All Photography Tips From FloridaImageTools In This Photography Tip ArchiveThis photography tip archive is where all the great photography tips from FloridaImageTools go when they are replaced with an update on the main tips pages. Use this knowledge to improve your Florida images. Postings to this page are in chronological order of replacement with no regard to whether they are general, digital, technique, etc... In order to keep the size of this archive manageable it will be periodically converted to PDF collections, based on the main page subjects, and made available by e-order. Illustrating photos will remain part of the PDF collections.
Digital Photography Tip 2
Use The Exposure Histogram Whenever Possible
The single best digital photography tip is to learn to use the exposure histogram on all cameras that make it available. No matter the file types used by your camera, the exposure histogram will allow you to get the exposure you want for each shot rather than settling for the exposure chosen by your meter. Judging exposure from the LCD playback on the camera back is not a reliable method as these displays are just not large or detailed enough for this critical work. The histogram will show you exactly where each photo’s exposure values are compared to what the sensor is capable of recording. Many fool-proof, auto-everything compact cameras with no manual control options do not offer an exposure histogram. This makes sense as there is no way for you to change the exposure even if it is not what you would prefer. Most mid- to upper-range compacts and all SLR’s offer a minimum of exposure compensation if not full manual control and all of these make a histogram available. On some models it might be an optional menu item. It is worth reading the owner’s manual carefully and finding out how to activate this feature. My Canon Powershot A640 and Minolta Maxxum 7D offer a full-time histogram. My Sony Alpha100 offers the histogram with the push of one button, but it turns off if a picture is not taken for thirty seconds. I find this very annoying but the extra file size is worth the hassle. The exposure histogram is a bar graph that shows the brightness range of the imaging sensor for that particular camera. The left end of the histogram indicates pure black with no detail and the tight end indicates pure white with no detail. All values in between should exhibit some detail in the actual image file. If shooting in RAW file format, there is usually some wiggle room on both ends that can be taken advantage of with whatever RAW conversion software you use, but this “extra” exposure latitude should not be taken for granted. What this means is that if you want the greatest possible tonal range in each file, you should strive to have the greatest possible amount of information between the ends of the exposure histogram. If there is a “hump” of data at either end of the histogram and/or extending past the end of the histogram, the file and any prints made from it will show only blank black or white in those areas. Also important to note is that all camera sensors record more data areas of greater exposure(towards the right side of the histogram), so it is recommended to bias exposures towards the right without going “out of bounds” whenever this is feasible. Doing this will give you more information in the file for any needed contrast and color corrections made later in the file’s processing. Of course the intent is not always to produce the greatest possible tonal range. Sometimes, for some shots, the intent is to have areas of solid black(“low key”) or solid white(“high key”) for aesthetic reasons. Checking the exposure histogram after each shot allows you to make these judgment calls in-camera while shooting rather than having to spend the time later using editing software. Most cameras that have exposure histograms also allow in-camera adjustment of contrast and saturation, also saving time later in post-production editing. The point of this digital photography tip: whenever time allows, use that exposure histogram! Shooting your files in RAW format whenever possible also increases your more options. Your prints and on-line photos will thank you for it.
General Photography Tip 2
“Get Closer and Simplify”
To improve your Florida images, do two things: get closer and simplify. These two things usually reinforce each other and go together quite naturally. It is all about emphasizing the main subject and reducing elements that take attention away from the main subject. There are a number of different approaches available to achieve these goals. One way to get closer(and often the best way) is to use your feet to get physically closer while keeping the same lens focal length setting. The effect is to make the main subject of your photo a larger part of the frame while simultaneously reducing any distracting details around it. This will often result in a more pleasant and less distracting background as well by bringing the focus point closer. If there is any wiggle room, also move side to side and up and down, searching for the most uniform background. Remember that your feet are the original and still the best zoom lens available.Another way to both get closer and simplify is of course to use a longer focal length setting on a zoom lens. This will also make your main subject a larger part of the frame and reduce clutter around it. And once again, move that camera around as much as possible searching for the best background. It is very rare for me to get my best image of any subject on the first try. I always strive to keep working a subject until I have captured what made me want to take that photo. A third approach that can help with the background but not immediate surroundings is to use a larger f-stop and corresponding faster shutter speed. Doing this will reduce depth-of-field, causing the background to be more blurred and less distracting. It is best if there are no very bright areas in the frame to draw attention(again, move that camera around to find the best angle). This result is amplified by also moving physically closer. Forcing attention to your main subject by making it larger in the frame and by eliminating distractions in the rest of the frame will add impact to your images. Simpler is almost always better in a photograph. Simpler generally also communicates your message better by getting rid of the visual static. And like any other photography tips/rules, once you understand them well you will also understand when they can be ignored. If you don't understand them well, you ignore them to your own peril.
