Tag Archives: Approach

Composition for impossible photography

Video

Video

Working in two dimensions is easy.

The trick is to make our photograph look like 3D. Well, Erik Johansson has taken this one step further. He likes to trick the eye with his photography. His subtle constructions in the pictures make you look, think and look again. Most of his pictures are actually impossible. But the images are constructed so as to realise the reality in impossibility.

If that sounds convoluted, so are his pictures. In the video Johansson not only talks around the way he conceived the pictures, be also describes the compositional theory behind them. It’s very simple, but it is also illuminating for our general ideas about perspective and reality.

Enough from me. This short video (6mins.22secs) will fill you with ideas and give you some new perspectives… enjoy!

Erik Johansson: Impossible photography


Filmed Nov 2011 • Posted Feb 2012 • TEDSalon London Fall 2011
TED – Ideas worth spreading  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’.

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A fast and simple introduction to portrait photography

How to make a digital camera

A rapid but full introduction to portraiture


When I introduce a new idea or a concept in these pages I often provide a video to help put the point across. Well, here is a video that stands up on its own. It is a light and simple introduction to portraiture. It bombs along at a great rate and has plenty to say about good principles in portrait photography. So, without further ado here it is. It’s 4mins 15secs long.

How to take great portrait photos


VideoJug  External link - opens new tab/page
Portraiture – Resources on Photokonnexion.com

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The simplest way to add depth to your pictures

• Young Knights battle at the gates to the castle •

• Young Knights battle at the gates to the castle •
Click image to view large
• Young Knights battle at the gates to the castle • By Netkonnexion on Flickr External link - opens new tab/page
The foreground interest fools the eye into seeing depth. In this case the path line and undulations in the mid-ground also help.

Understanding the power of the foreground…

Is the first step to creating a sense of depth in your pictures. Our eyes use markers like foreground, lines and background to gauge depth in the landscape. If we provide these in a two dimensional picture we fool the eye into seeing depth there too.

Foreground Interest – Video

Bryan Peterson explains in the video how to take a position that brings out the foreground interest. It’s easy. Make sure you shoot past something close when shooting into the scene so you can see a progression of depth… foreground, mid-ground and background. Simple.

adoramaTV  External link - opens new tab/page With Bryan Peterson

Scale

In fact you can use this landscape trick in the studio, or even a small room. Position yourself close to a foreground object and shoot past it into the room or scene. For example, use a chair or a table to occupy a part of the near end of the picture. That gives you a close marker allowing the eye to gauge a distance into the room. Here is an urban shot using the same principle…

Monument

• Monument •
The presence of the coffee cup on the table gives an immediate scale marker to the eye. The rest of the scene has depth because the eye can match the scale differences progressively as it looks into the scene.


The very well known scale of the size of a coffee cup in the picture is the clue to the depth of the rest of the shot. The eye/brain system does the rest. Simple principle – simple composition.

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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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Do you tell a story with your images? Insights, issues and interest…

Leopard Seal And Penguin

• Leopard Seal And Penguin •
From the video, the picture shows a dead penguin and its predator, the leopard seal.

The world of photojournalism is changing…

Worldwide great photojournalists are being sacked and replaced with crowd-sourced images. While the power of amateur images is wonderful, photojournalism is an art that creates great images continuously across a career. The loss of skills like this is a great shame.

The telling of a story is as old as humanity

We all have the power to tell stories. It is one of the things that makes us human. A great story pulls us together in the long dark nights; uplifts us at a moment of depression; chills us; thrills us and helps us to share language. The photostory is one of the great inventions of the last century and in a great photostory we can see all aspects of our daily lives – the extraordinary and the beautiful as much as the ordinary and the ugly.

Gift

• Gift •
The deadly predator, the leopard seal, tries to give the diver a gift – a dead penguin.
Taken from the video.

