR camera for Christmas that year and have been happily obsessed ever since.

At the end of 2014 I had a eureka moment: abstract photography was for me. It’s ideal for depicting what moves me most in my world – the aesthetics of the characteristics of things. Abstract photography’s exciting, exasperating, exhausting and exhilarating. I love it. I hope you will too.

Making an abstract image

Abstraction is intensely personal and one of the most imprecise art forms. There are no recommended settings or specific lenses that will produce an ‘ideal result’. The accepted ‘rules’ of composition are often deliberately broken or disregarded. There’s no magic formula that will guarantee success. This article aims to provide you with thoughts, ideas and suggestions, along with information about how I work. These may help you to make an abstract image or gain experience to make many of them.

Groundwork

I began my journey by researching exactly what is meant by ‘abstract’. I didn’t find a universally accepted definition. The definition of abstract photography in the Photokonnexion glossary hits the spot for me. It is easy to understand and includes a list of the different aspects of abstraction. It makes a great reference guide for use in the field. I re-read it occasionally for revision.

When I think about an abstraction, what I see in front of me is not manifested in my mind’s eye. Well, not as a picture. I don’t ‘see’ – I experience. Things come to me as impressions with verbal descriptions. I have recently learned that when people say they ‘see’, it’s not shorthand for a thought process that’s like mine. They really do make pictures in their heads. I first thought we all imagine in the same way. It seems that is not true. ‘Seeing’ an abstract is an intensely personal thing. You have to do it your own way.

Studying, analysing and commenting other people’s work teaches you a lot. So, I researched the idea of the ‘abstract image’ on the internet. I viewed many abstracts, examining their composition. I had fun, gained insight into what abstracts can look like and developed ideas and personal preferences too.

The next step toward making an abstract image

I began habitually looking everywhere for shapes, structures, patterns, lines and textures. I looked for them whether I was taking photos or going about daily life.

Then it was time to put what I’d learned into practice.

If you’re unsure where to begin, here are some ideas to get you started. Three dimensional artworks can be inspirational. They are a good choice for the abstract image novice. Less representational work is particularly suitable. Find a piece you like and can legitimately photograph. The artist’s concept and execution of it will give you some useful pointers. However, your appreciation of the work is key to how you interpret it. Beyond works of art, here are some other sources…

  • Look at items in your house. The kitchen is a great source of inspiration.
  • Is there a type of photography you are especially enthusiastic about?
  • Architecture: plenty of lines, shapes and patterns, often textures too.
  • Street scenes (people and/or transport) have many abstract sides.
  • Wildlife and fast-action sports photography lend themselves to expressing movement through abstraction.
  • Macro photography shares an emphasis on detail so it too lends itself to abstract image work.

Keeping an open mind and expecting to find a promising subject is a good recipe for success. The more you look for subjects, the more you will see, sometimes in unlikely places. Whatever you choose, it is important it moves you in some way. A way that makes you care about it.

Rhythmic - I spotted this chair stack in an out-of-the-way corner of an historic cathedral.

Abstract Image :: “Rhythmic”
I spotted this chair stack in an out-of-the-way corner of an historic cathedral. Their lines caught my eye. I felt they had a rhythmic quality.
Breaking the pattern, a compositional device often used to focus the eye, wasn’t appropriate here. The rhythm – the whole point of the image – would have been lost.
By Alison Bailey.
Seen on: 365Project.org Abstract Image :: Rhythmic | External link - opens new tab/page
Dated: 10/07/2015.
Click picture to see full size image.

Studying the details

Once you find something meaningful to you, examine it closely from all angles. You are looking for a way to portray it.

This is a process that cannot be rushed or forced. It is important to be relaxed and receptive. Take a long, leisurely look, soaking up the details. Ask yourself:

  • What do I feel about this?
  • What visual aspects – lines, shape, texture, etc – make me feel that way?
  • How can I present, compose, those aspects to engage viewers and tell them what I saw?

Look carefully. Allow the answers to those questions, and any other ideas that might occur, time to form in your mind. For the best results, keep these answers and ideas in mind at all stages of making an image.

I study a subject via the camera’s viewfinder to remove distractions from the periphery of my vision. I often take photos at this stage too; the act of pressing the shutter button helps me think.