The general rules of good composition produce photographs that are pleasing to the eyes, hold interest within the confines of the image borders and promote exploration within the image by the viewer. These compositional “tricks of the trade” were developed by painters long before the invention of photography and have carried over well to the newer two-dimensional art. It is often necessary to make choices between some of the rules, is almost never possible to use all of them in one image and there are some subjects that benefit by ignoring them totally. Most of the time, following at least a few of the rules of good composition will result in images that at least do not offend by appearing sloppy or haphazard. I think the most important and easiest rule is commonly called the “rule of thirds.” The frame, no matter its shape, is divided into thirds both horizontally and vertically. The four points of intersection of the dividing lines will be the most interesting and pleasing places for the main subject and secondary subjects. If the subject is a person or animal looking up and to the left, the lower-right intersection point would be best(allowing the subject to look “into” the frame rather than “out of” it. These placement points result in a dynamic composition with the eyes wandering the frame. When a subject is centered in the frame the composition can be very static, the eyes tend not to wander and the brain is quickly bored with the image. Another composition rule that is easy but surprisingly difficult to practice is “pay attention to the edges of the frame.” This means to keep the frame edges clean, uncluttered and as free of distractions as possible. Doing this keeps the viewer’s eyes within the frame, spending more time on the image. Be especially careful with very bright areas near the edges of the image, as white/bright areas attract the eye. Not all lines crossing the edges of an image can be avoided but lines coming out of a corner angle tend to be especially distracting. Lines play a very important role in photographic composition. Vertical lines add tension to an image. Vertical lines are associated with serenity. The eyes tend to follow diagonal and curved lines around the frame and add interest. Lines towards the edges of the frame are more dynamic than lines through the center(the old saw about “don’t put the horizon in the center of the frame”). Lines that break the frame up into asymmetrical areas make a more interesting composition. As with distractions at the edges of a frame, try to avoid lines coming out of a corner angle. Focus plays a role in composition. The main subject of a photograph should almost always be the area of sharpest focus. Sharp focus draws the eyes, soft focus lets the eyes wander. Please see the “Take Advantage of All Available F-Stops” article for more on controlling in-focus areas. The shape of the frame is another compositional tool to use. Common frame proportions include 2/3 for 35mm film and many digital SLR’s, 5/7 or 4/5 for view cameras, 3/4 for many compact and some SLR digital cameras and square for many medium format film cameras. Any of these formats can be cropped to another proportion. More rectangular frames introduce more tension into the photograph because the composition tends to be more asymmetrical, especially with vertical framing. More square frames tend to be more placid/peaceful compositions, especially if the subject is centered or towards the bottom of the frame. And like any other photography tips/rules, once you understand them well you will also understand when they can be ignored. If you don't understand them well, you ignore them to your own peril.
This page is devoted to image sharing and the many ways to accomplish that. After all, most photographers make images in order to share them with others. The coming of the digital age has opened up many new ways to do this that were not possible in the days of film. I will provide a brief overview of the options. Prints are still a popular and effective way of sharing photographs. The popularity and availability of cheap, good quality ink jet printers and photo papers has brought the ability to make a good print to every computer owner with a digital camera and/or scanner. Simple image editing software included with almost every computer, camera and scanner sold offer the basics needed to produce an acceptable print up to letter size. Printing with ink jets will be explored at more length in future pages.Many programs offer the ability to see digital images on a monitor. Going further, many programs are also available to produce slide shows viewable on a monitor or television. There are a lot of options in this area of digital viewing and these will also be discussed in future pages. A third image sharing option that is constantly becoming more popular is sending digital photo files by e-mail. You can share your latest and greatest Florida images with friends back home almost as soon as you take them. This is quick and painless when done correctly or extremely annoying and time consuming when done sloppily. A future page will cover how to send files efficiently so they are painlessly received. Traditional photo prints from a commercial lab is still a popular option for those not wanting to learn image editing, scanning, etc… The big drawback, of course, is that your prints are at the mercy of the lab operator. There is also the wait of at least an hour or overnight. Many labs do fine work if you are willing to give up that control over the final print. Projection is still a valid option in the digital age just as slide shows are with film transparencies. Digital projection requires the same preparation as a slide show to be viewed on a television plus a projector. Most of us will use more than one of these methods of sharing our images depending on the circumstances and time restrictions. Watch this page for more in-depth and detailed information on all of these options. They are all logical extensions of our photography and worth learning even if they will be seldom used. None are beyond the ability of anyone who can learn to use a camera.
