Category Archives: Tips Tutorials & Techniques

A teaching or tips and tricks article.

Make a new image – create a synthesis

Seaside Lady • A new synthesis on the streetart

• Seaside Lady By Paul Donohoe •
A picture from my Friend and fellow blogger Paul Donohoe  External link - opens new tab/page. He has hit the nail on the head. The added context really makes the scene. Look for ways to add to the image. Make the scene your own by creating a new synthesis.

Thinking about artworks.

A piece of work by someone else makes a great photo, or does it? Maybe, but in a way it is just a record, not a true expression of your view. Anyway, often a photo of an artwork loses something in the translation to a photo. Maybe you should be thinking of adding something to it.

Creating a synthesis

The person who created the original artwork or scene has gone to the same or more trouble you have. When you take a picture of their work you need to think about who is creating the work. A straight picture of another’s work is a sort of theft. However, in the context of the picture you can really make something of the scene – a new synthesis.

In the picture above you can see that Paul Donohoe  External link - opens new tab/page has waited to capture the lady. She is not obscuring the art work. On the other hand the slightly odd pace gives it a new feeling. It is as if she is fleeing the scene. The whole picture, art work and lady, are something new. A synthesis of the original art work and the new aspect to the scene.

A judges view of the synthesis

I have often seen great pictures of sculptures really marked down in photo competitions. They are really a record of the art work. Not the expression of the authors thought on the art. Judges don’t know what to make of that. Who are they judging the sculptor or the photog?

I once heard a judge make a great comment about how a new synthesis matters. In the North of the UK there is a beach with random statues of standing men. Each day the tide comes in and out. The men stand on the sand, stoically staring out to sea. Submerged, or not, they present a simple but powerful image of man watching the world go by. One photographer had taken a picture of one of the men. Boring. The judges comment was illuminating. He said, “When you see them standing there in the cold and wet like that you just want to warm them up. What this picture needed was a bright red scarf around the statues neck”.

On that cold and dreary morning the bright scarf would have made the picture outstanding. The addition would have make it both the expression and the art of the photographer. Yet the new synthesis would have left the statue as impressive as before.

Look to make the scene yours

No matter what you see you always present something of yourself. You cannot help but interpret the scene. When looking at the artwork of others the attention is lost from your picture to the art you are capturing. So, make the scene yours. Find a way to add something or change the scene so you are putting your stamp on the situation.

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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+.

Buy a good tripod – nothing beats it

Good tripod as an all-rounder - Manfrotto 055XPROB Tripod

A quality, versatile and robust tripod is essential. Buy a good tripod – you will not regret it! The result will be seen in every image.

A good quality tripod?

Nothing beats a good tripod. Most people don’t use them until they have struggled with sharpness problems for a long time. Then, without thinking, they buy a cheap tripod. Later they have to think again. That’s because cheap tripods fail, wobble and don’t give you the shot flexibility you need. To save problems later, I suggest you buy a good tripod now.

Why buy a good tripod?

Too many of my students and colleagues have told me tales of three legged woes. Remember, it is a common mistake to think any old ‘three legs’ will make your camera stable. This is simply not true. In all cases, a quality tripod really will help stability – and other things.

