The Winter Woods - Light and Texture

A few years ago I took a hike along one of the Mammoth Cave trails. The winter chill had yet to subside and the spring bloom was still several weeks away. My tripod rested across my shoulder adding to the tug caused by the weight of my camera pack. I came across an overlook that afforded a mostly unobstructed view of the Green River and much of the valley. Along its banks tall river birch trees stretched their branches toward the sky, their white bark contrasting sharply with the dull gray of the winter woods.

The sky that was overcast started to break apart and random beams of light floated across the valley illuminating the textures in the trees. I placed my 50-500mm lens on the tripod and attached the camera. Using its magnifying strength, I scanned the tree line along the river bank and discovered a remarkable visual array of textures and contrast. As a beam of light scanned across the scene I fired off several shots before moving on.

I love photographing the winter landscape because of the abundance of textures and shadows. Few of my photo opportunities are random in nature. A good percentage are planned well ahead of time waiting for the right conditions to develop, but.the results of that  one chance encounter far out weighed the normal results from most random opportunities.

 Later, when I loaded the images from that day's shoot, all the others images were rather ordinary, but that series of images across the Green River Valley stood apart because of their textures and light.

Light and texture work together to provide contrast, shape, and form, through the generation of shadow and highlights. Without the beam of light providing highlights, the photograph would have been less dramatic. Some of the best times to capture light and texture in nature is in winter when light has an opportunity to penetrate through the canopy. When trees are full of leaves, light will not penetrate as well and the leaves tend to hide any unusual shapes and forms. Trees like river birch with their white bark create a wonderful contrast against a shadowed background. Throw in some fog and you add the element of mystery to the photo equation.

Snow here in south central Kentucky is not all that common, but we do from time to time manage to receive some most winters. The magical white that filters down provides another element of texture to the winter woods. When caught in a heavy fall, the density of the falling snow provides a fog-like atmosphere and can transform a winter scene. I often look more for the effects of the snow on the textures of the woods than I do the ground cover it can provide. Snow clinging to trees adds a tremendous amount of contrast and enhances the flavor of the moment. If lucky enough to receive a late winter snow when the spring is trying to appear, the contrast-of-wills from the two events provide a wonderful vision of winters magical moments.

Think Small...to Discover the Bigger Picture

There are times I struggle to 'see' the photograph. For some reason I just can't seem to find the right mix of time and place and light that captures my imagination. What usually happens during one of those spells is that I either go home in frustration, take a series of test shots that might stir something for another time, or...I begin to look for the small stuff that defines the bigger picture.

What I wish to avoid is taking a lot of mediocre photographs. I've already got too many of those...they are easy enough to create. What my heart desires is to capture a unique moment where that combination of place, time, and light stirs the imagination. What happens is I tend to get caught in the common trap of trying to take in everything in one view and when I do that, my ability to see photographically becomes blurred and distorted, sort of like not being able to see the forest for the trees thing. It is a way of thinking that can often leads us down a slippery incline where we fall into a pit of complacency with our photography.

One trick I've learned is when I find myself unable to lock in on one of those 'bigger picture' moments, I begin to look for smaller details that more simply defines what I am looking for. Here is one example. I was in a wooded area that is quite scenic, but it can also be quite chaotic looking. There is just too much of everything to be able to capture it effectively in one wide area image. The light was quite harsh that day with bright sun filtering through the trees creating contrasts that made it difficult for any photograph short of an HDR type of image to work well.

As I scanned the area, I noticed a small clump of lacy material growing out of a notch in the side of a moss covered stump that was recessed rather deeply in a wooded area. A beam of light filtered through the canopy of trees caught the lacy growth in an almost spotlight effect. Behind the stump was a shaded area. Using a long telephoto lens I zoomed in on the location from about fifteen yards away and isolated the stump. As I framed the image I realized I had discovered what I was actually looking for. This small growth on the stump represented the essence of the larger picture I was unable to see.

Thinking small is a good way to work out of a difficult lighting situation. Even though your subject may not encompass the full spectrum of the visible situation, by simplifying the composition, the bigger picture can often be discovered in those smaller moments.