Layers upon layers :: Detail of a sculpture comprising seven pillars of piles of slates.

Abstract Image :: “Layers upon layers”
Detail of a sculpture comprising seven pillars of piles of slates. The profusion of layers and the arrangement of the slates are wonderful. I spent nearly an hour looking and studying them. The light – bright, midday sunshine – cast hard shadows that define and separate the slates and augment the idea of profusion. I composed to create opposing diagonals that prevent a jumbled confusion of lines by drawing the elements together.
By Alison Bailey.
Seen on: 365Project Abstract Image :: Layers upon layers | External link - opens new tab/page
Date: 20/11/2016.
Click picture to see full size image.

Making the abstract image

Choice of lenses, use of light, camera settings and how close you can get to your subject are all factors to take into account when composing your abstract image.

It’s usually not possible for me to use a tripod or flash. I prefer natural or constant, artificial light, anyway. So I have to work round resulting restrictions. You should consider how best to make use of light, depth of field, angle, and point of focus. A good angle and an appropriate focal point can make or break the flow of a composition. That is especially true with a shallow depth of field.

I have discarded many shots owing to poor choice of focal point. I still struggle with it. However, an effective composition is important. So it is worth the effort to get the focal point right.

Once you are satisfied with your composition, take a photo, maybe several. It is good to experiment with other settings and angles, you might discover another approach to your subject that is more meaningful to you than your original idea.

Abstract image :: “Thorny subject”.

I had intended to compose for the spiral created by the arrangement of the leaves of this plant but realised I was more taken with its thorns. I angled to emphasise them whilst, again, looking for a cohesive composition. To emphasise the spikiness of the thorns stronger tonal contrasts were created in processing.
By Alison Bailey.
Seen on: 365Project Abstract Image :: Thorny Subject | External link - opens new tab/page
Date: 30/09/2016.
Click picture to see full size image.

Assessing your work

After you download your photographs, consider and critique them. Take time to do this.

Don’t delete a shot straight away; experience might alter your opinion of it. If I am uncertain, I reassess a photo periodically, sometimes processing it, until I feel sure about it. I’m still mulling over a few taken a year or more ago.

Got a keeper? Then it’s time to add the finishing touches.

From photograph to abstract image

Thoughtful processing will take your photograph to another level. How this is achieved is very much a matter of personal taste.

I almost always process in black and white. Colour isn’t usually what my images are about. For me it will distract the viewer’s eye from the aesthetic aspects that I want to express, weakening the image’s impact. Other authors may take a different avenue. Final processing is very much a personal style.

I often choose to use high tonal contrasts to accentuate, even exaggerate, detail (see Thorny Subject above). My preferred method is to enhance clarity in the image processor’s ‘raw’ filter when developing the image for *.jpg. Then I adjust contrast, brightness and light levels in the main editor.

Whatever you do, the aim is to enhance your composition for maximum impact. You should work to help engage viewers with the aesthetics of your subject and give them the best chance of understanding the artistic intent of your image.

More after this…

The Edge of Vision: The Rise of Abstraction in Photography The Edge of Vision. A book about abstract photography. External link - opens new tab/page
There are few good books on abstract photography. So this historical view is welcome. It brings together the concepts and the art in abstract photography. Spanning the earliest images to modern processes with quality colour pictures too, the book includes up-to-date work from well known abstract photographers. The book gives readers an all-round view.
What readers said:
» Great buy! :: 5*
» A lovely book :: 5*
» Be educated and stimulated :: 5*
» …filled with deep and insightful articles and ideas to inspire. :: 5*
The Edge of Vision: The Rise of Abstraction in Photography The Edge of Vision. A book about abstract photography. External link - opens new tab/page

 

Completing the abstract image

Abstract image :: “Internal structure”
A macro image and a personal favourite. High contrast wasn’t appropriate here. I love the the way this whelk shell is constructed. The fragility of its exterior (suggested by the light tones) belies the strength of the internal structure, brought out by contrast created with natural, diffused light.
On reassessing, I felt the right-hand curve was drawing my eye down out of the frame, so I cropped the bottom of the image to draw the eye back to the pillar.
By Alison Bailey.
Seen on: 365Project Abstract Image :: Internal structure | External link - opens new tab/page
Date: 02/11/2016.
Click picture to see full size image.