So, here are some reasons to go for a quality purchase from the start…

Quality Tripod:
Cheap & cheerful:
 Solid, stiff at the joints and stable.  Limited by poor engineering. Variable stability.
 Reliable, highly engineered and robust fittings.  Fittings regularly break.
 Quality, hard wearing paint or specialist coatings.  Poor or no paint – highly reflective aluminium. Liable to corrosion/wear.
 Quality footings seal the legs to stop water/dirt entering tubing.  Legs left unsealed let dirt in and grit quickly wears the joints.
Strong enough for a specific DSLR size and lens. Check the tripod specifications. Wobbly with anything larger than a bridge camera. No specifications available.
Quality materials used in construction. Materials matched to designed use and weight needs. Unknown quality aluminium/plastic.
 Top platform precisely engineered – no movement and good fitting for the tripod head/camera.  Wobbly platform, poor clip, loose fitting. Screws sometimes damage the camera. No interchangeable head option.
Quality joints on legs for long life and stable grip. Leg joints quickly wear and become wobbly with poor materials.
 Multiple leg positions to allow adjustment on uneven ground/tight spaces.  Fixed leg position.
 Fully adjustable top column to allow multiple height/angle adjustments.  Wobbly top column. Only up and down adjustment available.
 Legs can be adjusted to many wide/varied angles.  One angle for legs.
Stiff tripod legs to prevent movement when the legs are fully extended. Wobble increases as the legs extend to full length because joints are poor fit.
 Reversible top column – so you can under-sling your camera to get near the ground.  Not reversible.
 Proper hand grips.  No hand grips.
Quality Tripod head:
Cheap & cheerful head:
 Well engineered, interchangeable tripod head option available.  No interchangeable head fitting – or low quality flip-up with low quality quick release.
Well engineered, camera safety lock on the tripod head to prevent camera unlock/drop off. No camera safety catch.
Strong, accurately engineered, wear resistant, quick release plate on the tripod head for fast camera fitting/removal. Fixed camera position – or low quality/breakable flip-up with plastic quick release.
Manufacturer has a range of well engineered tripod heads and other accessories available. Manufacturer not committed to market and does not make tripod heads or non-interchangeable tripod head fitted.
A cheap tripod will not be your friend

There are other reasons to buy a good tripod, but you get the idea. A cheap tripod will do little for camera stability. The engineering quality is reduced to keep the price down. I am not one to advocate gear lust or spending money where it is not worth it. However, I have come across each of the design and quality flaws above. From personal choice and experience it’s clear only the best is good enough when making your camera stable.

Adaptability

While a quality tripod is great, you normally need to buy a good tripod head too. Cheap tripods usually without them, or have poor quality ones. A good tripod head is an investment for life. Inter-changeable heads are very useful. I have five heads for different purposes: for macro work; small cameras; panoramas; and one for precise adjustment. My most versatile head I use every day for general purpose work. The Manfrotto 322RC2 Heavy Duty Grip Ball Head External link - opens new tab/page is precise robust, reliable, versatile and has never let me down.

Buying a tripod

Buying a tripod is not simple. There are many online advertisements and many brands. How do you choose the right one for you? Largely it is about personal requirements. Look closely at the type of photography you normally do. Try to isolate the important aspects of your photography that will influence the way you use a tripod. Find the properties that best fits the purpose for your tripod. For example, if you do a lot of beach photography you should look for a tripod that has good seal caps on the legs to keep seawater and sand out of the legs. If you do macro photography in the field then you might want a tripod that will turn your tripod head upside down to hang your camera just above ground level.

You should also consider the tripod head. That is the part of the tripod that the actual camera is mounted upon. It gives you flexibility to point your camera without moving your tripod around. Good quality tripods are usually sold only as a set of legs. The tripod head is purchased separately to ensure a good match to its intended use. Reputable tripod manufacturers normally also have a range of heads to match their tripod products.

Weight is a big issue in the field

Many photographers forget about weight. A heavy tripod is great in a studio. It is stable and floor vibration is reduced. However, when you are out and about the studio tripod is just too much to lug around.

I have one tripod model with a steel frame I use in my studio. Also, I have a nearly identical model in carbon fiber. I keep the latter in the car for field work. The difference in weight is just over a Kilo. For practical field use the studio tripod is useless. Unfortunately, it is simply too heavy to carry far.

On the other hand, my carbon fibre tripod is a delight to use in the field. It is easily carried and it performs as well as my studio tripod. However, there can be shortcomings.

Near a road or in windy conditions, vibrations are a problem. So, I hang my camera bag under the tripod platform. The additional weight cuts down vibration and keeps the tripod feet stable. In fact, that is a small price to pay for the reduced weight. Furthermore, it keeps my camera bag off the ground.

The camera bag trick is only possible because carbon fibre is really stiff. Remember, flimsy (but light) aluminium frames are vibration prone. They cannot perform well in windy field conditions or where vibration is found. Moreover, cheap tripods often do not have an under-slung hook to hang your bag.

What should you pay?