David Griffin: How photography connects us

Photography Director for National Geographic Magazine, David Griffin, recognises the power and insight of photography to connect us through the photostory. In this short video he uses wonderful images and a few great photo-stories he shows us how much we will miss if the era of the photojournalist passes.

National Geographic is one of the worlds greatest photostory magazines and provides endless great imagery. For learner and professional photographer alike. There is a lot to be learned from their images and a lot to be lost if we lose the art of photojournalism.
David Griffin – On how photography connects (Ted Lectures)

More after the image…

Leopard Seal On The Ice

• Leopard Seal On The Ice • The leopard seal reclining on the ice. From the video.

The wonder of photo-stories

It is a shame that we are losing the worlds greatest talents in photo-stories. However, we can all make photo-stories within the bounds of our own photography. Here are some of the things that you should consider when putting together a short photo-story…

  • Impact
  • From the ordinary to the extraordinary and back
  • Unique perspectives
  • Amazing sights, sounds and colours
  • Lovely light
  • People or animals
  • Insight into a situation
  • The shock from an event
  • Excitement
  • Great beauty or great ugliness – or both!
  • Different lives…
  • Something from within you

Your story should show your viewers something they normally would not see and, even better, will never see for themselves. If you manage to pack something from each line of this list into your story you will probably have a real hit.

It takes a lot of hard work and very many images to compile a photostory. So, think about what it is you are trying to achieve in advance of your shooting. Try to have a point you want to make and things to show it. Oh, and have fun!


Ted.com

By way of introduction I wanted to say something about origins of the video. It comes from Ted.com which is a non-profit organisation devoted to ideas. New ideas, brilliant ideas and new perspectives on old ideas. The lectures each take around fifteen to twenty minutes. They are delivered by individuals who are at the top of their game – representing the worlds great intellects. The Lectures cover a broad spectrum of ideas across science, society, technology and nature, ethics and human insights. If you like thinking a little and getting some insightful ideas Ted.com is a worthwhile place to visit.


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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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Have you got a low photographic hit rate?

Hit Rate - How Many Do You Keep?

What’s your photographic hit rate? How many shots do you keep?

A good measure of your success…

The hit rate is something that we often artificially inflate. In fact it is common for learners to have a low hit rate. Knowing how to calculate it can help you understand your improvements.

What is it?

So what is the “hit rate” in mathematical terms? Simply put, it is the total successful shots divided by the total exposures for a given shoot. It is expressed as a percentage. You can see the full formula in the graphic below.

Hit Rate Calculation

• Hit Rate Calculation • What’s your hit rate?
The math is simple, deciding what is relevant to your pick of successful photos from a shoot is a value judgement made on your expectations for the shoot or from a brief in the case of a shoot for a client.


A more detailed look at the math, and the assumptions, can be found in “Photographic Hit Rate” in our Glossary pages. The examples there will help you to understand the meaning of “keeper” and how that relates to the hit rate percentage.

It’s all about choice

The full mathematical explanation of hit rate really is as simple as the graphic suggests. However, it is important to understand that the whole calculation is based on a value judgement. What you pick as success criteria for your shoot determines how harshly you edit out or accept the successful pictures you choose for “keepers”. Of course you may keep most of your shots, but the really good ones you should call your keepers (actually I call my keepers picks… it’s your choice).

My keepers, or picks, get separated out into a folder of their own for later use or for giving to the client. I keep the originals but I normally find I have a hit rate of around 25% to 35% depending on the shoot. Each shoot is different depending on the brief and the technical difficulty of the shots. You will have a low hit rate for the really fast action shots. You might have a higher number of keepers for the party and event shots for example.

Ansel Adams, the iconic landscape photographer, said…

Twelve significant photographs in any one year is a good crop.
Ansel Adams

Of course he is right. Truly great shots come at a very low hit rate. However, we don’t have the luxury of only relying on twelve shots a year for most personal and professional purposes.

How harsh should you be?