After a day or two, I reassess my image. I take time to let the initial pride of authorship fade. Then, if needed, I do whatever is necessary to improve it. Any processing you want is allowable. It could even mean scrapping the image and starting again. It’s frustrating but not daunting; mistakes are excellent teachers and I want to learn and improve.

If that sounds serious, it is. But, it’s seriously tremendous fun. Happy abstraction!

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Post contributed by :: Alison Bailey

Alison is a veteran participant in 365Project.org 365project.org | External link - opens new tab/page. She worked as an assistant librarian and a Civil Servant before becoming a traditional housewife and mother. She enjoys life with her retired husband – and her camera. Alison has at last realised that photography is the medium best suited to her artistic abilities. She is having serious fun striving to express, through her images, her love of, and fascination with, the world around her.

Artwork images – record or new art?

Artwork images are not as easy to photograph as they seem.

Artwork images are not as easy to photograph as they seem.
Image of paper art by Peter Gentenaar
More from this artist on: http://www.gentenaar-torley.nl/  Artwork images: Link to Peter Gentenaar | External link - opens new tab/page

Artwork images are sometimes questionable as art

Most photographers look at work by an artist they like and feel compelled to take a picture. Of course it serves to remind them of the art they saw. That is reasonable. The keen photographer thinks differently. They like to see the artwork. They also like to produce photographic art of their own. But more often than not the picture they take is actually a record shot.

It is often said by judges in photographic competition that a sculpture photograph is a record shot. I have said it myself when judging. A pure record is not a piece of art by the photographer. Just exactly what do we mean by that?

Artwork images: Record verses interpretation

An example of a record shot is the photo at the top of this article. This work is by the wonderful paper artist Peter Gentenaar. His work is stimulating and interesting to the eye. Photos of his work bring out the splendour of his art. That is the point. They are less about the photographers interpretation of the art. Instead, they are about repeating the work in its fullness to show the work itself. It is a record. As such, it will show off the skill of the original artist.

Record shots are a legitimate photographic form. But they are often a record of the exhibit - not new photographic artwork images in their own right.

Record shots are a legitimate photographic form. But they are a record of the exhibit – not new photographic artwork in their own right.

[Seen on www.starr-art.com/ on 30/05/2015
Sol LeWittWall Piece,
1988 Painted wood,
76 x 5 x 5 inches
Published by Edition Schellmann,
Munich and New York.]



Reproduction of artworks in a record style is a proper photographic form. For remembrance, or sales purposes, it is fine. For those seeking to make their own art there is something more needed than simply snapping someone else’s work.

That something extra is a new re-interpretation of the work. The photographer has to invest something of their own into the picture. They have to make more of the original artwork than is presented solely by the work itself. There are a number of ways to do this.

A new interpretation may not be a complete image of the work. It may include the full work, or only be a part of it. The environment of the image, how it is presented, or its framing are all important. Overall there will be something in the new artwork images that the photog makes their own.

 

How can you make new artwork images from an art piece?

Abstract from a piece of art

In this abstract of another piece by Peter Gentenaar the photographer has not shown the whole piece of work. They have taken a piece of the work that shows the wonderful lines and curves, but as a whole it creates a taste for seeing more.
See: Peter Gentenaar–Paper Magician Artwork images:  | External link - opens new tab/page.

• Abstract artwork images: One way to get something new out of a piece of art is to create an abstract of some sort. Abstract photos can be deeply satisfying to create and provide an interesting image for the viewer to consider. Most of the time abstracts are about making an image of a part of the artwork. An example is shown on the left. There can be a lot more to creating abstract photos than simply framing a bit of the total. The power of abstract is to create the essence of the total.

Abstracts require an eye for what works when the whole is not seen. For more on abstracts see our Abstracts Resources Page.

• Creating an new environment: The environment where sculptures are displayed is often important to the sculpture. Sometimes images are still record shots even if they are not on a simple white background. This link is an example of a Henry Moore sculpture record shot (Author unknown).. The author has displayed the sculpture just as it is with little enhancement. In fact it is almost devoid of its environment. The sky serves only as a backdrop.

