Tag Archives: light and lighting

How many types of blur are there in photography?

Blur by Netkonnexion - types of blur

Blur by Netkonnexion
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Blur By Netkonnexion on Flickr External link - opens new tab/page
There are many types of blur in photography.

Not all blur is equal.

There are various types of blur. It sounds odd. In fact there is a lot more to blur than most people realise. It is quite a varied subject. It is used in nearly all aspects of photography. From abstracts to zooming, we will find some aspect of blur. Lets take a look…

Okay bokeh…

First up, and one of the best known types of blur, is Bokeh. This Japanese word means haze or blur. It originally referred to the quality of blur. Today we use it to describe the actual blur. A sharp subject and a blurred background is created by a blur of tiny circles where each of the tiny points of light are not focused, that is bokeh. It is created by the lens and aperture.

When you use a wide aperture, say f4.0 (or wider) you get a shallow depth of field. The depth of field is the sharp part of the picture. The rest, the out-of-focus part, is blurred. That blur is the bokeh.

Bokeh can add a whole range of composition effects. It is also has its own aesthetic quality. The quality of the little ‘circles’ varies as does the true circular shape of the circles themselves. Photographic lenses with apertures that are more circular produce the best bokeh. Some apertures are more like regular polygons (say a hexagonal). Polygon bokeh is not as pleasing to the eye as circular bokeh. Fewer sides on the polygon forms a less circular bokeh circle. It may even form an obvious bokeh polygon. Manufacturers go to some lengths to make the bokeh pleasing. One way to make the bokeh more circular is to add blades to the aperture diaphragm. That can raise the cost of the lens.

Subject-movement types of blur

When a subject moves in front of your stationary camera the resulting image has a blurred subject. This is movement blur. The types of blur which include movement can be varied. In the picture above the motor bikes are moving at around 90 miles per hour. When taking this shot I was panning with the far bike resulting in that bike being sharp. The pan meant that my camera was not paced at the same speed as the nearest bike. As a result its movement was relatively out of synchronisation with my camera. The nearest bike was in relative movement and thus blurred.

In “The Barber”, below, I have set my camera to capture the blur of his working hands. As with any movement shot, you want some of the shot blurred and some sharp. If it is all blurred it just looks badly taken.

The Barber

• The Barber By Netkonnexion in 365Project •
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The Barber By Netkonnexion in 365Project External link - opens new tab/page
The movement of the hands is blurred to simulate his hair cutting work. Types of blur created in-camera are most effective.

Movement of the subject is controlled by shutter speed. To get it right you have to practice with the speed of that subject. Try the subject at slow speed first. Once you have an idea of the settings, speed the subject up. As you develop a feel for the speed-of-movement versus the shutter-speed you will be able to get a sharp background but a blurred subject.

More types of blur… Camera movement

When a subject is moving pan your camera with it. I did that in the bike picture at the top of the page and got a sharp bike placed against a blurred background. That is not bokeh in the background. As the camera panned with the bike it captured a stationary background. However, as the camera was moving it created a movement blur on the background.

Movement blur of the background normally occurs when panning. If you hold a stationary camera out of a car window and take a long exposure and the same type of blur will result. However, nothing will be sharp in that case (unless something next to you is travelling at your exact speed).

Done right background blur from camera movement has great impact. In the motorbikes above it gives a race feel. It looks really fast.

Some blur is not so good

Hand movement during a shot causes all sorts of blur. You get blurred shadows, blurred faces, possibly jerky tracks… not good at all. However, you can have some fun with this sort of movement. Some famous pictures have been created by deliberate hand movements. There are lots of shots, like tree shots  External link - opens new tab/page, where the movement of the camera creates a surreal or abstract view of the subject. Some people have tried throwing their camera and triggering it in mid-air – some bizarre results can be obtained (including a smashed camera).

Out of focus types of blur

Of course it is possible to completely blur a shot quite deliberately. Some pleasant aesthetic effects can be achieved. Wedding and romantic photographers love the “soft focus” shot. This is a deliberate very slight lack of sharpness. It emphasizes the romantic, soft nature of something… kittens, brides, the first kiss, baby and so on. Google images of soft focus shots provides quite a good range of possibilities for this type of blur.

The soft focus shot can be created different ways. Each give slightly different types of blur. You can literally set the lens to manual focus. Then when properly focussed pull the focus slightly back. so as to create a small amount of blur. Another way to do it is to use a soft focus filter. These are simply screwed to the end of the lens and give the same effect. When I was first starting out in photography many wedding photographers carried a flesh coloured or white nylon stocking. Pulled tight over the lens while the photograph is taken it creates a soft focus effect. Others like a skylight (ultraviolet) filter with a tiny amount of grease smeared on it. All these work, but give you a slightly different soft focus effect. Experiment… have fun!