Almost certainly, the cost of a tripod indicates its quality. Good tripods use quality materials and tend to be highly engineered. Good engineering and good materials are not cheap. So, if the price of a tripod is in the range £15 – £30 it is unlikely to be long lasting. Further, it will be of limited stability – especially after a little wear under field conditions. Tripods can actually transmit vibrations to your camera from the ground and wind. So, good stability and properly engineered joints are really important.

In the UK good quality tripods start at around £40. You can pay many hundreds of pounds, especially for a professional grade tripod. So, setting yourself a budget is important. Don’t overspend.

Balance quality and cost

The over-riding factor is what type of photography you will be doing with the tripod. Remember, the properties you need are your guide. However, as we said above, pay attention to the tripod quality you need too. There is a balance between good quality and cost. You have to be the final arbiter in how much you pay. Think about it, err on the side of quality with a tripod. A bad quality decision will impact the image quality of your shots.

The manufacturers

So, buying the right tripod is about knowing your own needs. It is also about knowing what type of properties your photographic interests demand of your tripod. Going direct to the manufacturers site and look at their explanations for each of their tripods. You will find more detail there. Moreover, make sure you look up the specifications. There lies the answer to many of your questions about the quality and performance of a tripod. Also, beware of the claims made for ‘general purpose’ or ‘light weight’. Without detailed specifications those terms indicate poor quality engineering or materials.

There are a good range of quality tripod manufacturers. Some names worth checking are listed below as a starting point…

    • Manfrotto – High quality engineering, wide range of accessories and designs for many purposes. Many models meet the needs of professional photographers.
    • Manfrotto on Amazon (associate link).
    • Benro – Strong, very robust, many designs for many different environments and purposes.
    • Benro on Amazon (associate link).
    • Gitzo – Quality engineering, some innovative ideas. Considered by both amateur and professional.
    • Gitzo on Amazon (associate link).
    Where to buy

    It is worth considering where you buy your tripod too. Manufacturers with proven reputations tend to have wide distribution networks. However, they often do not sell their products on their own websites. If they do have their own web shop, the products are often expensive.

    Reputable manufacturers depend on their agents and distributors world wide. If they undercut those agents they would not sell their products overseas. So, check their sites. Find what you want. Then, find a dealer near you who can supply it. Alternatively, go online to a dealer who sells the products. You will often get much better prices for shopping around. Another point, reputable manufacturers often have a list of dealers on their site you can contact who are local to you.

    Specialised tripods

    The range of quality tripods has become very broad. Today tripods are available for nearly every type of camera. Small point and shoot cameras, smart phones, bridge cameras, mirrorless and other cameras all have their own tripod requirements. Likewise, they also have their own quality requirements.

    I recently bought a cheap plastic smart phone clip to mount on a small tripod. It cost me very little. Because it was so cheap, I thought nothing of quality issues. It also broke the third time I used it. My phone dropped to the ground. Luckily the glass did not shatter. It could have been an expensive mistake. The replacement good quality, lockable smartphone clip cost about 25% more. However, there is no way my phone is going to fall out of the clip now! It was still cheaper than £20 (bought 2020).

    I have also benefited from buying good quality ‘Joby’ or ‘GorillaPod’ flexible tripods (associate link). They are quite expensive. However, you can do great things with them. Flexibility and adaptability are really useful in a tripod.

    The point is this…

    The lesson is, think carefully, find out everything you can. Then, make a quality purchase – get the best you can afford.

    Nowadays, I take my time making a tripod purchase. Consequently, my new tripod suits the purpose I have in mind. But, more important, my camera is safe. In addition, I have the flexibility I need to make the critical shot and I get sharp results. Taking care to seek out a quality tripod helps a photographer get stand out results.

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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+.

Light intensity – estimating the light you need

Light intensity is about finding the natural look

• Computer user •
Get familiar with light intensity. Look for the right light intensity in every shot. It is not always easy – here’s how.

Aim for a light intensity that suites the subject.

When using artificial lights think about how light best suits the subject. Learners often use lights set too bright. We will explore the use of distance to reduce the light intensity.

What is light intensity

You might describe light intensity as the power that light has at a given place. A light is most powerful at its source. As it radiates away from the source it becomes less intense. Actually the light radiated still has the same total energy. As it gets further from the light source it is just spread out more.