The same could be said of this picture of an elephant sculpture (below). The artist has created a superb piece which mimics the body of an elephant defying gravity. The first shot is a pure record shot. But, the second is a superb interpretation of the sculpture in it entirety with an audience, depersonalised by movement blur. Very clever. Both images are taken by the sculptor himself, Daniel Firman. A simple but excellent reinterpretation. Such re-inventions are in themselves artistic. As such they are creating artwork images in their own right.

Gravity-Defying Elephant Sculpture

Gravity-Defying Elephant Sculpture by Daniel Firman.
Images by Daniel Firman.

Published in: Gravity-Defying Elephant Sculpture.
(Seen on WordlessTech Artwork Images: Gravity-Defying Elephant Sculpture by Daniel Firman | External link - opens new tab/page 29/05/2015).


Another Henry Moore Sculpture is shown below. This image makes as much of the environment as the sculpture. The artist has created a great panoramic picture using a letter-box crop. The length of the principle subject (the sculpture) is complemented by the almost central position. But, it is highlighted by the mundane, but important line of sheep. The latter gives the eye an excellent weighted contrast to the sculpture in the background. Clever compositional devices like this often create great great artwork images. There is no way this is a record shot.
Artwork images: The compositional devices in this image make it an interesting example.

The compositional devices in this image make it an interesting example of artwork images – definitely not a record shot.
(Seen on: Backstrap Weaving Artwork Images: Henry Moore sculpture on Backstrap Images blog. | External link - opens new tab/page.
(Click the image to see full size).

• Adding something: Another way to make something new of a piece of art is to put something new into, or onto, the piece. I leave the artwork images to your imagination here.

I have often heard judges say about record shots, of say a sculpture, “this needs your hat on it”. Alternatively they might say something like, “a cat just here would make the image something different”. What the judge is saying is, the author has created a shot that does not have anything from the photographer in the image. Whereas, with a little thought, or a little prop, or even a person – the picture could be transformed. Instead of the simple (and boring) representation, the author could have added that little extra that makes the image into a reinterpretation – something different. It would be something created uniquely by the photographer.

Works by you are artwork images

The uniqueness of a photograph is something that makes photography interesting. But, make the main subject a simple representation of somebody else’s work, then the uniqueness is lost. A simple record is created. But with simple compositional thoughts, re-frameing, or the addition of some new aspect, you create a new synthesis. One that is unique to you. One that is a real contribution to the body of artwork images. That is what makes photography so special.

The main point to take from this is simple. Think, plan and consider the composition when taking pictures of other peoples art. A subtle treatment of the art piece can transform it into an image only you could make.

Artwork images – further thinking

Which of these are record shots of Henry Moore Sculptures and which are artwork images by the author…
Henry Moore sculpture on Google Images Artwork images - further thinking | External link - opens new tab/page

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Damon Guy - Netkonnexion

Damon Guy (Netkonnexion)

Damon is a writer-photographer and editor of this site. He has run some major websites, a computing department and a digital image library. He started out as a trained teacher and now runs training for digital photogs.
See also: Editors ‘Bio’.
By Damon Guy see his profile on Google+.

Exposure changes the mood of your image

Exposure changes can affect many aspects of an image.

Exposure changes can affect many aspects of an image. Colour, mood, visual impact, contrast and others. The second image below show the differences.
Image better seen large. Click image to view large.

There is no such thing as a perfect exposure

The main goal of starter photographers is to control the exposure. The Exposure Triangle, or other models of balancing light, lead learners to pursue ‘perfection’. Once they grasp the concept of balancing ISO, Aperture and Shutter speed, the needle in the camera viewfinder is their guide.

In manual mode, that central needle is important. It shows that the three elements are balanced. The unwary learner is soon overwhelmed by that needle. They have learned how to keep it central. Now they are going to keep it there despite everything. They have learned that, if the exposure changes, the needle drifts off the middle position. When that happens it is no longer “perfect”.

That mid-position needle is useful. However, it is not ‘perfection’. It is just a guide. Modern camera manufacturers have made things easy for the camera user. The technology, sensors and controls on a modern camera mislead the unwary into a false position. Complex technology and controls give the user confidence that the camera must be right. They assume the central needle creates the perfect capture. That is simply not true.

