Tag Archives: How it works

Visual toolbox for photographers

Sharpen up your creative photography…

It’s easy when starting photography to over emphasis the importance of gear. In fact it’s ‘photographers eye’ that really makes the difference. Your vision and insight into a scene are critical to producing a wonderful image.

Sage advice from a world master

The Visual Tool Box by David duChemin is all about the skills of composition. He goes into depth around the background ideas which help you look at a scene. The ultimate success in photography is to make your image a pleasure to view. Aesthetics rule – it’s as simple as that. This book is dedicated to teaching you the tools you need to develop the ‘eye’.

David duChemin says,

These are the lessons I wish I’d learned when I was starting out.
The Visual Tool Box by David duChemin

This is my kind of book. He writes superbly, in simple, readable form. His examples are excellent and the pictures are just amazing. But most of all the book is organised for learners to extend their knowledge in easy, well structured steps. This book is all about putting new tools in your photographic tool box and it achieves that with an ease that any beginner will find a joy.

Composition

The book is packed with examples of the sort of compositional ideas that really work – for anyone. Just look at some of the topics covered…

  • Manual
  • Optimize Your Exposures
  • Master the Triangle
  • Slower Shutter Speed
  • Learn to Pan
  • Use Intentional Camera Movement
  • Use Wide Lenses to Create a Sense of Inclusion
  • Learn to Isolate
  • Use Tighter Apertures to Deepen Focus
  • Use Bokeh to Abstract
  • Consider Your Colour Palette
  • Lines: Use Diagonals to Create Energy
  • Lines: Patterns, Lead my Eye, Horizons
  • See the Direction of Light
  • Light: Front Light, Side Light, and Back Light
  • Quality of Light: Further Consideration
  • White Balance for Mood
  • Light: Reflections, Shadow, Silhouettes, Lens Flare
  • People
  • Experiment with Balance and Tension
  • Use Your Negative Space
  • Juxtapositions: Find Conceptual Contrasts
  • Orientation of Frame
  • Choose Your Aspect Ratio
  • Use Scale
  • Simplify
  • Shoot from the Heart
  • Listen to Other Voices (Very Carefully)

And there is plenty more content to complement and extends these ideas. What’s not shown in a list is the excellent and sage advice throughout the book. I will let David duChemin have the last word…

Pace your-self. Anyone can master a camera; that just comes with time. It’s the other stuff — learning to think like a photographer — that takes so much work and allows this craft to become the means by which you create art.
The Visual Tool Box by David duChemin

And it is thinking like a photographer that you will quickly learn from reading this book.

How to buy this great book

This book was originally published as an ebook. However, it is no longer available in that form. The book has moved into the real world. It will be available on Amazon as a Paperback From 31 Mar 2015.
The Visual Toolbox: 60 Lessons for Stronger Photographs (Voices That Matter)You can per-order the book from Amazon.

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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+.

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’.

Learn to shoot while controlling the depth of field…

Depth of Field

• Depth of Field •
Work with Depth of Field in mind. It will help you to control the blur that provides soft and un-distracting backgrounds.
(Image taken from the video.)

Shooting with Depth of Field

The controlled use of Depth of Field (DoF), when done skilfully, is a central pillar of artistic success in photography. To learn how to properly control its use will help you to master many challenging situations.

Getting the measure of Depth of Field

Following the great response from “Understanding depth of field” yesterday, here is another video. In this one Mark Wallace shows how the three basic controls of DoF actually affect the clarity and blur in fields where depth of field is visible. It is important to watch the settings as he takes the pictures. Follow how the blur changes as the settings change.

SnapFactory  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’.

Understanding depth of field

Pebbles

• Pebbles •
Depth of field helps the background lose distinguishing features which makes the subject stand out.

It is an important artistic tool.

Depth of field (DoF) provides a way to isolate the subject from the background. Sharpness inside the DoF is of critical importance to our image. The blur outside the DOF helps divert the eye to the sharp subject. So how does DoF work?

Depth of field defined…

The depth of field (DoF) is an easy concept to remember. The DoF is the sharp part of a picture. It is defined by the out of focus parts of the picture on either side of it. A lens can only focus at one point. It is at that point that the image is sharpest. However, on either side of the sharp point is a zone where, to the naked eye, the sharpness is still good enough to be convincing.