Zoom blur

One of the less well known types of blur – zoom blur. You need a steady hand or better, a tripod. It makes the picture look like the world is rushing toward you very rapidly.

Adjusting the zoom during exposure creates zoom blur. Set your camera to have a long exposure – around one second is good. Balance the shutter speed with the ISO and aperture to get a proper exposure. You will need to use manual focus to adjust the zoom in the shot. Press the shutter button and rotate the zoom focus ring. A short turn or through its full arc – the amount of turn gives different effects. With a bit of practice you can reduce hand-shake blur. A smooth zoom throughout the exposure creates some great effects. Look through this page of zoom blur images on Google for some ideas…  External link - opens new tab/page.

Artificial blur

Most image editors have software filters to create types of blur. In fact there are a variety of different software filtersavailable. Gaussian blur is one common type. It softens or smooths the image, but also causes loss of detail. There is also rotational blur (self explanatory); linear blur or movement blur – you choose the direction of the blur. Other editng packages will have other blur types too.

Artificial types of blur do not have the same effect as blurs created in-camera. Artificial blur tends to lack depth. Whereas, blur using depth of field gives depth to a picture. The bokeh and movement blurs both have the impact of realism and depth as they vary throughout the depth of the image. Applying a uniform artificial blur can affect the realism. Applied with care and artful work you can make artificial blur look real. It is all about care and attention.

Are there more blurs?

There are probably other types of blur. They may fit into one or more of the categories above. Why not let us know about others. I would like to hear of new ideas and types of blur.

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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’.

Umbrellas and softboxes

umbrellas and softboxes

• Softbox Vs. Umbrella •
Umbrellas and softboxes seem to have similar characteristics… or do they?

What IS the difference?

Photographers learning to use lights find it difficult to understand the difference between a softbox and umbrella set-up. It is important to understand if you want to have control of light.

The nature of soft and hard light

Hard light is not some mutated form of ordinary light. It is a type of light that is focussed and which shows a hard transition from bright to dark. The shadow line is a sharp contrast. On the other hand, soft light wraps itself around curves and has a soft transition from light to dark.

The definitions of hard and soft light tell us much about the characteristics of the light but not how the light is formed. Well, it turns out that the light source, its shape, size and focus or diffusion as well as distance from the subject all have an impact on the characteristics of light.

Photographic umbrellas and softboxes

In the video Mark Cleghorn examines the characteristics of photographic umbrellas and softboxes. He does some great shots with both. Pay attention to the way he uses the lights and what characteristics he points out. Distance and size of the sources play an essential role in the formation of the softness and hardness of the light. His experiments are interesting and show you how the nearness of a large light source can create softness. It seems counter intuitive, but it is correct.

The first half of this video is very useful and you will learn a lot about Umbrellas and softboxes as light sources. The second half showcases advanced features of Photoshop. This is a less useful section if you are only interested in the practical issues for umbrellas and softboxes. You can safely skip it.

Lastolite Umbrella Versus Softbox from Lastolite on Vimeo  External link - opens new tab/page.

Types of lights

There are many types of light source that can generate light for umbrellas and softboxes. For most situations it is best to use off-camera flash units. The more expensive studio flash units are more for professional use. If you are just starting out they will be more powerful than required for most general purpose needs. Off camera flash helps give you flexible use. It is also easily controlled. You can work with both umbrellas and softboxes with an off camera flash.

Fortunately, most umbrellas and softboxes units designed for off-camera flash will mount most types of flash units. When looking to purchase lights think about what you want to achieve. Then buy the flash unit needed to meet your need.

Below is an example of a photographic umbrella set…

DynaSun W968S Professional Kit with Holder, Umbrella, Stand and Bag for Cold Shoe Mount Flash Gun Flashgun  External link - opens new tab/page
This is a high quality but affordable photographic umbrella unit. The complete package includes everything you need except the off-camera flash unit. The inclusion of the small carrying bag makes the whole thing neat and well presented.

When it comes to the purchase of a soft box these too have the universal fittings for off camera flash units (although studio units are also available). Here is an example softbox…

24″ 60cm x 60cm EZ-Fold Studio Softbox Kit with 2 x Diffusers and Ballhead Bracket for Portable Flash and Speedlite  External link - opens new tab/page
This is a high quality, well produced softbox with easily adjustable fittings and a variety of ways to set up light diffusion within the unit.