The balance of light controls the quality of outcome you want. Your final image is created by that quality of light. The creative photographer uses exposure changes to to conjure up the result they want. A good photographer commands the camera to create the picture. The camera does not create the perfect exposure for the user. The user makes exposure changes to create the desired image. Deliberate under or overexposure is an important part of creating your image.

Exposure changes allow you to command the camera

In the image below we see (almost) the same picture as above…

A different quality of exposure changes the whole experience of the picture.

This second image shows same scene as above. But the different quality of exposure changes the experience of the picture. This outcome is no more correct than the top picture. However, when it was taken this one was 1 and 1/3 stops underexposed on the camera viewfinder scale. It was taken within seven seconds of the first image.
Image better seen large. Click image to view large.

Exposure changes allow the user to create the mood of the shot. This is clearly shown by the deeper contrasts, more saturated blues in the sky and reds in the Autumnal leaves. The low sunlight brings out the shadows and colours more. It all adds up. Together they create a very different view of this fountain scene. A twilight feel perhaps.

I was trying to create an Autumn evening view and the deliberate underexposure gave me the key. Yes, I deliberately underexposed to create the effect. I was commanding the camera to create my “perfect” scene for what I wanted.

Experienced photogs make exposure changes regularly

For me, the darker version was right for the reasons I needed that photograph. The control of the intensity of shadows, colours, contrasts, and so on, can be done many ways.

For example, High key shots often use exposure changes. They are created by deliberate overexposure. That brings out the intense whites in a high key image.

Many portraits are lit very brightly to the eye, but a very small aperture or fast shutter speed limits the light entering the camera. This will create an underexposure bringing out the facial features. This gives shadows a depth, without harshness, as can be seen in the next image. This use of exposure changes is a great mood enhancer.

Portrait shot in bright light but underexposed in-camera.

Portrait underexposed in-camera creates a tonally controlled result.

Create the exposure changes you want

How do you create this effect of under or overexposure? Simple. There is a control that can do it in auto or semi-auto modes. While in an auto-mode use the “exposure compensation” dial. You can add or subtract one or two stops of light. You can find out how to use the dial in your manual.

For the learner going fully manual it is even easier. That central needle position is your guide to what the camera calculates as an optimum light level for the shot. To create a manual over or underexposure simply dial the exposure-meter back or forward. Move the needle away from the central position. Shocking I know. You actually create exposure changes by deviating from the central needle position.

Exposure changes of one stop halves or doubles the light entering the camera. So be careful. Take several test shots. Dial one third of a stop or more at a time. Look at the result and check if you have created the right effect.

Create your image in mind – then make exposure changes to suit

The way you want your image is a creative decision. The camera should not be allowed to dictate the outcome.

You have two choices. If you go with the settings the camera gives you, the result is an optimum of the balance of the settings. If you can foresee what you want to achieve, then create your own result. In this case, make the balance of settings so the exposure changes to your choice. Your choice will be different to the result the camera would give you. But with care and practice it will be what you intend for your shot. You have taken control.

So next time you are taking a photo consider this. If you think your picture would be more effective as a darker or lighter representation, then make the exposure changes you need. Do it – create. Really make your images – don’t just capture what is there.

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Damon Guy - Netkonnexion

Damon Guy (Netkonnexion)

Damon is a writer-photographer and editor of this site. He has run some major websites, a computing department and a digital image library. He started out as a trained teacher and now runs training for digital photogs.
See also: Editors ‘Bio’.
By Damon Guy see his profile on Google+.

Images should make a point… photographic meaning

No Image Today - put photographic meaning in every image you make.

• No Image Today •
There should be a point to every image you make. An image is a communication. Without meaning it is just a picture.

What is a true image?

If your picture has succeeded it has to conjure an image in the mind of the viewer. But if your picture is just that, a picture, it will not succeed. For the genuine photographer, nice is not good enough. A picture should have a meaning, a point, something that makes it a communication. It should have something that makes it an image in the viewers mind.

Photographic meaning… the punch in the picture

Uncertainty about the validity of an image is a necessary part of creativity. Especially in the sense that you should always question, “Have I actually said anything in this picture?” Photographic meaning is an important idea. To really comprehend it, ask yourself if your picture says anything. Be sure you have really transformed it into an image.

