Category Archives: How to…

How-To articles… how to do specific things, preparation for, planning, shooting, etc.

Circular Polarising filters

Polarising filter range

• Polarising filter Range •
The polarising filter is one of the more useful filters in the kit bag.

The polarising filter – one of the more useful filters

Strong Sun, low in the sky, can cause problems. Direct rays of light into the camera, specular highlights and washed out colours create photographic distractions in the image. Here is how to reduce the problem.

Watch for highlights – gain some benefits

Bright spots, difficult reflections and big highlights are a very strong draw for the eye in an image. Try to check around the frame when composing. Find ways to reduce these strong areas in the shot.

If you cannot reduce the reflections, highlights or washed out colours from bright light you should consider using a polarising filter. They are relatively inexpensive and have an incredible impact on the shot. If you use them right polarising filters can…

  • Reduce strong reflections: this gives a deeper, richer appearance to water, allows you to see into water and through glass and brings out strong images reflected in shiny surfaces like mountains etc.
  • Reduces the “washed out” effect of bright light: Colours that are whitened or lose their intensity in bright light can be made richer and more saturated. Skies and water in particular will get more depth of colour.
  • Reduces the intensity of bright light: Polarising filters reduce the total light entering the camera because they reflect/absorb some of the light. This helps bring down the overall levels of light.
Fitting polarising filters

Most polarisers are bought as circular screw tread attachments that screw into the front of your photographic lens. The filter part is mounted in a ring that freely rotates on top of the screw thread. It can turn without tightening or loosening the mount when it rotates. Screw the filter directly to the front filter-screw thread on the lens.

A polarising filter come in multi-filter kits. These can be fitted to the front of your lens. A frame is fitted onto the lens filter screw. Various filters can be slotted into the frame, including polarising filters.

Gentle rotation

To gain a benefit from your polarising filter you need to adjust it to suit the light. You can twist the filter part in the mounting in either direction The rotation of 90° is enough to see the full effect. Twist it gently until the full or desired impact is seen in your viewfinder. You should see slight darkening, increase in colour saturation and reduced highlights, particularly from shiny surfaces.

With a little practice you can easily see the full benefit of the filter. However, some highlights are still strong enough to create white spots and distractions. So still be careful when composing.

As a guide, if your sunglasses are polarised you can look at a scene quickly and see an immediate effect. If they help you to see more colours and reduce reflection and highlight impact then get your polarising filter out and screw it on the lens. Sunglasses help you to make the decision to get out the filter, but obviously they do not have a photographic impact. They will be of a different strength to your filter too. So you will still need to compose and adjust the filter.

How they work

Polarising filters act to filter the incoming light. They allow some specifically aligned light waves to pass through and not others. In so doing the filter effect does two things. First, they reflect or absorb some of the light where the waves are not aligned. Secondly, they allow the aligned light through. This light reduction and alignment is enough to ensure the glare, brightness and strong highlights are weakened.

For a more informed look at the detail of polarisation filters you can get more information here.

Buy now!

If you don’t have a polarising filter for your favourite lens then buy one now. You’ll see an amazing difference.

Buy the correct filter size. Check the thread size of your lens – normally found at the front edge of your lens. A mid-range size would be 58mm. My small lens is 52mm and my largest 88mm. Look for that size on the filter you order.

Have a look at the what’s available…
Circular polarising filters – buy one now!  External link - opens new tab/page.

Recommendation!
Hoya 58mm Circular Polarizing Filter
These are great value polarising filters. Check out the one seen here then search for one the size of your lens.

 

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By Damon Guy (author and Photokonnexion editor)

Damon Guy - Netkonnexion

Damon Guy (Netkonnexion)

Damon is a writer-photog 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 photographers.
See also: Editors ‘Bio’.

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Shooting waterfalls and moving water… great for Autumn

Moving water shots

Moving water shots are some of the most romantic landscape shots. They are really easy and fun to do. (Image from the video).

Wow! September already…

With Autumn around the corner I am thinking about great projects for the when the leaves start to turn. Here’s a great idea for you to follow up to make the best of the Autumn colours.

Why Autumn

The summer is great for doing wide open landscapes. Especially around the Golden Hour or at dawn when the light has those wonderful reds, golden or yellow colours.