Keith

Maximize the Ordinary

One of the themes I write about consistently is the idea of photographing ordinary things in extraordinary ways, or put another way maximize the ordinary. Sounds simple enough, but putting it into practice takes a bit more of a practiced eye. I’ve never actually been asked how do you do that, but indirectly I have been asked that exact question. The question comes visually from the photographs taken by inexperienced photographers.  So let me take a minute and not only explain what I mean by Maximizing the Ordinary, but some ways to go about doing it.

Maximizing the Ordinary is a term I used to qualify the idea that even ordinary things can become extraordinary if captured in certain ways. It is based on using light in such a way as to enhance the basic uniqueness of an ordinary object. There are several factors that come into play:

1.       Color

2.       Background

3.       Type of Lens

4.       Focal point

5.       Composition

Let’s take a look at each one.

Color:

Color blending is critical when trying to photographically maximize the effect of an ordinary object. It’s a matter of using color in such a way that the entire image is affected by the blending of those colors. I tend to look for single color schemes, not necessarily a single color, but a color scheme that carries the same variation of color across the entire spectrum of the image. In many cases, your main subject contrasts with that color scheme. (This is not unlike and is related to Symphonic Melody). What I look for is something in the background that will generate a blanket color effect with enough variation to add interest, but not distract from the purpose of the image.

Background:

The use of background is directly related to depth of field. Generally speaking, a narrow depth of field, which is generated by using a long focal length lens and a large aperture, will serve to isolate your main subject against a blurred background. The blurred background is what will contain the color blend in most cases. Background must be selected that enhances your image, not distract from it. There should be nothing there that competes with what you want to show visually, and everything that is there needs to be a part of the visual story, even though it may be blurred. This may require that you change your position, drop lower, climb higher, move left  or right, or face the other way.

Type of Lens:

Although any lens can be used, it depends on the circumstances as to what lens will provide a better perspective. For isolating a subject, a long telephoto lens will do a better job as it serves to bring your subject closer and distort the background. A wider angle lens is best used when a large area is being photographed. Oddly enough, you can isolate your subject even with a wide angle lens, it’s just a matter of perspective and looking for ways to remove all those unnecessary elements that can destroy the effectiveness of a photograph. I tend to rely more on a telephoto lens than wide angle, but remain aware of the intrinsic nature that wide angle lens impart on the scene.

Focal Point:

Focal point is identifying on what to focus. It is critical for the viewer to understand what you want them to see. In many cases again, you may need to change your position to gain an angle that allows you to focus on that aspect of your subject that is most important. The idea here is to observe and locate the one single perspective that best identifies your subject. It becomes the framework around which you construct your image.

Composition:

Just as focal point serves to build the framework of a photograph, composition serves to build the overall structure of the image. Find your focal point using the correct lens for the job, position your subject against a complementary background, and look for a blend of color that serves to enhance your main subject. Always take into account the position and angle of the light, the quality of the light, and use proper exposure compensation to capture you ordinary subject in an extraordinary way.

Finding the Shot

I’ve known many photographers over the years. Some of them very good…some…well. . . maybe they are still works-in-progress. Actually, I'm still a work-in-progress as I am continually learning new techniques and obtaining new insights from other photographers. That WIP phase never really ends as I desire to improve my ability to find the shot because ninety percent of photography consists of exactly that.

Photographs created from a technical aspect may be mechanically correct, but art is not created mechanically, it comes from the heart. Knowing all the tech stuff by itself will not, except in rare instances, create a photograph with impact. 

So how do you find the shot? If I could truly answer that question and bottle it, let’s just say I could afford to purchase any camera make or model I wanted as a result. The problem with defining that answer is that everyone is different. Our world views are developed through our personal experiences and how we perceive what defines art comes from how we look at the world. What stirs one person may not affect another.

Most of us can appreciate great art. It’s one of those things where you know it when you see it, but creating it is much more difficult. Fortunately, nature has already done most of the work and provides a wonderful pallet where as photographers all we have to do is capture what she already provides. We don’t have to create anything, we just need to be able to see it and then apply enough technical skill to the process to capture it.

How to see photographically is the theme of a workshop I teach from time to time. I must admit that even though the concepts are sound, many who attend the workshop struggle to understand how to apply those concepts to their photographic endeavors. As stated previously, photography is ninety percent seeing and ten percent photographing. Unfortunately, most people get hung up on the ten percent and never truly expand outside that confined aspect. For some reason, they are continuously searching for that magic formula that is mysteriously hidden inside their high dollar camera. What they expect is for the camera to create that great image, and ignore the importance of exploring the other creative ninety percent that dwells within themselves.