Of course both these units are among many others in the field. You can see the various types of each on these search pages…
Photographic umbrella – Search page on Amazon  External link - opens new tab/page

Softboxes – search page on Amazon

These various examples include studio light units, always on bulb mountings and fittings for off-camera flash. Check for what you want before you buy. The most flexible is for off-camera flash when you are starting out.

No removable flash? Read this: Off-camera flash. It’s a great introduction and recommends an affordable flash unit.

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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+.

Reflecting on ways to work with the best light

Reflectors

• Reflectors •
A session with reflectors is a way to control the sun
and get the lighting you want on your subject.
[Image taken from the video]

The control of light is not always obvious.

Reflectors and other shapers of light make a big difference to the scene. Often photographers go to great lengths to work with reflectors. Here are a few simple tips to bear in mind when you want to shape light – particularly outside.

When you need a reflector

You can use reflectors in any type of environment. They are best used where you need to even out the light on your subject. Remember that if you are using a reflector the source light is the main or key light. The reflection from your reflective surface is in proportion to the power of the key light. This proportionality is important. Often, more than one light is difficult to balance. Using only one light source you can create a natural balance with the reflectors. It is difficult to get reflected light out of proportion. There is always some loss in the reflection. This ensures that the light on your subject will be less intense than the key light but related to it by its proportion. The result looks more natural.

Shade is as important as light

When you are working in the fullness of light it is common to be confronted with strong reflections from the subject itself. Specular highlights, reflections off of curved surfaces and shiny areas are the most difficult to control. However, bright reflections on larger areas like flat areas of glass or even areas of flesh like bare arms can also be really difficult to control.

If you have these sorts of reflections you can reduce the worst of them using a polarising filter. Of course the only sure way is to reduce the intensity of light overall. This means creating shade. Again, the most important issue here is to reduce the light in proportion to the ambient light around you. This helps the light to remain looking natural because it is derived from the main light once again.

Don’t spend a fortune

For most of us expensive reflectors and shade creators are out of reach. As with most things however, the amateur can create the same effects as the professional without the expenditure.

Reflectors can be created from white sheets, curtains, even large pieces of card. These things can be purchased inexpensively and propped up easily to create the effect you want. What is more important than the material that creates the reflection is the way you use the reflections themselves. It is important in very bright light that the reflections are used to infill darker areas of shadow to even out the contrasts. Then your camera can cope and you will see a more controlled light on your subject.

Shade too can be created easily. Use solid card sheets or even blankets on poles. I do quite a lot of car photography. Often specular highlights can be eliminated by hanging a thin white sheet on two poles in the line of the light. The main light – normally the sun – will penetrate a thin sheet so that a proportion of the light will continue to illuminate the subject. Again, the proportionality is important. Things always look more natural if the light is proportional to the surrounding ambient light.

Using Reflectors – Photography & Video Tutorial

In the video J.P. Morgan, a successful photographer, uses lots of resources and equipment to manipulate light in all sorts of ways. First, he looks at how the light is best exposed to the subject. He uses the light to create a rim light. This helps to reduce large, strong areas of reflection and helps to define the body shape.

When he has the light direction right and well controlled he uses a gold reflector to give the light a pleasant colour – an evening sunlight yellow. This lifts the colour of the faces in the shot.

The other thing that J.P. Morgan does is use the shade and reflectors to create fill. The sun provides the main light but the levels of light off the reflectors allows a lower level light intensity creating a natural light. This does not look like it has been deliberately projected at the subjects. It is a soft light that beautifully wraps around the children. It evens out the contrast between the brighter light and the darker areas.

Look at the way the equipment is used in the video. But spend your time afterwards thinking about how you can substitute affordable reflector materials and ways to create shade. Making your own kit can be fun and just as effective brand equipment.

The video is just over six minutes.

The Slanted Lens DSLR Lighting Tutorials  External link - opens new tab/page

If you want to buy an affordable reflector set, here is the one I use. These reflectors work very well and are flexible in the way they can be used. The whole set also folds away into a great compact bag. The pack contains five effects (silver, gold, white reflector/diffuser, grey and black)…

42″ Photographic light reflector set (5 in 1)
Ex-Pro 5 -in- 1 Photographic Light Reflector – 42″ (110cm) Silver, Gold, Black, White & Translucent, Collapsible.
This is an excellent reflector set, robust and effective as well as easy to store. I highly recommend this as a standard piece of equipment.

 

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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’.

Seeing the subject… refining your vision

Beat it up!

• Beat it up! •
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Beat it up! By Netkonnexion on Flickr Photographers eye :: Seeing the subject… refining your vision | External link - opens new tab/page
To really look at a subject you have to see it as you have never seen it before.

