How often do Gulf Islanders ride the ferry? Too much. How long does it take before the unique marine adventure become but a backdrop to one's life? About 10 trips. So, it isn't long before the "unique" becomes "blasé" ... at least to some.
Friday, November 27, 2020
How to make the "usual", "unusual".
How often do Gulf Islanders ride the ferry? Too much. How long does it take before the unique marine adventure become but a backdrop to one's life? About 10 trips. So, it isn't long before the "unique" becomes "blasé" ... at least to some.
Don't dump the bad image is it makes a statement for you.
While in India, I came across a truck full of people all jammed in together. It was an iconic image of transportation in India. However, the resulting image just did't cut it for me. I rarely delete rather save and experiment.
Here is the original image.
You get the idea of "compressed" but it just didn't have punch. From my point of view there was no need for colour ... it was all about shape. So I used post-processing .. some single image HDR EFX pro and Silver EFX Pro to make the statement I saw.
Does it work for you? You see, others don't necessarily see what you see. If you have an image that you think is "significant", show it so someone and ask them "what is this image all about? If they don't come up with what you want them to see, you will either need to re-shoot (which I could not do) or work in post processing.
Have fun and experiment.
Thursday, December 26, 2013
2. Use a tripod. With a slow shutter speed, no one can hold their camera steady enough to prevent camera shake. As you can see in this image, everything is blurry. Not only that, the camera took a picture that is missing all the beautiful detail (compare the results to the one above). Using a tripod will allow you to take a longer exposure capturing all the sweet details without blur.
6. Use your flash. There are times where you just need to use your flash. The picture on the right would need a flash to get a properly exposed image (mind you, that was not what we wanted). The folks on the left were just too far away from the fire so a flash was needed. Notice how the background is just totally dark. This was not a problem as the meaning of the image was simply recording the event for the family.
7. Bounce your flash where possible. If you have a flash where you can adjust where it points, and if you have something to bounce it off, point it up. With this image, Santa was sitting under a white canopy. By pointing the flash up, the bounce off the canopy lit everyone mostly from the top down resulting in delightful shadows (something I like). In fact, if you have a SLR, purchase a cord the allows you to hold the flash in your hand enabling you to point it at reflective surfaces creating interesting and pleasant lighting effects. Below is a second example where the flash was bounced off the wooden ceiling, thus the warm tones on their faces, and the shutter was slow enough to capture the tree in the background.
So, there you go. The message here is experiment! Effective lighting is key to interesting and inviting pictures. If you want to learn more and live on Mayne Island, I will be running my course "How to turn your snapshots into photographs" later this winter.
Monday, November 26, 2012
Product Photography: How to hang a shirt in mid air
I am a generalist as a photographer. Living on a small island I end up doing everything from soft news to light commercial shoots like this one. I have never had to make a shirt hang in mid air but I was up to trying. Here is what I did.
First, you need a mannequin - something to put the shirt on (since you aren't using a kid). My contractor was in the clothing business, had connections and came up with one. He painted it white to prevent colour leakage though the material.
With the shirt on, it was a bit loose so I used a clothes pin on the back to smooth it out. If you want the natural look, don't pin it. Alternatively, you could lay it on white foam on the ground and do you best to shoot it at a true 90' to the shirt (you don't want distortion).
Next was the lighting. The trick here is to use a white background and light is separately from the shirt. I used a large white reflector to achieve this (you can see the large white disk behind the mannequin in the first picture). As well, I used two soft boxes to light the set. I put a grid on the one lighting background to prevent it from spraying light on the side of the shirt. A second light box was set back to light the shirt. To reduce shadows, I placed a white reflector on the opposite side to create fill light. You could also use a second soft box on the opposite side to totally balance the light. As well, I over lit the background by 3 stops to make sure any wrinkles on the material were washed out.
So as not to create distortion, I used a 70-200 mm lens and shot from about 10 feet away. It worked great.
Notice the cover on the pool table - a white sheet. You want to make sure you do not add any extraneous colour. Fortunately the room was painted white but the pool table top was green. The sheet did the job.
Use test shots to check for light balance then adjust the strobes output until the lighting on backdrop is washed out (more light shining on it) and the shirt is properly exposed. (I shoot tethered to my computer so I can see the results right a way on a large screen.)You can see a bit of the background texture but that will be easy to photoshop out.
Next you want to remove unwanted bumps and dips. Note the one on the middle right (bump) and the dint on the middle left. Using the "liquify" filter in Photoshop CS6 they are easy to remove. (With this filter you can also erase those fat extrusion on pictures of people you like.)
I could have done a lot more work here but these were just test pictures. But you can see what a difference it makes, especially on the right side.
Finally you need to get rid of the mannequin. Again, CS6 will do it with the selection tool and some fine tuning. Here is the final product. Pretty cool, right?
Here is a final re-shoot without the shirt being clipped and with two soft boxes as the key light. I have also reduced the exposure to bring out the rich colors. Always changes.
Well, I hope you both find this interesting and that it encourages you to push you own photographic expertise. Whether it is a shirt or a product you are trying to sell on Craigslist, presentation means everything. Give it a try.
Cheers.