Space does not allow for an in depth analysis of how to find the shot, but I would like to share with you the top three aspects I use.

1.       What do I look for?

I look for situations that generate mood and mood is generated by the quality of the light. One of the most powerful concepts I try to convey when working with novice photographers is the idea that photography is all about light and has less to do with what you photograph. Obviously we do photograph things, but the objects we photograph, by themselves do not always make great photographs. It is how we use light to capture the emotion of the moment that matters most. Simply taking a picture of a field of wildflowers in the middle of the day more than likely will lack emotional content. But isolate one plant against a sunrise or sunset to give it context changes the dynamics of the photographic equation. Look for mood generating light and define your subject within its realm.

2.       Create Order from Chaos.

Nature is full of wonderful photographic opportunities. It is also filled with a chaotic complexity that can confuse the seeing ability of even the most advanced photographer. Finding order means to eliminate what doesn’t need to be there. Isolate what is important and let the rest go. Simplify your composition where all the elements that appear are there for a reason and nothing is left that interferes with your visual story.

3.       Use Symphonic Melody (SM).

Symphonic Melody? You won’t find this terminology in any text book or photography instructional book. But, it is a concept I apply consistently when I am in the field. Simply defined, Symphonic Melody is the visual music that defines your image. Think of it like this. Most movie soundtracks carry a basic overall theme through the entire movie. There may be variations of that theme presented, but the basic musical melody is applied across the full spectrum of the musical score (remember Dances With Wolves – great musical score! ). SM as applied to a photograph creates a consistent visual effect using color, contrast, and composition where the overall color theme is carried across the image with enough variation to give it character and definition. More often than not, your main subject sits in contrast to that scheme and stands apart. SM may not apply to every situation, but it does provide a visual impact that will capture the eye of anyone who views your work.

Okay, I could provide a number of other ways I use to find the shot, but these three are instrumental in their impact to any given photo opportunity.

Keith

Nature's Favorable Way; On the Upper Colorado River

I stopped momentarily on the side of the road high above the valley below. The blue ribbon that was the upper Colorado River fluttered across the landscape cutting through the valley and disappearing around the far bend several miles away. A light breeze cut through the altitude with a warm embrace. Rugged hills, sparsely covered in pine, broke the skyline into sections of blue which in turn were broken by white clouds hovering in the morning light. The sleepiness that had prevailed across my eyes during the morning drive vanished as I surveyed the scene for I knew this day was the beginning of a new adventure . . . an adventure I had dreamed about for many years. It was September, 1995.

It is good do such things . . . visit nature at its core . . . for it opens the heart to what it desires most. What my heart desired was to spend time alone fishing and observing a part of creation that offered a respite from the stressful nature of making a living. All I had was one single day, but it was to be a day filled with new wonders that calmed the heart and reclaimed the soul.

I completed the drive into the valley and found an access and near that access was a trail that wound its way along the river for some distance. For the next several hours I hiked and fished, then hiked some more spending more time seeing than fishing. The fall colors were just beginning their transformation with splashes of yellow interspersed among the green. A perfectly brilliant day carried me on its wings of warmth, color, and clarity. I saw only one other fisherman standing waist deep in the clear moving water of the Colorado. Beyond him the hills rolled toward the sky and the brilliance of the sun caused the landscape to glow with a fresh flavor.

Through the day I would sit in a shade and simply absorb the moments of stillness. There was a cleanness here that prevailed as far as one dared to see and I dared to see as far as my heart would allow me. Within all of us resides a need to connect with nature. That is why we feel so refreshed after spending time within its realm. Too quickly we lose that connection. Work, family, trials, events, conspire to prevent us from living out those desires.

Eventually I settled along the bank where a set of rapids emptied into a wider deeper pool tucked against a steep bank on the far side. With almost every cast I felt a hit . . . no takers . . . and with each hit my anticipation multiplied. Then as a dory guide boat drifted into view with three people on board, I made one long cast into the stiff water and a twelve inch rainbow trout tided into the small spinner. He immediately leaped and spun and tugged against the current causing my lightweight fishing rod to bend favorably against his fighting nature. The dory crew dropped anchor and began to froth the waters across the deeper end of the pool.