When deciding on keepers you can decide to be as harsh or slack as you wish. What is important is your ultimate goal. If you want improvement your picks should be the very best shots. Each shot should be taken at a high standard and only the best should be published. I tend to think that learners should be quite harsh on themselves and work to exceed their own standards. You may want to set yourself a slower pace. It is your choice. Just make it fun.

Why bother?

OK, this is the main point. If you are consistent over time in editing your shots you will begin to find you can push up your hit rate. Professionals tend to have a consistently higher hit rate than amateurs. After all they have to make a living from their shots. On the other hand if you keep tabs on the numbers you may find you are taking less shots because the ones you do take are returning more keepers as you improve. That saves time and especially editing energy.

What measuring your hit rate does is give you a feel for improvements and consistency in your photography. Don’t ruthlessly measure everything. Look back over your shots. Get a feel for your hit rate. It will help you to get a picture of your success rate overall.

I found that knowing my hit rate was a confidence booster when learning and an essential tool for my professional life. Give it a go. You might find it a great help too.

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Seeking the light – the essence of photography through the eyes of a war photographer

Don McCullin - Seeking The Light

Don McCullin – Seeking The Light • Video

Great equipment does not create great images.

Photographic insight is not in the equipment but the vision of the photographer. This is never more true than can be seen in this video. Don McCullin was a war photographer for more than 30 years. He saw some of the most appalling atrocities and covered some of the worlds most horrific wars – conflicts that would sear the sole. Yet in all that time he has retained a human and gentle perspective that provides a delicate insight but which also covers a dark vision too.

Transition

In this video Don McCullin is confronted, in his 70’s, with using a brand new digital camera for the first time. After more than 50 years of film and darkroom work as a professional photographer he abruptly makes the transition to digital. This film charts the progress of his first week. It is a transition which anyone who has started to learn digital photography has gone through. For Don it is a shock and revelation as well as a considerable learning curve. Many of you will empathise with his self-questioning and re-evaluation of his own skills and knowledge.

Canon CPS | Don McCullin Feature “Seeking the light”


Frank Algermissen

Iconic

Despite his gentle and unassuming approach in the video Don McCullin has demonstrated an amazingly insightful photographic vision. His war photography, and his street photography is eye-catching and beautiful. His control of dark tones and wide variations in light is his signature – one that made his war photography iconic.

In a previous article I covered a BBC programme Vivian Maier: Who Took Nanny’s Pictures?  External link - opens new tab/page in the Series “imagine – Summer 2013”. There is now also a wonderful programme on Don McCullin. You can see the recently broadcast BBC programme on the BBC iPlayer if you have access. The programme has some upsetting images and some extraordinary photography covering the ugly truth of war photography in the face of grave personal, life threatening danger. It is an amazing film. “McCullin”  External link - opens new tab/page will be available for another few weeks (published 11/07/2013).

Insights into an extraordinary life

For an insight into a very dark path through war photography, as well as some of his amazing photographs, watch this interview on a Canadian television programme. Don McCullin tells of his extraordinary life, some of the horrific things he has seen and explains who he is today. Well worth watching.
The Agenda with Steve Paikin  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 great tips for travel and street photography

Three 'Ain't a Crowd

Three ‘Ain’t a Crowd – Taken in Lisbon, Portugal
By Paul Donohoe – Street photographer
• Click image to view large •
By Paul Donohoe on Flickr  External link - opens new tab/page

Travel and street photography are a natural fit.

All street photography involves travel. Whether you are travelling round the world, or just across town, this article is for you. It all involves travel. Adventure awaits the traveller and street photographer.

Finding the location

How do you go about finding the best location for street photography in a new place? I am going to cover three tips to help any street photographer, wherever they are traveling, and regardless of the time they have. Each tip will require a little tinkering depending on your needs and preferences, and on the place you’re traveling in.

1. Explore with or without your camera – Play the Tourist

Yes, that’s right: with or without your camera. Surely, you are asking, a good street photographer always carries a camera? Well, sometimes, no. You can carry one as you explore if you insist, but it’ll work better without!