I remember once sitting by an autumnal birch tree. It had lovely little yellow leaves and was a nice shape. I took a picture of it. But in the end that picture was simply a nice tree. It spoke to me because of the few minutes pleasure it gave me as I admired it. The picture had nothing to say to anyone else. I never showed it to anyone else, ever. It was about my feelings. It said nothing and was of no benefit to anyone else. It had no photographic meaning. It’s now lost in the obscurity of hundreds of thousands of my other images. ‘Nice’ is simply not good enough to achieve photographic meaning.

We could be picky and obtuse. “Well, it had a non-fatalistic statement to make about the environmental impact of an autumnal tree in its cardinal state, doing what birch trees do… etc.”. Actually, saying anything about it would be mere fluff on the wind. It was a non-picture. Devoid of photographic meaning, it satisfied nothing in the viewer.

You could say the picture now has a ‘raison d’etre’ following this blog. But that was not a necessary, or sufficient, reason for the picture. It’s a post hoc justification for its existence.

The Photographer’s Eye: Composition and Design for Better Digital Photos

When I first read this I wondered how useful it would be. But I learned the importance of photographic meaning. Composition in all its forms is critical to great image-making. Read this book. It is a visual treat as well as a great insight to the power of design and composition in your photography.
The Photographer’s Eye: Composition and Design for Better Digital Photos

Communication

Think of all photographs you make as a way to communicate something. That birch tree picture did not speak to an audience. I remember it now because I sat and stared at the picture for ages thinking, “What was I thinking about to take this picture?”. As an image it conjured nothing in the mind of the viewer. As a picture it failed to pass the photographic meaning test.

Nice is not good enough – images must carry photographic meaning

The ‘birch tree’ incident, not the picture, serves as a reminder. Creativity should have a point – be an actual communication. Otherwise it will have no photographic meaning and little else to commend its existence.

A dedication – Photographic Meaning

This is dedicated to my friend Alison. She struggles to understand her own significance as a communicator. Actually, her astute photo-observations convey a lot of photographic meaning.

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Damon Guy - Netkonnexion

Damon Guy (Netkonnexion)

Damon is a writer-photographer and editor of this site. He has run some major websites, a computing department and a digital image library. He started out as a trained teacher and now runs training for digital photogs.
See also: Editors ‘Bio’.
By Damon Guy see his profile on Google+.

Headshot poses – make your portrait right

Headshot poses :: Keep it simple.

• Headshot poses •
Keep the shots simple and try to reduce any distracting elements in the shot.
(Image from the video)

Your portraits need to be suitable for your subject…

When you want to do a portrait your subject will often not know what to do. Headshot poses are usually pretty simple. But the subject will look to you for direction. You will need to help them pick the right pose.

What inexperienced photogs forget is that male and female poses are different. So they tell their subject to pose how they do when feeling good. That may not be right for someone of the opposite sex to you.

Think about the gender of the subject in headshot poses

If you are a female, think carefully about your headshot poses for a male. Maleness tends to be angular, more aggressive in stance. Males are often better seen head on where their size seems a little more imposing. A hard, upright position indicates maleness. So does harder shadow lines on the face and angular light direction.

If you are a male photographer, you may think in male terms. Female headshot poses are better as more rounded poses than male shots. Inclined heads and slightly turned bodies are best – not looking directly at the camera. Find ways to pose your women subjects in a smaller more understated pose. Remember, shadows on a female face are more flattering when they are soft and give a more rounded appearance.

Circumstances may effect the headshot poses too

There are a lot of different reasons to take a headshot portrait. They may have particular poses attached to those circumstances. For example business poses still have a masculine and feminine aspect. However, they would tend to be more understated than a free posing session. The same might be said of guests at a wedding – and so on. So you need to consider why the headshot poses are being taken.

Clothing is important too. Headshot poses tend to include only the upper body. So if the clothing is distracting it can draw the eye away from your subjects face. Don’t try to get your subject to do a heavy make-up or high-quality hair do if you are trying for a natural shot. Let the inner person come out. Headshot poses are best done in as simple way as possible. There is going to be a high proportion of face in the shot. Overdoing other things will detract from that.