My rainbow cast a myriad of colors in the back light as he continued to fly from the waters embrace and when finally he lay exhausted on the bank, I lifted him in triumph displaying my trophy to the three in the dory. They waved their approval and weighed anchor and continued on their journey. Gently, I lay that noble fish with its fighting spirit back into the current allowing him to regain some strength . . . in a flash he was gone.

In all too short of time, the day drifted away and I began my return drive back to Denver . . . back to the society I sought refuge from. As the last vestiges of light cast its beams across that valley. I stopped once again and bid farewell to a most remarkable day. Surely, nature was favorable to me.

Jumping Light

One day late in the summer, I was hoping to capture one of those amazing Kentucky sundown moments, but luck was not with me that day. There were plenty of clouds, just not where the sun was going down. They were all behind me to the east and overhead. I stood watching in vain for quite a while and as the sun inched closer to the horizon I realized the sundown was going to be pretty much a non-event. And then something told me…”Look behind you.”

When I turned around I noticed the patterns of clouds were lining up in such a way as to create a wonderful low angle of light patchwork across the sky. There was enough open sky showing to provide a sense of space, but the cloud cover was just thick enough to offer some interesting textures.

With the low angle of the sun, a lot of shadows filled the creases between the layers of clouds and the outer edges were tinged with slight yellowish fringes. I lined up a wide angle composition and fired off a few quick shots, but when I looked at the image on the back of the camera, I realized it just was not what I imagined it could be. Instinctively I knew that in the next few minutes the angles, the type of light, the structure of the clouds all were going to line up, and I was going to miss a great opportunity to capture it if I simply let the camera do what it wanted to do.

I tried to influence the image by adjusting the exposure compensation +/- up and down, but the overall effect remained ordinary. Then, a moment of revelation slapped me in the face.  It was a moment that changed the course of that evening shoot, maybe even how I go about taking photographs as a whole. I thought, what would happen if I pushed the white balance all the way out to 9900 from its standard setting of 5500.

I had little time before the sun dropped too low, so I quickly thumbed to the manual white balance screen and reset the value to 9900…as high as it would go. After reframing the composition, I fired off a shot and what appeared on my viewing screen caused a great deal of excitement. The average colors and temperature of the previous images suddenly exploded with vibrant color. The clouds became bolder, the fringes became stronger. The overall color scheme shifted toward an amazing light value that I knew would render the image from being average to one that excelled, almost HDR-like in appearance. What was exciting is that it all looked natural and not over cooked, unlike what some HDR images can render.

It was like the light jumped a full degree in intensity.  Jumping Light is an appropriate name for a technique that can often change the power and intensity of a certain kind of image. Since that time I have tried that technique several times just to retest the theory. It so far has proven to work for each situation.

·         Look for a big sky opportunity – use a wide angle lens – not limited to sky shots.  Early light and late light tend to work best but it is not limited to just those times.  Avoid the cliché sunrise or sunset composition. Instead, use the light from those moments to look around and see how it influences the mood of the landscape, then, photograph that.  Capture the emotion of the moment…not what you see physically…try to visualize what you want the image to become then make adjustments to capture that vision.

The idea is to get you to thinking differently about what you are doing. Don’t simply always accept what the camera wants to offer as an exposure. Use the light to your advantage by telling the camera what you want. The most powerful images are often images that are captured not as an exact duplication of what you see, but as a rendering of what you experience and visualize. 

Extra stuff…The Reason Why the White Balance Shift did what it did

Some of you may be wondering why shifting the white balance the way I did had the dramatic effect it had. Some of you may not understand what white balance is. I don’t have room to explain it in detail here, but White Balance simply put:  There are different kinds of light and each kind of light has different temperature values that are classified as a numeric value using the Kelvin Temperature scale.