What do people say about tourists? They are so busy trying to get pictures of the things they are looking at that they end up seeing hardly anything at all. Here is tip one: play tourist but without the camera. Just wander around, looking at — and seeing — the sights. Soak up the atmosphere.

If you’re in a new place for a week or so, take more time to wander around. Of course, if you’re visiting for only a day then you might only take an hour.

Following this plan has advantages for the street photographer. Just looking at the sights gets the sightseeing part of the deal out of your system. It’s important for a photographer to spend time without a camera, just using their eyes. In a new place there are always new sights to see. This can be really distracting when you are trying to focus on the lives of the people carrying on amid the other eye candy.

As you explore, you will discover places that appeal to you. You will find where the crowds are, the interesting backdrops – the places you just know you will come back to.

Lisbon Wall

Lisbon Wall • After Escher
By Paul Donohoe – Street photographer
• Click image to view large •
Pauls-Pictures, on Flickr  External link - opens new tab/page

I saw this wall and climbed those stairs once or twice as I explored. I saw this image in my mind’s eye. Then when I came back with my camera, it was there waiting for me!

2. Research: the where, the what, the who and the when

It’s not hard to spend an hour on the internet looking at maps and other information. A lot of people will be content to conduct this research after they arrive at their travel destination, and that’s fine. For me, I like to prepare ahead. The planning, for me, is half the fun!

Are there events, festivals or other activities happening? Where do people gather? What about shopping areas where people stroll? Knowing these things ahead of time, will not only get you excited about your visit, but will start the creative juices flowing.

Check online for the work of other street photographers in the place you’re visiting. Read their blogs, think about their experiences. This isn’t so you can “copy” what they’ve done. You’d be surprised how much you can learn about where and what to photograph — and sometimes where and what not to!

Flea Market Stall Holders

• Flea Market Stall Holders •
By Paul Donohoe – Street photographer
• Click image to view large •
Pauls-Pictures, on Flickr  External link - opens new tab/page

Having heard there was a huge flea market twice a week, I headed there at the first available opportunity. I sometimes think markets were invented for street photography)

3. In street photographer mode…

Keep walking and exploring or focus on a favoured place you’ve found and stay there. You’ve explored and you’ve done your research. Now it’s time to get on with it and get some street photos! The crucial factor in being able to make good street photographs is to be in street photographer mode.

You will read that some people are always in that mode. Perhaps. However, here’s what I mean… To make good street photographs you have to be truly in the space and in the moment. You need to be in tune with the environment and with the people you encounter. In other words, you have to become “of the street” – you belong there, it is your space but it’s also a space you are sharing, even if only temporarily, with other people around you.

Keep walking. Go back to the places you discovered in your exploration and research.

So much of street photography is about feelings, intuition. If, by chance, you come across a space you feel is just right for you, sit awhile and watch the people go by. It might be a park, a town square, or even a train station entrance.

Walking or staying put: there’s no right or wrong. And you can switch between the two; sit for a while till you just feel it’s time to move on.

The picture at the top of the page is one of my all time favourites. It happened after I’d spent an hour just hanging around a small square five minutes from where I’m staying in Lisbon. You really do become invisible if you hang around in one spot long enough.

Three tips… plus!

So, there you have it – three tips for finding the best street photographs when you arrive somewhere new. Actually, there are a couple moew things… Have some fun while you’re at it. Whether you’re there for a day or a couple of months, take your time. There’s no rush – you’ll get the photos you’re meant to!


Paul Donohoe is a Social Documentary and Street Photographer currently traveling to random places as the fancy takes him and his partner. He is passionate about his art and takes his role as a photographer very seriously. He believes that there are no ordinary moments and there are no ordinary people and he has a simple but profound philosophy which informs his work: “Love, Compassion and Empathy are my guides”.


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