Autumn is better for doing great shots under the forest canopy and those great shadowy dell shots. The Sun’s lower in the sky and there is reduced contrast with fewer distracting bright spots peeping through the trees from the sky. The light is great and the lower aspect is better for creating contrasts in moving and falling water. On top of that the autumnal colours are exciting. More to the point the range of Autumnal colours create depth and contrast. That is something that uniform green of the summer months tends to reduce.

So think about doing your waterfall and forest shots in the next two months or for your local Autumn. You will really benefit from greater contrasts, colours and light angles.

How to blur water for a dreamy effect

To get you started on great water shots here is an introductory video on the way to slightly blur water in your shots. It helps to make the water take on a more motion-filled ethereal dreaminess.
Uploaded by: Gordon Laing (28 Dec 2007)

A couple of extra tips

Sometimes, especially when working under trees with those hidden waterfalls you will get large contrasts with the surrounding environment. Such contrasts often cause highlights that are distracting. Here are a couple of extra tips to help get past this distraction…

  • If you find you are doing a shadowy moving water shot in the trees but the brightness is still too high try using a polariser filter. This will help to increase the contrasts and overall reduce the incoming light. Polarisers reduce the light by up to about two stops which really helps when working with water. It will also reduce sharp reflections which can be confusing in moving water – especially under trees.
  • If you need to reduce the light even more you can try a Neutral Density filter (ND filter) This type of filter is like sunglasses for your camera. You can find out more here… and here is a range of resources on filters.

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By Damon Guy (author and Photokonnexion editor)

Damon Guy - Netkonnexion

Damon Guy (Netkonnexion)

Damon is a writer-photog 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 photographers.
See also: Editors ‘Bio’.

Can you write? Of course you can!
Write for Photokonnexion...

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Getting the right shutter speed

New Canon Powershot G1X Digital Point-and-Shoot With SLR control

The Canon Powershot G1X Digital Point-and-Shoot With SLR control. Billed by Canon as the “Highest Image Quality Powershot Digital Camera”

Getting sharpness right…

It’s not just about the right camera. It is also about technique and knowing the best way to set up your shot. Getting the right shutter speed takes a little knowledge when you are starting from scratch. Here are some pointers to help you make choices about shutter speed.

Why set your own shutter speed?

Getting full control of your camera is an important aspect of gaining creative control over the outcome of your photographs. Despite what the manufacturers say, you can only achieve so much by messing around with their ‘modes’. Capturing pictures using camera modes other than the basic photographic modes (ISO, aperture, shutter speed) is going to give you a programmed result. In other words ‘modes’ are what some boffin back at the lab has formulated as ‘about right’ for the average photos people take. But, you are not average are you? You want to produce the shot your way. So gaining control over your shutter speed is important.

The long and short of it

Shutter speed gives us creative control in a number of ways. A very shallow depth of field will give great bokeh in the background. But it is difficult to create on a bright day unless you have a fast shutter speed (to reduce the incoming light). Bokeh is created by a wide aperture. A wide aperture lets a lot of light in. If the shutter is open too long the photograph will be overexposed. So a shorter shutter speed is required.

Shutter speed also controls movement blur. If you are taking a photo of a moving object a relatively long shutter speed will create greater blur (example 1/15th sec). A very short shutter speed will tend to freeze the action preventing blur (example 1/500th second).

Sharpness counts

Starting to control your shutter speed is often about finding the best shutter speed that you can handle for a sharp result. So what is the lowest hand held shutter speed you can apply?

Actually, in practical terms, the slowest hand-held shutter speed is reliant on a number of factors…

  • Physical fitness: If you are not strong enough for using your camera weight it is more difficult to hold it steady. Regular practice with your camera will help you build muscles to steady your hand and therefore shoot at lower shutter speeds.
  • Focal length: Longer focal lengths tend to need higher shutter speeds. As you shoot further into the distance the angle of movement seen at the point of focus is more exaggerated.
  • Optical stabilisation: If your lens is optically stabilised this means it will compensate for the tiny movements of your hands. This compensation will help you to reduce hand shake and therefore give you potentially longer shutter speeds.
  • The picture you want to create: Obviously, the picture you want to produce is dependent on how much blur you want in it. So if you want no blur (for the sharpest result) you want a fast shutter speed.
  • The amount of light: Brighter light allows you to have a shorter shutter speed. Knowing when to use a tripod instead of hand-held is the crucial issue here. Most people simply give up if a low shutter speed demands a tripod… For the accomplished photographer many of the best shots are found in low light situations. So shutter speed control is of crucial importance – as important as using a tripod at the right time.
Rule of thumb

Those factors aside here is a rule of thumb. In practice most people do not shoot with a steady enough hand to produce sharp hand-held shots below 1/60th second. Of course, optical stabilisation on the lens will help you get longer shutter speeds. But even then a practical limit of 1/30th of a second is about as low as you can go and be sharp. That is not a shutter speed I would suggest you work with regularly when hand-held.