Warm light actually has a lower temperature… cool light has a higher temperature. Blue Sky middle of the day daylight falls around 5200 to 5500 degrees K.  The auto white balance on your camera will function pretty well within a range that falls between 3000 and 8000 degrees K, but does tend to default toward a blue cast in certain conditions. If your light source falls outside of that 3000 to 8000 range, it can cause the color balance to be shifted either toward the blue or the orange. Most cameras will default to the 5500 degree setting which in most circumstances works pretty well. By setting your white balance to more closely match the actual kind of light you are photographing, you can tell the camera to shift the center point more toward where it should be. This can be accomplished several ways…either manually setting the white balance, or using one of the preset options on your camera like Shade, or Cloudy, or Tungsten…and so forth.

So…the lighting conditions in the direction of the sky (east) I was photographing, because it was so late in the day, had shifted toward a bluer or cooler temperature…probably up around that 8000 to 9000 K mark. Since my default WB was set at 5500…and 9000 was way up the scale, it caused the camera to capture the image a bit too much toward the blue shade. By manually telling the camera to use 9900, it shifted the center point high enough to cause it to capture a deeper and richer tone value across the entire spectrum of the available light. Was that the way it actually looked...not really…but it was the way I visualized how I wanted it to look.

Keith

Personal Vision

One important but often overlooked concept of photography I've grown to understand more and more over the years is the idea of having a personal vision for what you want to accomplish. Understandably, most people are not inclined to think of their photographic endeavors as much more than simple attempts at taking decent pictures of the family and friends. There are a lot of merits to that approach. It certainly is less stressful and easier to accomplish.

Serious photographers possess a different attitude about what they want to accomplish. Often they carry within them an artistic value that desires an outlet and photography offers to them an obtainable avenue to accomplish those desires. When we begin to rely too much on others to support that outlet is when we find ourselves being disappointed.

Having a personal vision is fundamental for all great artists. I would venture a guess that those who succeeded in their personal adventures to reach the pinnacle of their artistic talents have discovered how to effectively blend vision with action. Yet, no amount of blending will ever occur until there is first a vision and then proper action applied at the right time. Most of us never fully realize this. It's a shame really, because the world would certainly be a more beautiful place if we did.

What hold us back? I would guess there are about as many reasons as there are people seeking answers to that question. In reality, a vision comes from within and is nurtured into maturity by circumstance and desire. It is first recognizing that it exists, then making the effort to refine it, mold it, strengthen it, and focus it. By doing so, we can often discover new revelations about ourselves. Photography is a great way to open the doors to those discoveries.

I once heard it said that within all photographs reside two people; the person who sees it, and the person who took it. In photographs that capture the imagination anyone who sees it is able to place themselves into that moment of capture, and each captured moment expresses a part of who we are as photographers. Don't under estimate a personal vision for your photography, and more importantly, never allow others to deflate your vision simply because they are unable to see it.

Keith

The magic of old photo's

The other day I was thumbing through a Facebook page of an old friend of mine I have not seen in many, many years. Posted on his page were photo after photo of his family through the years. It was such a nice collection and anyone could readily see the joy and pride that glowed from within those images. I almost felt like I had experienced 40 years of his family life in just a few minutes. None of the photo's were very artistic, but they certainly captured the moments and memories.

Most of what I write about relates to artistic flavors of photography and I even at times tend to shun those more informal, yet meaningful and personal photo's.  I must admit, that approach has been a mistake I have made  for far too long, and as a consequence have failed to take anywhere near enough of those kinds of photographs.

Even so, on our bookshelves sit 8 or 10 old albums of exactly those kinds of images. Most were taken with simple disposable cameras and are not of very good quality, yet they retain a sense of spontaneity that more polished images tend to neglect. More importantly, they possess more personal value than all of the so called higher quality images I've ever taken.

I believe one day in the far, far, future, the images that will carry the most value historically will be those old family type photo's. All of the high quality images of scenic wonders will over time lose their impact except as a connection to a transitional era of ecological order. 

Yet, those simple, more personal images will resonate about who we were as a people and society, and future generations long removed from today will gaze in wonder about why that child was making that kind of face, or why did they dress up that dog, or what were all those candles doing on that cake. 

Who knows, but I believe every single person who has ever taken a snapshot photograph of someone in his family has contributed to the visual history of our era. Those histories will in time become some of the most valuable pieces of information we can pass on to the future.   