At each point where you measure light travelling away from the source there will be less and less light. This is because the total light is more and more spread out. This relationship is called the Inverse Square Law. It is a bit of math which describes how light behaves. For our purposes we just need to know that as the distance from a light increases, the illuminated area also gets larger. The same amount of energy is spread out over a larger area. We can say this in a simple way…

As you move away from a light, the light intensity reduces by “distance squared”.

A camera only samples a small area of light. If the light is spreading out the amount of light it can gather is getting less. The light intensity it can capture reduces with distance. Less light is going to get into the camera.

So the light intensity gets less with distance?

At one meter from the light you can say light intensity is one unit. At two meters the light is spread out over four square meters (1 divided by four). If you take a photo you will get one quarter of the light entering your camera. Here is a table that shows how this goes…

1 M from source :: Light intensity per square meter = 1
2 M from source :: Light intensity per square meter = 1/4
3 M from source :: Light intensity per square meter = 1/9
4 M from source :: Light intensity per square meter = 1/16
and so on…
[M = Meter]

Here is a diagram showing how light intensity falls off according to the inverse square law.

How does this help?

When using artificial light of any kind you should remember light intensity. Good light should match the scene for a good image. It should look natural and the right sort of light (colour, intensity, etc). You also need to have enough illumination for the shot. Too little and the picture will be under exposed. Too much? The picture will be washed out, over exposed. All simple enough.

You need to know that light intensity falls off with the square of the distance for one reason. If you take a picture close to a light (1m) that may be bright enough to achieve what you need. If you move to three meters the light intensity will be reduced to one ninth of its previous amount. That is very different light to use. It changes your light levels in the scene. It will also affect your cameras ability to make an exposure. It may affect the colour of the light or other properties.

For someone using a flash on a camera it works the other way around. If you move to three meters from your subject the flash will light them at one ninth of the light intensity of a shot taken from one meter. They will appear much less bright.

Moving close to or away from a light source

The point is simple. Light intensity determines both the illumination and the brightness of a subject. You don’t need to move a lamp or flash very far for a significant loss (or gain) of light intensity. So guessing where to take your next shot is made easier. You can predict that fall-off now you know how the lighting behaves.

Now you can control your flash two ways. You can turn it down using the menus on your camera (check your manual). Alternatively you can move back. Even a short distance back will reduce the brightness of the shot by a lot.

Next time you are using a flash…

Why not test the theory. Put your camera in manual mode. Take a picture at one meter. Without changing the settings, move back. Try two meters, then three, and so on. Each picture will get dimmer. Quicker than you expect you will not be able to make an exposure. This is probably one of the most important lessons about the behaviour of light.

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Portrait context is about the artist as well as the subject

Portrait context is important in photography

• Portrait context is important in photography •
[Image taken from the video].

Art in a portrait…

…includes much more than meets the eye. Photographers taking their first steps with portraits often see only the person in front of them. But the portrait context also includes the scene, the artist and their culture.

Portrait context – a historical boundary

Portrait art historically reflected the fashions and ideas of the time. For example early civilisations tended to depict people in profile. These flat two dimensional portraits were a mark of early Egyptian art. Much later, in the 14th century, the Renaissance masters did portraits as a three dimensional rendering on the canvas. They used artistic tools the Egyptians did not have.

Today the portrait context is still related to the knowledge and experience of the artist. And, they are partly bound by the conventions of their time, culture and so on. You can never fully be divorced from your context. But, we are free to take a wider, more context-free view of portraits. Artists and photographers are trained to take a broad, imaginative outlook. Art and photography schools give the imaginative freedom of students a wide scope. Breaking the bounds of traditional portraiture is a part of that freedom.

Breaking the bounds of portrait context takes careful thought

Portraiture starters often only see their subject through “everyday” eyes. Most of us are not trained in the ways of imaginative scene setting. So we tend to take portraits that represent our every day view of people. There is nothing wrong with that. Family, friends and others make a fun photograph. The images can be pleasing and satisfying.

Great portraiture goes deeper than that day-to-day view. To push the boundaries of your portraits, think in a different way. The portrait photog should consider their own vision and experience. They also need to think of the environment, cultural context, story and location of the shot. The photographer should understand who they are as well as knowing something of the portrait subject.