The eye can distinguish sharp detail inside the DoF and we want to ensure our subject is in that zone. However, we also want to compose our picture so the unimportant parts of the picture are out of focus. To achieve these things we need to know how to control the DoF. In fact there are three ways to control it…

  • Change the size of the Aperture.
  • Change the focal length
  • the distance of the subject from the lens

As the aperture changes size so does the zone of sharpness we call the DoF. As we open up the aperture wide the DoF gets shallow. As we make our aperture smaller the DoF gets wider and eventually we get sharpness all through to the horizon. Similarly changes to the distance from the subject affects DoF. If I walk away from a subject (and do not change the aperture) the depth of field gets wider (and visa versa). Focal length changes affect the DoF in a similar way.

A Simple Guide to Depth of Field

In this video Dylan Bennett provides the best explanation I have seen on why the DoF changes with the three factors I mentioned above. He uses a simple explanation and some great diagrams to show what is involved.

Dylan Bennett  External link - opens new tab/page

Just to clear up a point…

The analogy that Dylan Bennett uses, “toothpaste squeezed in a tube”, works well for most people learning the idea of DoF. What really causes the DoF to elongate is related to something called the Circle of Confusion (CoC). For more detail you can see information in: “Definition: Circle of Confusion”.

The CoC projected onto the sensor is (notionally) a tiny point of light representing one point of light from the subject. When that part of the subject is in focus the CoC is very small and individually indistinguishable from those around it. Like this it’s a sharp representation of the subject point of light. However, at a point outside the DoF an individual point of light can no longer be represented by a sharp point on the sensor and begins to blend with points around it. It has lost its sharpness. This is because the lens focuses points outside the DoF slightly before the sensor or slightly after it.

Diagram showing various sizes of Circles of Confusion (CoC).

Diagram showing various sizes of Circles of Confusion (CoC) on the sensor sized according to the focus (not to scale). Only CoCs projected from within the Depth of Field are sharp. Our eyes cannot perceive them well as they form sharp points. Ones projected from outside the depth of field are unsharp to our eyes.

Here is the reason why the DoF widens as the aperture gets smaller. When the aperture is small the angle of light that can pass through it from the subject is also small. As a result the CoC for each point of light is relatively small. This is because it can only originate from a small angle of light.

A very small aperture means that the circles of confusion are never big enough for our eye to see. This allows the lens to focus at infinity (say f11 and smaller). When the aperture is wide open the reverse is true. The circles of confusion can be much bigger. Only those rays that the lens will naturally focus will be sharp (a shallow depth of field).

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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’.

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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Three rules of lighting… simple, but effective

• Three Rules of Lighting •

• Three Rules of Lighting •

The simple explanations are the best.

Here at Photokonnexion we try hard to provide simple explanations for the things we all want to learn about our favourite subject. If you think anything is too complicated let us know on our Contact Us page or leave a comment below the article.

Well, here is a video in the spirit of simple explanations. I really do not need to explain before you see it… just watch and enjoy.

More after this…

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Three Rules of Lighting for Photography

“We talk about the three important rules regarding the behaviour of light. As photographers we can use these rules to achieve the type of lighting we want, including the look of soft light.” – Ed Verosky
© Ed Verosky 2012  External link - opens new tab/page

For more background on lighting

Don’t forget to check out our Light and Lighting resource pages and especially the links on Hard Light and Soft Light. These are essential to the understanding of light.

All our resources can be found in the menu at the top of the page.

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...

We would love to have your articles or tips posted on our site.
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Will I get my images stolen online?

• Transparent Covers •

• Transparent Covers •
The picture shows a transparent image slightly lifted off the page demonstrating how a transparent image can be stacked on top of the image below. It is normally invisible when set up properly – it’s shown lifted here only for effect. If you right click/copy the on an actual transparency you only copy a transparent shape not the image you want below.

Can images be protected online?

There are a number of ways to steal an image off of a website. And, yes, there are a number of ways to protect an image on a website. How effective is that protection? When it comes down to it we lose sleep over our images being stolen. So if that protection is not 100% we have a problem.

What protection is available?