Best guide to shutter speed

The shutter speed you need to work to is often related to the focal length you are working with. There is a reasonable rule that can help you get a good guide to picking the best shutter speed for your focal length. It is said that the longest shutter speed you can use hand-held for a lens or zoom setting is:

1 divided by the Focal length times 1.5

So, if your lens is a normal lens at 50mm it will have an effective lowest hand-held shutter speed of 1/(50 x 1.5) or 1/75. The nearest (rounded up) setting on your camera is likely to be 1/80th second.

If you are working at 200mm then, 1/(200 x 1.5) or 1/300th of a second will be your lowest working shutter speed. The nearest setting on most cameras will be 1/320th second.

These apply if you are not using optical stabilisation. You can of course work one or maybe two stops faster if you are using stabilisation. You will need to check that figure against your lens specification. Most optical stabilisation systems will give you between one and two stops extra control.

Shutter speed standard

shutter speed is standardized on a 2:1 scale. When you open the aperture on single aperture stop and at the same time reduce shutter speed by a single step the result will be an identical exposure. This table shows the shutter stop standard steps…

  • 1/2000 sec
  • 1/1000 sec
  • 1/500 sec
  • 1/250 sec
  • 1/125 sec
  • 1/60 sec
  • 1/30 sec
  • 1/15 sec
  • 1/8 sec
  • 1/4 sec
  • 1/2 sec
  • 1 sec

The scale extends up above these figures to very high shutter speeds. Up to date DSLRs may allow have shutter speeds of less than 1/5000ths of a second. Very fast indeed. While at the other end cameras will allow long shutter speeds of up to 30 seconds in manual modes (M mode; or Manual) and longer in “bulb mode”.

Each of the steps in the table above will be equal to a change of one stop of light up or down. A change of one stop of light will double the amount of light entering the camera.

As one stop of light is quite a large amount, cameras have become more sophisticated. Most are now marked off with thirds of a stop for ISO, aperture and shutter speed. So your calculations can be quite precise and lie between these values in the table above.

You can read more about stops of light here: Definition: f number; f stop; Stop

Doing it right

Gaining control over your camera is of importance if you want to become a creative master of its full potential. Learning about shutter speed and other aspects of exposure are critical to learning that control. You can have great fun creating bokeh and controlling movement blur. At the same time you can remove that other type of blur – ugly hand-held shake-blur.

Please leave questions and issues for us to discuss if you want to take this further…

By Damon Guy (author and Photokonnexion editor)

Damon Guy - Netkonnexion

Damon Guy (Netkonnexion)

Damon is a writer-photog 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 photographers.
See also: Editors ‘Bio’.

The power of light and shadow

Facial shadows

• Facial shadows •
Image taken from the video.

Great portraits rely on shadows

Shadows define a portrait. So it is no surprise that good lighting to get the shadows right is a wonderful idea. But what most people don’t realise is that, almost every time, more lights make things more complicated. One light is almost all you will ever need to get a face right. The rest can be done with a reflector.

Shadow work

In the video Mark Wallace shows us how the face can be properly illuminated, how to do it and more important how to make it look beautiful. He looks at ugly shadows and hard light and explains how to remove them and subdue them using soft light. In all, this is one of the best best portrait lighting tutorials I have seen on video. Enjoy it. There is some really useful stuff presented in a simple and understandable way.

Adorama TV  External link - opens new tab/page

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By Damon Guy (author and Photokonnexion editor)

Damon Guy - Netkonnexion

Damon Guy (Netkonnexion)

Damon is a writer-photog 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 photographers.
See also: Editors ‘Bio’.

Three minutes of peace and tranquility and endless fun later!

Ink Drops

• Ink Drops •
The feeling of peace and tranquillity can come with many aspects of photography. This is something you can think about and possibly do yourself.
Image from the video.