Stretch Your Imagination...Photographically

Just imagine some of the most incredible photographs you've ever seen. They may reside inside a National Geographic or some other nature magazine. They may reside inside a coffee table book about exotic locations. They may hang on a wall or adorn an office space, or maybe float around on a website. Now...imagine this. You took those photo's.

You're probably thinking ...yeah right...but, I'm serious...why not you? There are no reasons why you can't take those same kind of awe inspiring images. It's just a matter of believing you can do it and taking the steps to learn how. Certainly fundamentals come into play. Taking great photos does require a solid understanding of the basics, but that's the least important element...it takes more than that. It takes a sense of awareness of what makes a great photograph, and all great photographs begin with Light.

Photography is 90% seeing and 10% photographing. Unfortunately most people never move past the 10% part. They seem to flounder on high center trying to figure out how to take a mechanical picture and never move beyond that aspect and miss out on learning about the other 90% of the essentials of photography.

One thing I've learned over the years about photography is that imagination is more valuable than technical skill. Oh, understanding the technical stuff is important, but it's not everything. What really is important is being able to recognize that photographic moment...to see beyond the ordinary to observe the extraordinary. Applying technical elements to a potential photographic moment matters little if you're not looking at the right moment. Stretching your imagination will carry your photography much further than spending a lot of effort trying to figure out the magic camera settings formula. Contrary to popular belief, there are no magic formulas for camera settings, just an understanding of how the camera sees and reacts to light, then using that understanding in imaginative ways.

I know a lot of photographers...some of them are really good...many are moving on up...some are stuck in the dark ages photographically. They just can't seem to jump start their imaginations vividly enough to move forward. That is unfortunate, because all of them are quite capable of taking amazing photographs, but allow preconceived misconceptions to hold them back.

Coming up in another few weeks, we're still working out the details, I'll be teaching another photography workshop that will spend a lot of time exploring this idea of jump starting your imagination photographically. We'll talk about the basics of course, but those basics are simply the foundation from which the best part of photography springs from. The intent is to get the participants to start thinking beyond the obvious and to look at the world from a different perspective, to give up the notion of always photographing the same ole things the same ole ways. We'll encourage them to step outside of their comfort zones and to look at photography from the aspect of combining a measure of technical skill with Stretching their Imaginations. It should be fun.

Keith

Sunsets and Sunrises - do's and don'ts

Because of their bold displays of light most photographers are drawn to sunsets and sunrises, and rightly so for the most part. What most of them do not realize is that sunsets and sunrises are pretty much considered cliche material in the photography world. They have been photographed so much and so often by just about everyone who owns a camera, that to truly take a unique version of one requires an exceptional array of circumstances and skill.

Even so, there are some do's and don'ts you can apply to your attempts at photographing these amazing moments of light. Let's take a look a few of them.

First of all, one of the biggest mistakes novice photographers make when photographing sunsets or sunrises is to center the sun in the middle of the image and to divide the scene half and half between the sky and ground. Here's a coupe of examples.

Don't

In this first picture the sun has risen several points above the horizon. the exposure is not so bad here but the composition of the scene leaves a lot to be desired. With the sun centered the way it is, the interest level drops way off...it's just too symmetrical with not enough variation in the scene nor any central point of interest or reference. To correct an image like this, the sun should be offset to one side and more of terrain included. Something like this:

Do

In this image, the composition is much stronger as there is a central point of interest and variation in the scene.

Here's another example of what not to do.

Don't

In this image, once again the sun is centered and the composition is spaced half and half between the sky and the ground. Although the fence and barn add a bit of interest, this is not exactly a very good arrangement photographically speaking.  To correct an image like this apply the same kind of principle to offset the sun to one side and include more of the sky with just a sliver of landscape at the bottom to provide a sense of scale. The sky is the main ingredient here...so make it your main subject.

Do

Do

Sunsets can also be taken in the vertical. The vertical or portrait view allows for more sky to be included and works well when there are a lot of textures in the composition. Framing the sunset in the bow of tree is a nice effect and serves to bring attention to the main subject.

Although I still find myself pointing my camera at both sunsets and sunrises I prefer sunrises as they tend to occur when the atmospheric conditions offer a greater variety of conditions. Early morning light offers a great amount of contrasts both subtle and bold...throw in a little fog and you have a great combination.  The trick is to not so much focus on the rising sun...but to focus on the effects the light has on the scene. Here's an example of what I'm talking about. In this photo the sun is nowhere to be seen, but you do see the effects of that wonderful morning glow.