Probably the most common protection for images on a website is a programmed solution. A small piece of code detects a right mouse click over an image. The code disables the right click preventing you saving or copying the image or the image address.

The picture above shows another method of protecting images. It is possible to place images on top of each other on a page. If the top image is transparent the image below it can still be seen. When you right click the image you are actually only able to get the top transparent image not the image below. This is an interesting method because it also masks the internet address of the image below. If you try to copy the location of the image you get the location of the transparent image.

Press and grab!

Both the methods above, and similar ones, are sufficient to prevent the casual, non-technical user from stealing images. However, they are absolutely ineffective against one simple theft method – the screen grab. If you click on the window where an image is displayed, hold down [Alt] & press [PrtScrn] the image selects a copy of the window that is currently selected. You can then paste that image into an image editor. If you use [Ctrl] & [PrtScrn] you grab the whole screen as an image. Some web designers have used code to disable these button combinations but it is not reliable. It is also completely ineffective against selection tools. There are many little applications that you can download which will give you the ability to select any section of your screen and copy it. The copy is then pasted into an image editor for saving.

The ultimate solution…

When it comes down to it there is no full-proof method of preventing image theft. If you can see it online, you can steal it. The ultimate solution to preventing image theft online is not to put your images onto a website.

Of course this is not an answer really. If we cannot publish then we cannot get sales, acclaim, support… whatever. These days, if you are not online then your images are not seen. Are there other practical methods of protecting images?

Water marking

One of the more common methods of protecting images is to put a watermark on it. This effectively renders the image unusable on another website or for printing. However, it also makes it difficult to fully appreciate the art in a picture if it has a trade mark or copyright symbol plastered across it.

• Little Langdale •

• Little Langdale •
Watermarks can be rather obtrusive like the large one here (centre). Less obtrusive placement and size is easily cloned out or cropped out (the small watermark bottom right).


Generally speaking the smaller or less obtrusive a watermark is on an image the less effective it is against theft. On the other hand the more obtrusive it is the more impact it has on the viewer looking at the image. Writing in particular draws the eye very strongly. So you are in danger of the viewer having to peer around/behind your watermark because the eye is drawn to the watermark before the subject of your image. This is not satisfactory and rather destroys the point of putting the image online.

Copyright and copyright registration

Copyright refers to the established right of the author of a picture to maintain control over the image. However, the law of copyright differs worldwide. So how it applies in your country is something you will have to research. In basic terms a country like the UK has an assumed right of copyright ownership. So the original image file would stand as proof of ownership. In this case it is best to ensure that you also embed your copyright data in the image data (see: Exif data). The Exif data will then reveal the owner. However the data is not secure so the method is not full-proof.

In a country like the USA copyright owners can protect themselves against theft by registering their image with the Library of Congress  External link - opens new tab/page.

Copyright is good protection in that the force of the law lies on the side of the copyright owner. However, in many countries a dispute over copyright involves a lengthy and expensive legal process. This may be beyond the means of the small artist/photograph. This renders it an ineffective method of protection. However, recent legislation in the UK has made it easier for authors to make small claims for disputes covering them for up to £5000 pounds fine. This could change the balance in favour of the photographer/artist seeking remedy for stolen images.

Show the useless image!

It sounds daft, but if you present your images as a low resolution small size image this is a simple and effective protection against most theft. Image thieves want a quality image to use on their own site or to print or to sell to others. If you limit your image longest side to 500 pixels as a *.jpg image compressed to around 60% you will provide partial protection for your image. This size and compression is an acceptable size on a web page for the purpose of viewing. However, the thief cannot blow the image up larger without damaging it. The low resolution at 500 pixels will make print sizes too small. In effect this makes the image perfectly viewable for your site users, at the same time it renders it pretty useless for the image thief. This is a practical and simple method of protecting against theft. It is not full proof – since thieves can still use it small size. However, it does at least limit the possibilities for commercial exploitation by others.

There is no 100% protection – its about risk

When it comes down to it you have to take a risk. There is no method of absolutely protecting your images online. However, there are enough different types of protection to be able to protect most images enough to feel confident that your images ‘probably’ will not be stolen. In the end you have to decide if you are going to gain more by displaying online than you would lose by having an image stolen. It is a very personal decision.

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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Write for Photokonnexion...

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