Of course knowing these things does not produce a great image. What makes a great portrait is pre-vision. It is how you bring out something in the subject, the scene or the portrait context that is remarkable. This takes a unique perspective.

The art of portrait photography

A strong portrait steps out of the everyday view. In the video we get the perspective of a number of portrait photogs. Each has looked into the portrait context in which they are working. With forethought and insight they have constructed artful portraits. They have also made driven and powerful images of their subjects. Each has a clear understanding of the portrait context. Each has a clear view of what they want to say.

The lesson is, look for a point to make. Understand both what you are working with and what you are working to express.
PBSoffbook  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 also 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+.

Lag time – don’t miss the shot

Lag time - test one

• Lag time – test one •
There is a gap between pushing the button and the making the photo.
(image by Netkonnexion)

Every time you push the button…

There’s a period when not much happens. Lag time is the total time taken for the camera to complete the exposure process from the button push. In that process is a lot of detail. Here we look at lag time. With a simple test you can get a feel for the lag time in your camera.

Why is lag time important?

If you buy a camera for action shots you want minimal lag time. Otherwise you look and press, but the action has gone. Of course you can anticipate the action. This is how we all deal with lag time. But to know what time to anticipate you need a feel for the camera. A long lag time is likely to make your guess about when to press the shutter button less accurate. So it’s in your interest to know the lag time and practice with it. If you know the lag it makes it easer to guess the delay for shots.

Shutter lag – don’t misuse the term

Some people use the term shutter lag in a confusing way. They mean it to be the same as lag time. In the past this may have been the case. In early cameras most of the exposure process was completed by the shutter. Today we have a lot of other steps involved. The list of various time related things in the exposure process is quite long today…

  1. LCD activation of the picture (LCD display and electronic [mirrorless] viewfinders only).
  2. Thinking time between seeing a subject on the display and the finger push on the button.
  3. Time taken to get a focus.
  4. Aperture – time to calculate & set aperture size.
  5. Meter – time from light reading to exposure set up.
  6. Digital sensor start up to be ready.
  7. Shutter motor/mechanism actuation.
  8. Shutter opening.
  9. Digital capture of light data.
  10. Shutter closing.
  11. Data emptied from sensor ready for next exposure.

These items may overlap, run simultaneously or be in sequence. Some may not apply to some cameras. It depends on the camera model, design, efficiency and the components involved.

This list adds up to the total lag time. The first five items are not shutter related. They delay the firing of the shutter. They are shutter delay times. The other items are shutter lag items. They are responsible for the shutter and sensor capture of the exposure. They determine the shutter process from start to finish. These are the shutter lag items.

To be clear, lag time is the sum of all the lag items. Shutter lag is only those items related to the shutter-sensor system.

For a more detailed look at various components of lag times check out: Definition: Shutter lag; Shutter delay; Lag time; Processing lag;

Getting the shot – lag time explored

In order to know your camera better you can actually measure your lag time. So here is a method you can use at home. I have tested it using two different pieces of equipment and on two cameras with good results.

A word of warning. The on-board flash crosses all the other lag/delay times and may extend your total lag quite a lot. This is because it takes time to charge up ready for the flash. It will affect the results. Before testing turn off your flash. Check your manual if you are not sure how. Both these methods have back-lighting. You will get enough light without it.

Explanation/method: to measure the lag time we need to identify all the processes involved. I have done this for you above. This allows you to know what parts of the process are holding things up. You will see later that can help you save time.

Next we need to find a way to mark the start and end of the process. Fortunately the camera helps us. When the shutter button is pushed we know the exposure process is started. The clever part is that if we photograph a timer we know when the exposure process is finished because the clock will show the finish time.

To find out our lag time is easy. We activate a clock at the same time as we push the shutter button. We do this while photographing the clock. When the shot is taken the end of the the lag time is shown on the photograph.

Two methods to try out

In the photo “Test one” above I have used this method with my smart phone. I set up the stop-watch app on my phone. Then I pushed “start” with my left hand. I simultaneously held the camera and pushed the shutter button. The key is to make sure you set off both the timer and shutter button at once. If you do, the the photograph will show the lag time. In the photo above it shows 69/100ths of a second. This is my lag time for a photo taken on my little Canon G12. Use a tripod or stand if holding your camera and pushing the button at once is not steady enough.