Cultivating the photographers eye…

What the “eye” really means is difficult to define. One thing’s sure. As “photographers eye” develops you see things differently. Refining your vision to see differently is how you develop your version of the ‘eye’.

Looking at the scene

In Working the scene I described how to walk through the scene, understand the angles and ideas that relate to the scene and ways to find “the” shot. At first it is not a simple process. You are developing a habit. Doing things that you would not do naturally.

Standing up and using the camera from your normal eye position makes your subject look like you always see it. Surprisingly, it is also the same way most others see it too. Where is the novelty, interest and insight in that? Photographers eye, Seeing the subject in a different way requires refining your vision.

Well, you can change it all by studying your subject from new angles, new light and with new perspectives.

What if the scene is a close up subject?

A wonderful thing about photography is the ability to isolate a subject, get in close to it and examine it in a way we normally do not try to do with our eyes.

The challenge is to do things differently so we can see things differently. In this blog I often urge people to get in close – fill the frame. That is one way to see a subject anew. There are others. Below, there are some ideas to get you to see your subject differently.

Photographers eye – Getting in close:

Really close means a macro lens. If you don’t have one then you can get some macro extension tubes. These are an inexpensive way to do macro photography. However, the way to see things differently is to try and see the subject in ways that are different to the everyday perspective. Using a macro lens, tubes, or even very close with an ordinary lens you need to be versatile. Get around your subject, see it from at least ten different positions. Try to make every shot different. Take every shot as if you are seeing the subject as a new object. Don’t just look at the whole subject, get right into the tiny detail, all of the tiny details. (See Amazon search results for macro extension tubes External link - opens new tab/page).

Photographers eye – Getting the Angles

Developing your vision is not just about details, even if there are lots of them. Try taking each detail from a whole range of angles, under, over and from the back too. Angles on a subject help to start you looking at the aesthetics of an object. Look for curves, pleasing intersections, great lines, diagonals… Anything that helps you to see the beauty in a subject and shows it in a new way.

Photographers eye – Using different lenses

If you have them, explore the subject using a range of lenses. Get wide. Go long. Try fish-eye. Work with a prime. Go with whatever lenses you’ve got. The idea is to show the subject in a variety of different ways. Every lens has its peculiar characteristics and distortions. Training your eye to see a subject in different ways by using different lenses is one way to become sensitive to photographic perspectives. You will begin to see how a camera sees. If you only ever use one lens you will begin to see everything in a plain way. If you can see things in a variety of different ways you will begin to start looking at things differently.

Photographers eye – seeing different light, different exposures

Light is the essence of everything we do in photography. While you are working with small subjects (like in my picture above) you can make changes to the light. You can use ambient light, window light, natural light, reflected light and domestic lights. Then there are coloured lights, soft light, hard light, and even laser light. Then, you also have dozens of different ways to use artificial photographic lights too. Added to these different illuminations you can also develop a whole range of exposures. You can explore your subject as under-exposed, over-exposed, dark or bright. You can use shadows, different light angles, different light heights. There are literally thousands of ways to light and expose any one subject. Explore as many of them as possible.

Other variables:

Try different backgrounds, different colours and different textures on your subject. Vary through monochrome, colour, colour intensity… try it against black or against white. Use different depths of field, more bokeh, less bokeh. Blur, movement… Try everything. Just make it you mission to look for the different way of doing it.

Refining your vision – developing photographers eye

Developing your vision as a photographer is about understanding the way you can shoot things differently to other people. You are trying to deliver to your viewer a different view of the world. To find what you are good at, what your unique perspective is, you must explore a universe of different approaches. Work with new angles, light variations, colours… well everything discussed above and more.

When you see a new subject get into it, explore it, by trying everything you can to see it anew and in a new light (literally). After a while, with practice, you will develop the photographers eye. To do that you must learn to see new ways that you can take a shot without actually needing to take it. Then you will be envisioning the shot in advance. You will also be developing your eye – your unique eye. You will have learned to see differently and to have put your particular style into your shots.

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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’.

Getting close with your camera

Get Closer

• Get Closer •
Images from the video.

There are few better ways to show your subject…

If getting close to your subject was easy then more photography learners would do it! Strangely very few do get close in to the shot. It is a great way to invigorate your shots and you can find some amazing subjects in the most obscure environments.

Get Closer! Exploring Photography with Mark Wallace

In this simple, explanatory, video Mark Wallace shows us how to get up close and personal with some seemingly bland subjects. When you get down to small-size photography you quickly find a new world that is both unexpected and exciting. Some really ugly subjects come out with some surprisingly beautiful shots. You just need to cultivate the right way of seeing. That is what getting close and thinking about your composition is all about.
Adorama Photography 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’.