Do

Sometimes I will turn around and look the other direction during a sunrise. Some of the best light of the day can be found in opposition to where the sun is actually coming up. This photo was taken at sunrise...actually just before the sun broke the horizon. It is looking west toward the setting moon away from the source of the light, and a soft glow was filtering across the farm country. Not long after this image taken, the sun actually did rise and the conditions changed to a more harsh kind of lighting...and my shooting for the morning was over.

Here is another example of looking the other direction, except this time during a sunset. The best light I discovered was behind me...the actual sunset was rather ordinary.

So, as you can see, capturing sunsets and sunrises don't always have to include the typical cliche images. Look at the effects of the light instead of the source and you just might discover some amazing opportunities to capture a unique collection of sunrise and sunset moments.

Keith

BackHome Magazine - Creative Photography

In the November/December 2012 issue of BackHome Magazine, one of my photography articles along with a few photo's were published. I'd like to share it with you.

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Magazine Cover Image

Digital camera technology has transformed the world of photography.  This advancement in technology has provided low cost, high quality photography equipment to the masses and more and more people are beginning to explore that world.

We’re going to look at ways you can improve your photographic technique that applies to all types of digital cameras by   exploring concepts of what makes a great photograph and how to take advantage of your high tech digital cameras. 

I start all of my photography workshops with this statement: “Photography is all about Light”.  Most people tend to focus on the wrong things when it comes to taking photographs…they place the emphasis on the object or subject believing that the object itself is what makes a great image.  Obviously, we do photograph things, and locations like The Grand Canyon offer some wonderful photo opportunities, but great photographs are less about the things we photograph, and more about how we photograph them.  When we approach our photography from the concept of light rather than the subject, even ordinary everyday objects can become great subjects.

It’s not the quantity of light that is important it is the quality of light that matters most.  Jack Dykinga a world class nature photographer once said,

“Cameras and lenses are simply tools we use to capture our unique vision on film.  Concentrate on equipment and you will take technically good photographs, but concentrate on seeing the lights magic colors and your images will stir the soul.”

Too often novice photographers get caught up in the equipment game believing that a certain camera or a special lens is required to produce that great photograph. The equipment simply imparts various technical qualities to an image.  It is you, the photographer, who captures the image.  How you use light and how you compose the image based on the quality of light is what generates that great photograph.  The camera and lens are only the tools you use to accomplish this. Virtually all consumer level cameras available today are quite capable of taking very high quality images.  It’s just a matter of following some basic principles.  So, let’s look at a few concepts that can help us understand what makes a great photograph.

 

Effective Use of Light:  Generally speaking, for outdoor photography, there is a time called ‘The Golden Hour’.  This usually refers to the first thirty minutes before and after sunrise, and the last thirty minutes before and after sunset.  It is during this golden hour that the best outdoor photographic light exists where shadows are long, and the light is rendered in warmer tones.  I’m not necessarily speaking about sunrises and sunsets, but it is this soft warm light that is cast across the landscape that will often transform what would commonly be considered ordinary into something extraordinary. 

This transitional light will often create a tremendous amount of mood and energy.  Use the warm cast or reflected light to soften and add a dynamic to your images that harsh midday light will not.

Overcast days can often provide the very best light for certain kinds of photographs because of its soft diffused nature. This is critical when attempting to photograph places like inside of a wooded area. When the light is bright, it will create harsh high contrast conditions in wooded areas where the range between the lights and shadows are so far apart, that most cameras will struggle to capture the scene effectively. Either the shadows will be too dark or the light areas will be blown out.  The soft diffused light of an overcast day will provide great, even lighting allowing for a more complete exposure.

Waterfalls are also better photographed on overcast days than bright sunny days.  The lower intensity of the diffused light allows for longer shutter speeds which generates those great flowing water photos.  With the lower light intensity, shooting from a tripod is a good idea as it will allow for a steady shot.

Foggy mornings are some of my favorite times to photograph because the fog will diffuse and disperse the light and impart a sense of mystery and suspense to the scene.  As the sun begins to rise and burn off the fog, new opportunities present themselves that allow for those great beams of light casting through the trees. 