If you do not have a smart phone (or a stop watch) to photograph, try this web page…
This page will allow you to test your Digital Camera’s shutter lag… External link - opens new tab/page.
(Note: this page is about your total lag time even though it refers to the shutter lag).

Shutter Lag Test two

• Shutter Lag Test two •
Test your Digital Camera’s lag time External link - opens new tab/page.

Follow the instructions on that page. You will see a very slight retard on the clock at the ‘zero’ point. That gives you time to notice the top point and press the shutter button. The resulting photo will tell you the lag time on your camera.

I have run tests on my camera using both the web page and the stop-watch app method. They give consistent results. I feel confident you will find either test will work for you.

Pre-focus to get the shot

Notice on the second test page there are two tests. The second one shows you how you can shorten your lag time. If you pre-focus the camera that saves some pre-shutter time. Focus takes quite a bit of time. So if it is already focused when you take the shot your lag is reduced.

To reduce the delay with pre-focus press the button half way down while looking at the clock. The camera will focus and take meter reading. Then you can hold the half way position – this is called focus-lock. Hold your half-down position until, at zero. Then push the shutter button the rest of the way down. You will normally find your camera lag time is greatly reduced. Possibly by as much as a half. Something to bear in mind for future shots.

Accuracy

Of course you might take a totally bad reading for your fist shot. After playing I found that for both methods you need to practice a little to get consistent readings.

To ensure you get a good overall result I suggest taking ten readings after some practice. Here are readings from my run of ten… 0.53 + 0.53 + 0.69 + 0.98 + 0.89 + 0.66 + 0.74 + 0.65 + 0.66 + 0.74 = 7.07
If we divide the total by ten we will get an average reading. It will iron out any anomalous readings.
Thus: 7.07÷10 = 0.71 (rounded to two places). The lag time on this camera is therefore 71/100ths of a second.

This ‘average’ method provides us with a consistent standard over our readings. This is a more accurate method of gauging the lag time.

What have we done?

The things a modern camera does to take a picture has created a long lag. The lag time is the sum of all the different things that impact the exposure process. From button-press to complete capture-of-data is the lag time.

We have looked at two ways of testing the lag time: a stop watch app; and a web page timer. I have also suggested using an average reading to iron out anomalies.

If you go through this process you will know your camera much better. But more to the point you will have a new confidence. You will know how long it takes to complete an exposure. And, you will know how much time to delay for a shot.

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Damon Guy - Netkonnexion

Damon Guy (Netkonnexion)

Damon is a writer-photographer and editor of this site. He has also 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+.

Break the pattern – draw in the eye

Break The Pattern - interest the eye

• Break the pattern – interest the eye•
When you break the pattern your texture, pattern or background takes on a new perspective. The eye is drawn in to explore the changed symmetry.
(Image of Brian Peterson taken from the video).

The eye loves pattern and texture…

Detail in the world around us can be attractive to the eye. But often we miss this detail if the eye is not drawn to it. Break the pattern and our eye is drawn in.

Break the pattern – break the monotony

Pattern attracts the eye because it is uniform and predictable. However, pattern is also spoilt for the same reason. When we see a pattern we are not threatened by it. We quickly know it. We feel comfortable with it. In fact the eye quickly becomes bored.

There is a good reason for this quick loss of interest. As we move around in our environment pattern allows us spot safety or danger; predator or prey. When we see something break the pattern we need to explore it. Is there danger here? Is there prey here? We find the things we seek when we see a break in the expected pattern.

Seek the difference

Our eye-brain system is really good at recognising pattern. But it is the ‘slightly different’ we really want to know about. We quickly lose our focus on the pattern – unless we see it is no longer uniform at some point. An edge that is different; or colour, or form, alerts the eye. Then, our eye-brain system spends time comparing and contrasting. We explore.

If you think about what really fascinates the human spirit it is all about things that break the pattern. When something is not as we expect it all sorts of questions are raised. We could almost say that understanding “pattern and inconsistency” is behind the scientific revolution. We look to understand the world by finding pattern. When something breaks the pattern it is a source of endless curiosity.