Seeing and capturing

Every interest has its peaceful side. Photography is no different. For a change here is a video which delivers three minutes of peace and tranquillity. It is possibly something you can have a go at yourself…

Whats going on – can I do it?

What you see in the video is very simply drops of ink into water. The water is sometimes still and sometimes moving very gently. It is simple to do but infinitely complex in the outcomes. Anyone can do it.

There are literally hundreds of different inks on the market. Have a look at this…

Drawing Inks Assortment Set of 12  External link - opens new tab/page
A great set of varied colours. Can be used to create coloured water and for droplet mixes. Great for experimentation.

Here are a few other types of ink you can choose.  External link - opens new tab/page

I have a range of colours I use for water work. You can also use food colourings. Basically the technique is like this…

  • Set up a glass jug, vase or small tank (flat sided is best).
  • Make sure it is very, very clean.
  • Have a dry cloth available to wipe the glass dry if you spill.
  • Use a remote flash or domestic lamp set to the side.
  • Place a black or white card behind your glass vase.
  • Mount your camera on something solid. A tripod is best.
  • Set your camera to auto-white balance.
  • Set the ISO to 100.
  • Use Shutter Value [Sv, Tv etc.] as your shooting mode
  • Use f11 as your setting to shoot right through the water.

You will need to have the light on from the side of the shot. An on-board flash will cause the ink to appear very flat with the light coming from the front. This will ruin the effect.

If you want added brightness from behind you can add a light shining onto the background card. This will lift the internal colours.

Then, as with everything in photography you will need to experiment with the light and conditions you are working with to get the best shots.

The technique

Your water should ideally be about six inches deep. Drop the ink into the water and start clicking your shutter button. You can do it quite a few times as the ink forms up the shots. Once you are satisfied there is no more shots to be had then replace the water and start again.

People spend literally years working with this sort of effect. It is not only great fun for everyone from beginners onward, it is also great art. There are many fine art photographers who work on this sort of image for a living. There is also endless amusement, beauty and some wonderful images. The technique works for both still photography and videography.

INK DROPS

And now for your three minutes of peace and tranquility – enjoy!

Jacob + Katie Schwarz  External link - opens new tab/page

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By Damon Guy (author and Photokonnexion editor)

Damon Guy - Netkonnexion

Damon Guy (Netkonnexion)

Damon is a writer-photog 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 photographers.
See also: Editors ‘Bio’.

Action portraits… easy to do

Action Portraits

• Action Portraits •
Getting the shot in action situations is not difficult although the lighting can prove a key aspect of success. (Shot taken from the video)

Getting it right…

Most photographers have a go at action shots. Vehicles are common targets – they are easy to find and fun to do. Action portraits can be great fun too and you can do them at home.

Lets talk flash…

 Set up pictures at home to show some action.

Easy action shots at home for anyone.
“Some more bed-jump!!” by Mr Din, on Flickr  External link - opens new tab/page

In its most basic form, it’s a portrait of someone in motion (action?). The wonderfully muscled fighter in the shot above is one way to go. On the other hand pictures of your grand children jumping into the air can be just as effective – and probably more relevant for many of us!

Use off-camera flash for best results

The basic technique is to capture the action with a flash. You can use the on-board flash on your camera. However, it will tend to leave tight shadows on the wall behind the action because the flash is directly in line with the optical axis of the camera. Such shadows look artificial and are difficult to remove in post processing. They look as if there is a slight double image. In the picture of the jumping children the flash is from the left hand side. If you look carefully the shadows are projected away from the kids giving a more realistic feel.

Off-camera flash can be placed to the side of the shot and used to illuminate the scene, give it a little depth and off-set those harsh shadows. For this you can use an off-camera flash. I use this one…

YONGNUO YN460 Flash Speedlite for Canon Nikon Pentax Olympus…  External link - opens new tab/page
This is an excellent buy… it is inexpensive and can be used for any off-camera flash situations. It is reliable, robust, flexible and effective.

I have several of these flash units. At about one fifth of the price of a branded product they are excellent value. If you want to get something a little more sophisticated you can get the YONGNUO YN-560 II Flash unit  External link - opens new tab/page – also a great product. With inexpensive remote flash triggers  External link - opens new tab/page you can set them off when not connected to the camera.

What are you going to capture?