One mistake I see from novice photographers is always having their subject fully lit from the front.  A great technique to try instead is backlighting, or having your subject illuminated from behind, or from the side.  With a little practice, using this kind of lighting can transform your images especially with people as it will generate highlights and emphasize shape and form as well as create character and drama.

As important as effective use of light is in photography, almost equally as important is composition.  I define composition as an effective positioning of the elements within a scene in such a way that all the elements work together to create a single story.  The concepts of composition ordinarily would require an article all unto itself, but we’re going to look at some basic fundamentals of what makes an effective composition.

Composition - Rule of Thirds:  Imagine a tic-tac-toe grid on your image with crossing lines that create three distinct blocks at three different levels both vertically and horizontally.  Near the center there are four offset points where these lines converge.  The rule of thirds and how it applies to effective composition is based on this visual configuration.

In most cases, effective composition is created when the image can be spaced into these three areas with the main point of interest falling on or near one of the converging points that are slightly offset from center. 

Inexperienced photographers tend to place their center of interest in the center of the image.  Sometimes this actually does work, but in most situations you should offset your main center of interest to where it falls on or near one of those converging points on the grid, and space out the scene to where it is broken into thirds.  Offsetting your main subject will allow you to impart a higher interest level in your photograph.

Composition - Keep it Simple:  There are three words that resonate in my mind every time I take a picture….simplicity, simplicity, simplicity.  Your purpose as a photographer is to find order amongst the chaos. Simplicity does not mean that an image lacks for complex details.  What it does mean is that everything in the image is there for a reason and there is nothing there that detracts from the story.

Too many elements in the image confuse the viewer.  By keeping your compositions simple helps to generate images that carry tremendous story telling strength.

Composition – Symphonic Melody: The first time I used this term in a workshop I received a lot of puzzled looks, but it actually makes a lot of sense once you understand what it means. Symphonic Melody (SM) is the engine that drives the impact of the photograph.  It determines the character, flavor, and even drama of the image.  Use of color and contrast are two elements that help define SM and are often associated with mood and energy.  Ask yourself…what mood do I want to convey? Then, search for ways to isolate that mood.  Look for contrasts of color, look for angles and expression of atmosphere.  Symphonic Melody is a way of blending physical elements into an emotionally expressive image. 

Composition – Get Lower:  Photographing kids can be challenging. Many times I see photos of kids that were taken from a standing position looking down on the subject often distorting the perspective, or the subject(s) are lined up with their hands to their sides with a forced grin plastered on their faces.

It’s important when photographing kids to kneel down to their eye level.  Use a telephoto lens to allow you to back off far enough to avoid encroaching into their space.  Also, by using a telephoto lens, something in the neighborhood extending out to 200mm, and a relatively large aperture setting (f/4.0…f/5.6…etc) you tighten up the depth of field and create that professional looking isolation effect against a blurred background.  Fill the frame and catch their expressions up close. To avoid harsh shadows and squinty eyes photograph in a shaded area or on an overcast day.   

Children are best photographed when they are actively doing something as opposed to posing.  Give them something to do, or to hold, keep talking and encouraging and shower them with praises.  Your images will be more powerful and personal and they will capture more closely the personalities of the kids.  One more thing…be mindful of the background, you don’t want a distant light pole sticking out of someone’s head. 

Composition – Look Beyond the Ordinary:    One of the best ways to generate effective compositions is to think in terms of looking beyond the ordinary.   By this I mean to avoid the cliché photos and think about what is most important about what you’re observing.  Focus your efforts into looking beyond what you might ordinarily photograph.

 Instead of photographing the barn, the tractor, the flower patch, the sky, and the fields behind all of that in one single image…focus in on one thing…simplify your composition…look at the textures on the barn door.  Look at the lines and angles in the design of the tractor…focus on one single flower and position your camera so the light you capture shines thru the flower instead of on it. In short, look beyond the obvious and seek out those things that define the greater scene from a smaller perspective.

Taking effective photographs in the digital age requires understanding simple basic principles of how to use light and composition.  By applying some basic concepts of composition with an understanding of how light affects the mood of an image, your photography will take on a newer, more polished look.  Always remember photography is about having fun and enjoying the process, and most importantly…it’s all about light.