So it is in photography…

Images provide this same interest. By creating a pattern we make it easy to know the picture. When we break the pattern we introduce the same endless quest to explore. You have won the viewers eye when you make them explore your image. Ultimately, you interest them when they want to know more, or to know why.

Pattern Texture: You Keep Shooting with Bryan Peterson

In this short video Brian looks at a simple, predictable texture. He very simply shows how to break the pattern to attract the eye. Another tip after the video…
Adorama External link - opens new tab/page

More than one dimension

If you break the pattern you interest the eye. However, composition has more than one dimension. If we want to interest the eye a break the pattern – yes. But, we can do it in a boring way and lose the eye quickly. If the flower in Brian’s shot was placed dead centre the effect would be lost. When central the picture suddenly becomes about the flower. Actually we want the picture to be about how we broke the pattern. So, if you re-run the video you will see that not one of the photos had the break at dead centre. Each one was on, or near, a “third”. Yes folks… the good old Rule of Thirds.

If you off-set the break to a “third” you break the pattern again. You raise another question in the viewers mind. Why there? Why not the centre? Why not where it was expected? At the same time you give the pattern in the picture a strength that would not be there if the flower were central.

Vision

Seeing, in the photographic sense, is all about understanding vision. Knowing pattern and why we look at it is a large part of understanding what attracts the eye. At the same time, understanding why we seek patterns, is also why we are fascinated by any break in the same pattern.

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Netkonnexion

Damon Guy (Netkonnexion)

Damon is editor of Photokonnexion. He has professional experience in photography, writing, image libraries, and computing. He is an experienced web master and a trained teacher. Damon also trains digital photographers.
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By Damon Guy :: Profile on Google+.

Heads together – the more intimate pose

Coffee Girls on 365 Project

• Heads together pose – an intimate feeling in your pictures •
This pose really increases the intimacy of your shot.
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Emotion is powerful in a photo.

Every photograph has hidden messages. Everything you look at tells you about the picture. The more you are able to express emotion the better. When that emotion shows itself to the viewer you have a powerful impact.

The heads together pose

It is a pose with a long history. Putting heads together has shown trust, love and intimacy for centuries. Today the trust that goes with the pose is still felt. We all inwardly recognise it even if we could not point it out.

That is the point. Many emotional and trust elements in relations with others are not spoken. We only see them as visual clues. But, they carry a strong message.

Another message we often miss is a true smile. When someone fakes a smile they don’t smile with their eyes. We only wrinkle our eyes at the corner when we do a true smile.

The girls above worked together for a long time. They had become good friends. I asked them to put their heads together. They recognised the trust and both did true smiles. What a happy picture.

We are family – heads together show intimacy

The depth of intimacy goes beyond smiles. At weddings and funerals people often have a very formal pose. Ask them to bring their heads together and you make it less formal. It brings their character out too. In the next picture we see quite a formal father-daughter portrait. The formal feel is broken by the heads together pose. It makes the ‘family feel’ obvious. Wedding parties and groups of friends can all have that feeling with even a slight inclination of their heads.

We are family • The heads together pose even works in formal shots

• We are family •
Family closeness is shown by the heads together pose even in formal shots.

There are other hidden messages in poses

There are many poses that show our emotional and relationship status. These can be positive and negative. Have you noticed people who tend to cross their hands over their waist? This is a classic “I look over weight” pose. Another is when someone crosses their arms in front of them. This is a defense pose. They may not feel comfortable in front of the camera. People who look away from each other are often showing they are not close or intimate. I could go on.

The heads together pose is a code for having fun.

• Having fun •
The heads together pose is a code for people having shared fun!.

Looking for how people stand and pose

Sometimes the hidden clues are not easy to work out. They are always there though. How people stand, sit, look and express themselves is a code. Look out for the little things. The heads together pose, and others, show you how people really feel. Pick up the positive signs. Then you can get people to pose in positive ways. It will improve your images every time.

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Netkonnexion

Damon Guy (Netkonnexion)

Damon is editor of Photokonnexion. He has professional experience in photography, writing, image libraries, and computing. He is an experienced web master and a trained teacher. Damon also trains digital photographers.
See also: Editors ‘Bio’
By Damon Guy :: Profile on Google+.