Setting the mood for your headshot poses

Here are a few extras for you…

  • Relax. Sometimes you can get very uptight when shooting portraits. This will get your subject uptight too. So before you start shooting, take a deep breath, breath out slowly. Then spend a few moments talking to your subject to put them at ease.
  • Jokes help to relax an uptight subject. If you tell a light-weight joke it will help set a light mood.
  • Subjects often have a very uptight face to start with. Sometimes all the expression goes of their face. It is fun and will lighten things up if you tell them to pull a few faces – do it with them. That will help get a few giggles and they will have more expression after doing it.
  • When doing the poses make sure you complement your subject. Headshot poses are best done with natural facial expressions. Reward those with a complement. “Lovely smile”, “Nice eyes”, “love that expression”, and so on. This builds a rapport with your subject. It helps them feel comfortable as they pose too.
How to Pose someone for Headshots

In this five minute “headshot poses” tutorial you are lead through a range of things to consider…
Tony Northrup

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Damon Guy - Netkonnexion

Damon Guy (Netkonnexion)

Damon is a writer-photographer and editor of this site. He has run some major websites, a computing department and a digital image library. He started out as a trained teacher and now runs training for digital photogs.
See also: Editors ‘Bio’.
By Damon Guy see his profile on Google+.

Get down to eye level with animals

Work at the eye level of the animal - get into their world

Work at the eye level of the animal – get into their world.

The world at eye level…

Photography can be wonderful because of the alternative views we can get. Often the best photographs are the ones that show us new views, or ones we don’t see from our normal standing position. The world of animals is a particular case in point. Use the eyes as a guide. Work at eye level.

Photographing animals

There is a whole range of animals involved in our lives. Domestic animals and others make great photo-subjects and there is a huge number of different ways to photograph them. Inexperienced photogs often make the mistake of taking the shot from the normal upright standing position. This does two things. It renders the subject “normal” in the eyes of the viewer – because this is the angle they see it normally. This upright position also tends to make the animal seem small and subservient. Both these viewpoints can make your shot look mundane or worse, flat. It will probably be uninteresting to the viewer.

Get down to the eye level of the animal. All of a sudden you are in the animals own world. By engaging directly with the animal at its eye level you create a correspondence with it. Eye-to-eye communication is an excellent way to get to the story of the animal. You see it at its own height. You can also see its world the way the animal does.

The point about this is that you are telling the viewer a new story. It is one they normally stand above. The viewer will have a much better insight from the animal you have pictured. More to the point you will be developing the eye level contact between the pictured animal and the viewer themselves. That contact brings the viewer into the picture. Eye to eye pictures are very powerful.

Eye level contact

Getting eye level contact with an animal is very powerful. The line of sight view the animal has, and the impact of the stare, can all be used to good advantage. If your animal has particularly amazing eyes you are also going to gain from the directness of the shot.

Eye level contact with animals and birds is a very powerful way to draw viewers into your picture.

Eye level contact with animals and birds is a very powerful way to draw viewers into your picture.
(Click image to view large)


Of course you can do the same for animals, in many situations. I enjoy doing photography in zoos. When you try to picture animals there, try to get them at eye level too. To do that you may need to get up a little higher. For example monkeys may be above your head height. I have often found a light ladder or folding step useful when photographing this way. It gets you up to their level.

Getting down low is important too. So be ready to lie down or at least bend for some shots. Try to get your shot right into the eyes of the animal subject you are imaging.

Bring the eyes alive

Eyes tend to look dead if they don’t reflect light. So when possible arrange the light or take the shot to see these reflections. They are called catchlights. If the eyes look alive the dynamic feel of the catchlights will add to the drama of the shot. Catchlights are more easily captured at eye level. So taking a picture on a direct line of sight will help to capture the feel of a penetrating eye.

Eye to eye level

All living subjects have eyes. You will always find that they are most important in the power of your shot. If you get your shot with an eye to eye level correspondence you will connect with that power. Animal or human subject, that power will be there. Your photography will benefit from emphasising it when ever you can.

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Damon Guy - Netkonnexion

Damon Guy (Netkonnexion)

Damon is a writer-photographer and editor of this site. He has run some major websites, a computing department and a digital image library. He started out as a trained teacher and now runs training for digital photogs.
See also: Editors ‘Bio’.
By Damon Guy see his profile on Google+.