What good is a lens hood?

Five Types Of Lens Hood

• Five Types Of Lens Hood •
Attribution: Photo of five lens hoods for a mix of lenses; March 2013; Author: Geni; Permission: GFDL CC-BY-SA

Using a lens hood is important.

It is not always clear why we need a lens hood. Why do we need them and what are they for? Actually they are pretty important and can help prevent some nasty visual artefacts.

What is going on in the lens

Normally photographic lenses perform really well. They receive light reflected from your subject as parallel beams. These are focused by the lens into an image formed on the digital image sensor.

When light hits the lens from the side the situation is slightly different. Some of the light is refracted through the lens correctly. Some of the light however, is reflected off the surface and lost. But there is a percentage of light that goes astray in the lens. It can be bounced around in the lens – reflecting around from the surfaces of different lens elements internally. If it does so, on each reflection some of the light will get through to the sensor. Each time that happens there will be a slightly side-shifted ghost image. All sorts of light aberrations can be created by this internal reflection in the lens. It is these that cause the artefacts you see in the image.

Light is also scattered by inconsistencies in the lens glass. Chemical, and structural variations in the glass can impact on the way the light travels through the lens. This scatter contributes to the problem. These artefacts, and often an associated haze, are called lens flare and can be worse the further to the side that the light enters the lens. Flare and haze will not only form a distraction but also act to wash out the colours in your shot and reduce contrasts. These will make your picture look flat and lifeless. Unintended flare can simply kill the effectiveness of the shot.

A sharp angle of side-light can therefore cause all sorts of visual image ghosts which are not there in the scene. You can see a range of different types of flare in this Google image search…
Google images: Example lens flare images  External link - opens new tab/page

In general, poor quality glass and multiple elements in the photographic lens will tend to create more flare. Of course better lenses (read: “more expensive”) can help to reduce the problem. Higher quality lenses will incorporate a range of ways to reduce the problem. These include optimised lens-element design, surface coatings and non-reflective surfaces/parts internally as well as high quality glass. Despite that no lens is immune to flare.

What does a lens hood do?

The most common reason we use a lens hood is to reduce the incidence of a bright light source hitting the lens from the side. This will act to reduce the chance that the lens will suffer from the flare problem. In other words, the hood will help to keep the light coming in from the front of the lens in parallel rays.

It is simple really. Put up a wall at the side and the side light is cut out. However, it is not so simple to design a lens hood that will do that without obstructing the lens. The field of view of the lens cannot be allowed to catch the hood sides. If it does it will leave its mark on the image. So all sorts of hood shapes and sizes are required to match the visual characteristics of the lens. Lens hoods are quirky shapes because they have been designed to optimally reduce the side incidence of light and not interfere with the field of view.

Common design elements include “petal” shaped edges. These allow the corners of the sensor a wide field of view without interference in the corners from the hood. The long petal shape must be along the long side of the sensor (landscape view). If you put it on the other way the side of the picture will show the edge of the hood and light will also get in from the top (or bottom) because the cover is insufficient there.

There are conical shapes and cylindrical shapes too. When these don’t have petals they are designed to accommodate the full field of view of the lens from any angle. You may find that these types of hoods are common on lenses where the front of the lens extends when changing focal length. As the extension of the lens will change the field of view the hood shape must be wide enough for the widest angle of view. But it cannot have petals because they would rotate with the lens and at some focal lengths would interfere in the picture.

Lens hoods do more…

As you can see you should buy a hood for your lens that has specially been designed for it. If you don’t, you risk the hood intruding in your shot, or not providing sufficient protection against flare.

Hoods can help in other ways too. When you have a lens hood on the lens it acts as a primary protection for your vulnerable front element. Once, when I was panning to follow a bird with a heavy/expensive pro-zoom lens I whacked the lens hood off the glass of my car window. I am convinced I would have broken the window and damaged the front lens element if I had not had a lens hood on. It harmlessly bounced. Phew! I use hoods whenever I can these days.

Lens hoods also help to reduce over exposure generally from incident reflected light on bright days. There may be no direct bright light source shining into your lens. But it helps to reduce the high levels of brightness from the side regardless. That helps to reduce the overall high light levels and especially the contrast.

Lens hoods are worth the effort

Lots of learner photographers forget the lens hood. Yet it can have quite a significant impact. Even if it is not significant, when you are trying to get a sharp image and reduce the colour wash-out in bright light every little detail counts. Great images come from the attention to detail.

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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’.

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+.