Toby
Wednesday, November 21, 2012
Considerations on How to Photograph a City: Chicago
If you are an amateur versus a "snap-shop" photographer you may be interested in experimenting with taking character images of the next city you visit. Yes, the "I was there" snap-shot such as your sweetheart in front of a famous structure is a fun record to prove to others you were there but you can go beyond that.
Often the extra shots are simply wide angle street shots trying to get everything into one image. Ok, do take those as it will give folk a sense of the city setting and general layout. But I encourage you to consider spending some time thinking "what is this city all about" either in the nature of the structures, transportation, or other dominate features. I had this opportunity during my first visit to Chicago.
On my arrival, nothing stood out for me - all I saw was the typical urban sprawl. However, as we approached the city four things got my attention: stunning high-rises, rusty bridges, old character buildings, and an inter-city river/canal. Now, I didn't shun my partner and hosts and run off taking pictures. Rather I simply focused on those four factors as we toured the city. Mind you, there were special moments where I needed a little extra time to get the right shot. (Viewing note: Click on any image for a larger view.)
1. Context. First, give folks a context for your images. As you can see, my first image (above) is a panorama of the city. I chose a location that would demonstrate the essence of the city - a multitude of stunning tall structures.
2. Reflections. Often buildings are so condensed that it is difficult to capture groupings of them. My second image is a similar shot but taken within the city capturing some of those same buildings but from a reflection of one of them. Note that I took it at an angle. This creates some drama in a potentially static image.
3. Look up. To accentuate the height of the structures, use a wide angel and point up. Don't forget to fill the frame with the building leaving only a little sky. In this case, the parallax (converging lines) caused by looking up creates the visual drama. Seen in a larger size, one can almost experience vertigo ... just what I want. These building are tall.
Tuesday, September 11, 2012
It is almost impossible not to be motivated to capture images of structures associated with special places while traveling. Whether it be a church, monument, lighthouse, or civic building, one almost has to line up behind others to record that special place. However, when you get home the image often just looks like either a "what-the-heck-went-wrong-with-this-picture" picture or a cliché, postcard type image. With the former image, you best take a basic photography course. With the latter problem all you need to do is get creative and think outside the box. I will use Mayne Island's Lighthouse Park as my example.
This first picture is, from my point of view, that cliché image. Nicely framed by the trees (top) and shadow (foreground) with the lighthouse structures placed a touch off centre. Yes, take that picture but don't stop there.
One way to think differently is to make your main subject a secondary part of the image by placing it in the context of the setting.
With this image I got down to the shore and just started to scout around. (Photography is a lot about discovery.) I noticed that we had some nice puffy clouds and a generous supply of driftwood so I used them to bracket the lighthouse. Notice, the lighthouse is only 1/5 of the image yet the story is still about the lighthouse. From a graphics point of view, the logs do draw your eyes up to the lighthouse and the clouds provide a nice cushion at the top.
In this next image (taken a year later) I explored the location again this time at low tide. From this location the seaweed provided a nice context for the lighthouse. The lighthouse is still only 1/5 of the image yet remains the subject. As well, notice how the seaweed draws your eye upwards towards the structures. Also, the clouds are present enough to make the sky a little more interesting. Another difference between the images is the sun - defused on the first image and strong and direct on the second. I like both.
With this third image, the tide was coming in but the point was yet to be covered by the ocean. Willing to get my feet wet, I ventured out as far as I could go to see how things looked. From my point of view, this was a horizontal image where as the previous two were vertical. By the way, I normally shoot both angles then decide later which perspective works best. Digital is cheap! The sun was coming from my right creating nice shadows and a dark blue sky. To make the foreground more interesting, I got low and waited for the waves to arrive (notice the white water on left side). Notice again, the lighthouse is but 1/5 of the image yet still the main subject.
My final image is one many of you may not like ... it is rather artsy! Remember, you can always delete but you can't capture later what you have passed up.
With this image I placed the lighthouse on the left with the sun right behind it and placed grass on the right to create some visual dynamics. (Don't you find your eye dancing between the grass and the tower?)
Well, there you have it. One lighthouse, five perspectives. Give it a try. The next time you find yourself in a special place, be creative with your image capture.
Let me know your thoughts.
www.tobysnelgrovephotography.com
Thursday, September 6, 2012
1. Blur: This is probably the biggest problem - stopping the action. With moving subjects, you need to be sure your camera is set on "S" or "T" or shutter priority. Also, there is an "Auto" setting on some cameras that display an icon of someone appearing to run. This setting assumes you are shooting something moving and will adjust the camera to maximize a quick shutter. Potential blur can be caused by two main things: degree of movement and focal length.
- Degree of movement: The faster things are moving in your frame, the greater the need for a high or quick shutter speed. If you pan with a moving object like a bird gliding, you solve part of the problem. However, if their wings are flapping, the blur problem is an issue again.
- Focal length: The higher the focal length (the more you have zoomed out) the greater the probability camera shake will cause blur. Think of it this way; Hold a pencil as steady as you can while your hand is resting on a table. Now, try to do the same thing with your arm extended. The more your arm is extended, the more the pencil wiggles ... right? It is the same thing with our camera ... the longer the zoom, the greater the wiggle effect will show up as blur. This is something you don't notice while you are shooting but the results will show up on your print.