Something a bit different for today’s post. I gave a short presentation at my local camera club today to answer a question on why photos taken by club members are sometimes blurry. You might find some of this information useful. Click on the pause button to stop on any slide.
If you would like to download a copy of the presentation, click below. You will need either Microsoft PowerPoint or a compatible presentation viewer to open the presentation.
Since I took up photography full-time 3 years ago, I’m much more informed about equipment and techniques. There are some well-rehearsed lines in this industry: photography is about shaping the light; remember to work the shot; don’t take pictures – make pictures. And on and on.
Many of those tomes are also around gear – usually put out by manufacturers I think. As an example, fast lenses (those with a maximum aperture of f/2.8 or larger) are always better than other lenses. Better for low light capture, better for managing depth of field, better for autofocus performance. Always buy the fastest lens you can afford.
Whenever I venture to purchase a new lens, I’m typically presented with the fastest lens first – the advanced option. But the more I’ve shot, the more I’ve come to question this equipment mantra. Most of the time, you DON’T need the fastest lens. Here’s why. Continue reading →
A year ago today, I received a new hip. Routine surgery I’m told, but life changing for me. Months of excruiating pain replaced, initially, by the feeling of having been hit by a bus. Luckily that lasted only a couple of weeks.
My first major surgery; also the first time I fainted on standing; and the first time I took more than one pill in a day. The weeks of exercises to learn to walk unaided. The challenges with sitting and even using the bathroom. Most especially the loss of independence, relying on a wonderful family to indulge my need to get out of the house. Continue reading →
It’s the dog days of summer here in Canada. Photographers everywhere are getting out to capture the hum of life. Vacation photographs, outdoor events, family events, outdoor location shoots or special projects that have been waiting for the perfect day are all being recorded now. Even indoor work is at its height, with many hours of natural light available to help get the best shots.
In a month, we return to routine, which for some might include membership in the local camera club or association. I personally belong to three. Typically on hiatus in the summer, they launch with a bang in September. And we’ll all have lots of new material to share. But will we? Continue reading →
The options for manipulating an image after capture are endless today. Creative edits can include composites, the addition of graphic elements, and the use of finishing treatments such as texture overlays, painterly conversions, grunge and high dynamic range (HDR) effects. These are just a few possibilities.
But as recently as 1935, the only manipulation available to a photographer was around how much highlight and shadow to reveal in the print and where (a.k.a. dodging and burning). All film was black and white. The most creative photographers played with different development processes and printing surfaces, but these were all still monochrome results. Others tried coloured filters at image capture, or layered emulsions that could produce different colours, but this made the capture and processing much more complex and the results were often poor.
In 1935, Eastman Kodak Company introduced Kodachrome and changed the world forever. Despite this, colour photography did not become widespread, at least not in the consumer market, until the 1960’s. So colour image capture has really been in broad use for just 50 years.
Today, all digital cameras capture colour data by default. Black and white conversion is available both in-camera and through post-processing. The irony is that the same debates about colour vs. black and white that drove the creation of Kodachrome still exist today. Here’s my take on the creative debate. Continue reading →
Photographing people comes with some additional complications not present when photographing still life. An obvious statement, you say. One such complication is the question of permission when photographing people informally.
Last week, I had dinner with acquaintances who insisted that photographers own all their images from the moment they are shot. Permission to use them is not required. I was also out shooting with others who believe that documents get in the way of artistic freedom, particularly in informal settings. I wanted to know more.
First, a disclaimer: this post is NOT legal advice. Every jurisdiction is different – it’s up to you to understand the laws that apply to you and how best to protect yourself. You should always follow any copyright and privacy laws, particularly if you hope to profit financially from your work.
And this post is not about formal portraits or events for hire (weddings, family milestones, freelance event photography, etc.), which typically include negotiations and signed contracts; it’s about the more spontaneous form of people photography known as “street” photography.
Spring has sprung. New life all around us, providing a wealth of photographic subjects. Perfect for macro photography. Macro photography reveals the smallest of these subjects, from tiny lichens to the wing details of insects to the inner sculpture of a summer bloom.
Macro photography requires only one unique piece of equipment: a lens that can focus within a tiny distance of the subject, resulting in an image that is the same size on the camera sensor as the subject is in real life. But macro lenses have an amazingly small depth of field, almost guaranteeing that some part of the image will be out of focus. What’s a photographer to do? Continue reading →