Plan out your scene in advance. You will need someone to be the action taker. You could use more than one person. Then, work out what they are going to do. Jumping on the spot is a favourite. You also try jumping or stepping off something like a chair or low table. You can do skipping, walking, Kung Fu, Juggling, tumbling, hula-hoop, playing ball… well all sorts of things.

How do you do it?

I am assuming that you will be working in a domestic room with a white wall behind the actions.

It is best to use a robust tripod to mount your camera. This is essential. Action shots often cause floor movement and you want a good tripod (Manfrotto 055XPROB)  External link - opens new tab/page and tripod head (Manfrotto 322RC2 Grip Ball Head)  External link - opens new tab/page to give you a chance.

You will need to pre-focus your shot and have it ready to take because you cannot easily compose for action in progress. So set up the camera in advance. Here are some typical settings to get you started…

  • Turn off image stabilisation on your lens.
  • Focus your lens on your subject then turn off the auto-focus.
  • Set white balance to the appropriate ambient light setting.
  • Set ISO to 200 (or 400 experiment).
  • Aperture priority (select F5.6 as a start) [Shutter speed will be set by the camera].
  • Flash synchronisation – 200ths or 250ths of a second (if you need to set it check your manual).
  • Flash setting, try the lowest setting or 1/16th or 1/8th power – again, experiment.

This will give you appropriate starting points. Check you shot and then make any changes to the settings. If you click up or down a setting – say aperture or ISO – then the camera will compensate with a different shutter setting for you. Experimentation is good!

OK, now you are ready for action… this part takes a little practice. The idea is to sit next to your camera ready to push the shutter button as soon as the action is where you want it. As you have already lined up your focus the person can now perform and you can press the button as you see fit to capture your shots. Fire away, enjoy yourself.

Two tricks you have learned here

1. The pre-set-up of your shot is important. There are lots of situations where you can do that. So think about it – that is one of the benefits of having a tripod.
2. Flash! The way to capture a good shot like this is to have a very fast shutter speed. That freezes the action. However, I have suggested you hand the shutter speed to the camera by using the “aperture priority” mode. Well, you can in fact control shutter speed another way. By varying the flash duration. “What?”… I hear your cry. “You did not tell us about that control! But I did. Flash intensity is always the same for any given micro-second. It becomes more intense for the sensor if you leave it on longer. When you set the power of the flash to low power you are actually shortening the length of the flash. Hence you are more able to freeze the action. However, to do this you will need to have your ambient light lower. So using natural light rather than bright room lights works better for this technique.

See how its done in a video

In the video you can see all this action in a full process. The photographer, Joel Grimes, starts off by some discussion about how he came to discover this secret and how he used it in a studio context. Then from about six minutes into the video he shows you how to take the shots.

Remember that the settings are important. He mentions about low power and says that it works to freeze the action IF the flash is more intense than the ambient light. Watch out for that.

One other thing worth looking at is the shot progression. He is constantly assuring his model that he has done a good job. Then he is at the same time developing his shot. He is constantly evolving the positions and situations until he gets the shot he wants. This is critical. Make sure you look out for odd lighting effects, hands over face, bits of body out of the frame etc… He works the shot to reach his ideal as he visualised it – then stops. Even great photographers have to practice and perfect a shot. This is quite a helpful lesson about that. Enjoy!
“Special FX, High Speed Action”

Framed show  External link - opens new tab/page

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By Damon Guy (author and Photokonnexion editor)

Damon Guy - Netkonnexion

Damon Guy (Netkonnexion)

Damon is a writer-photog 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 photographers.
See also: Editors ‘Bio’.

Review your own photographs

Low flying aircraft

• Low flying aircraft •
Click image to view large
• Low flying aircraft • By Netkonnexion on Flickr External link - opens new tab/page
Every picture has its merits. However is there enough in the picture to interest and invigorate the attention of your viewers? Sometimes, like this picture, if you don’t have a point worth making then you should not really bother with it.

A picture is a wonderful communication.

But like speech if there’s no point there is no impact. To help you see if you have made a great picture here are some guiding points.

We are going to consider…
• What you are communicating:
• Presentation:
• Camera technique:
• Technical Quality:
• Visual Awareness, Visualisation, Seeing and aesthetics:

Looking critically at your own picture

When you make a picture your previsualisation of what you want to achieve is critical to the outcome. If you don’t know what you are trying to make how can you make it convincing? So try to have a mental image of what your picture it going to look like when you make it. If you can see the image before you make it you should have a good point in mind – a reason for making it. All too often snappers see something and just ‘snap’. That being the case, few of the images will have real meaning or impact.

When looking at your own picture you must see if there is really something there. Are you really saying anything? Are you really communicating with the viewer of your picture? Or, is what you have just made only a simple picture? To have real impact is to create in the viewers mind an image. An image that means something to them. So look at your picture and honestly ask yourself what is the viewer going to get from it? What will it mean to them? If you find that you have really said something in the picture then the first criteria for success has been passed.

To this end you should consider how successfully each of these things has contributed to the success of the image…

  • Personal input: have you understood and connected with the subject
  • Appropriate communication the message, mood, ideas, and information you want to pass to your viewer
  • Complementary use of the photographic media (mounting, projection, printing, texture of print etc.)
  • Appropriate imagination and creativity / suitable timing for the shot
What about the other things?

• Presentation: It is important to have a good presentation for your picture. Have you edited out distractions and sensor/lens spots, removed the errant sweet rapper littering the foreground etc. In other words, have you done the little tidying up tasks that make the image stand up as clean representation of your original vision for it? If it is a print, is it well mounted in a non-distracting way. Is the printing immaculate or are there streaks and spots; over-run and smear.

• Camera technique: Is the sharpness the way you want it – deliberate softness is fine as long as that is making an artistic point in a way you intended. Is the depth of field right for the composition? Have you emphasised the point or simply missed the point. Is the digital noise too high, or the contrast too low. What you are looking for here is to see if your prowess with the camera has come through. Did your technique work or were there any errors or mistakes that detract from the delivery of your point? Some of the other things to consider are…

  • Viewpoint to the subject – exciting, interesting, different, right?
  • Choice of lighting – does it complement or complete the subject or is it at odds with your point?
  • Accurate focusing – accurate choice of focus for the subject.
  • Appropriate quality and choice of exposure.
  • Suitable use of depth of field (aperture).
  • Appropriate shutter speed for the subject (and shot timing).
  • Highlights and shadows (ensuring detail is retained)
  • Appropriate quality and choice of exposure – does the balance of light and dark complement or detract from the subject?
  • Is the quality of the light effective or bland; does is make a statement or is it of little consequence?

• Technical Quality:
In this category you should consider exposure, colour and tonal control…

  • Absence of processing faults (dust, spots, hairs, processing artefacts, image damage by sharpening etc.)
  • Appropriate adjustments of colour temperature; hue, saturation, colour balance etc.
  • Appropriate tonal use and control of the range of tones.
  • Good image finishing: removal of distractions, removal of abrupt or discordant features.
  • Appropriate use of levels, curves, colour management, filters, overlays etc (post processing)

In this category you are looking to make sure that the image is digitally developed properly. Is the exposure even or has it been obviously enhanced and changed. Is the light effective to make the point or has the exposure not been fine tuned. It is easy to take a picture, but all these thing go into making an image. Think about what you are trying to achieve and does this picture achieve it with its colour and technical delivery/

• Visual Awareness, Visualisation, Seeing and aesthetics:
Do you think that your shot, the one you have in front of you sees anything different? Are you reporting what you saw or expressing a point, message, communication, feeling… does this picture have IMPACT?

  • Is the composition, design and cropping of the image an effective aesthetic construction?
  • Appropriate simplification (minimising complexity and clutter)
  • Distractions / intrusions should not divert the viewers eye
  • Good use of light, mood, texture and colour
  • Good use of masking/manipulation where appropriate
What you are doing…

Each time you want others to look at your picture you want to impress them, to lift them, to… well, get out your message or point for the picture. The type of questions I have asked above are aimed at getting you looking at your images with a critical eye. If you are honest, you will find that none of your pictures will be satisfactory in all of the above. But if you find you are gradually improving your standard of delivery you will see that the above get closer to ideal with every new picture. Critically reviewing each picture before you publish print or show it to other people helps make sure you are producing something worth showing.

You won’t be right every time. But you will see as you develop, your comments will begin matching those of other people. You will than have a benchmark that tells you if your work is measuring up to peoples view of it. Or, more importantly to see if your picture is measuring up to your original vision of how you wanted the shot.

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By Damon Guy (author and Photokonnexion editor)

Damon Guy - Netkonnexion

Damon Guy (Netkonnexion)

Damon is a writer-photog 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 photographers.
See also: Editors ‘Bio’.