Photography Techniques 2
Using Only One Lens Focal Length For A Shoot Teaches Discipline and Creativity
A technique that I have found useful when images seem to be stagnating and creativity lagging is to shoot for a period of time using only one lens focal length. Phtography can often be re-invigorated by imposing limitations on ourselves in order to force new ways of “seeing” to emerge. We will want to be able to take all of the types of images that we usually would using our full equipment arsenal but are forces to figure out how to do that within the confines of a single focal length. One of the first things to be “re-discovered” is usually the ability to “zoom with our feet” – making the main subject a larger or smaller portion of the frame by moving closer to or away from it rather than just twisting the zoom ring on the lens while staying in the same place. This has a number of benefits for the resulting photographs. First, the distance perspective(the relationship between near and far objects in the frame) is changed, whereas zooming from the same spot is equivalent to just cropping down a wider-angle shot while the distance perspective remains unchanged. Changing the distance between camera and main subject also requires re-thinking depth-of-field(and lens aperture), which is dependent on distance more than on focal length. The background is also greatly affected by changing distance in a way that is very different than when the focal length is varied without changing the distance. A second large benefit of this type of exercise is that it makes us more visually exploratory and inventive. Zoom lenses make it very easy to fall into the habit of cropping by changing the focal length and then moving on to the next subject. Forcing ourselves to achieve the desired crop with a good background and suitable depth-of-field fosters the habit of more fully exploring each subject, not only from different distances but also from different directions and heights. This kind of spatial exploration leads to visual breakthroughs and the evolution of a personal style. It also naturally leads to more complete portfolios – the old tried and true long, medium, close-up and detail shots to tell the complete story.
Try this exercise on your next casual photographic outing. At first it will probably seem like wearing a creative straight-jacket. As you investigate ways to circumvent the focal length limitations, however, the creative possibilities will begin to unfold. I think you will be surprised by what you discover. I usually am and this technique is part of my regular repertoire of creative prods. Start making more cool images by carrying less gear.
General Photography Tip 1
"The Polarizing Filter Can Benefit Your Photos In Many Ways"
Benefits of polarization include muting or eliminating reflections from most non-metal surfaces. This has the effect of enriching colors by canceling the blue sky reflection from leaves and flowers. Reflections can also be reduced or eliminated from The first photo above shows an unrealistic, over-polarized, almost-black sky. It works for a stark science fiction look but not for realistic photography. The second photograph shows a sky darkened with limited polarization so that it remains realistic. Just be aware that maximum polarization is not necessarily best. Also in the first photograph, note the difference in hue and density of the sky from upper left towards lower right. The amount of polarization depends on the angle from the sun. This type of gradation becomes worse with wider lenses or stronger Too strong a polarizing effect can also make water look "unreal" and windows look empty of glass. Again moderation is the key to success. Check the full range of polarization to see what works best for each shot. This is not a one-size-fits-all filter. So use a polarizer! They are great filters and will give you truer and more saturated colors. Just remember to watch out for the pitfalls and use moderation. The last photo shows good use of a polarizing filter on a wide angle lens.
Digital Photography Tip 1
"RAW File Formats Have Many Advantages Over JPEG Or TIFF"
When I first started shooting with a digital SLR I thought “this is just like shooting color slide film.” I shot jpeg files because I was not yet aware of the many advantages of the RAW file format and it seemed like a lot of extra work. Also, there seemed to be little information on the topic in any of the popular digital photography tip forums. I was quite happy with my initial results, getting at least the same percentage of “keepers” as I did while shooting film. One problem noticed quickly was when the camera did not get the white balance or exposure exactly correct. My 8-bit-depth files did not seem to have the same “correctability” as my scans from film. It did not take much research to narrow this problem down to the 8-bit files. My film scans were all 16-bit-depth. This knowledge led to experimenting with RAW. I quickly discovered that RAW processing software, no matter the brand, is no more difficult than the normal corrections I was already making on each image in Photoshop or PaintShopPro, sometimes easier and quicker. My white balance problems completely disappeared and I was left with a more information-rich file. Results from files with slight over- or under-exposure were also greatly improved. I could also go back to the original RAW file at any time and “re-develop” it a different way. This was a revelation and totally changed my workflow from camera to finished file. I was actually saving time while gaining versatility! All digital SLR cameras and an increasing number of compacts will shoot RAW files. They are generally about twice the size of a jpeg file, which some people use as a justification for continuing to use jpeg. I feel that storage, camera cards or hard drives, is so ridiculously cheap these days that this is simply not a valid reason. Some also argue that RAW is more work than jpeg. This is so only if you are willing to share and print your files straight out of the camera with no adjustments at all. If you are usually doing any adjustment you might as well be shooting RAW and getting all of the advantages of the extra information and versatility it allows. Shooting jpeg instead of RAW greatly limits the future possibilities of that file. If any camera settings were not optimum, shooting jpeg might mean not being able to produce a printable file at all. So if you have not tried it yet, give your RAW conversion software a test drive. All cameras that will shoot RAW files ship with at least basic RAW software. Adobe includes a good converter as part of Elements and Photoshop. PaintShopPro includes a RAW converter in the newest version. Several independents offer programs only for RAW conversion that offer a few extra tweaks and options. We all spend a lot of money for our cameras and lenses and we should get the best possible Florida images out of them, especially when it takes no more time and is no more difficult than shooting jpeg. If you are like me, you bought a digital SLR to go beyond the limits of a compact camera. Why limit yourself by shooting the same file format? Try this digital tip yourself and see the difference on-screen and in print.
Photography Techniques 1
"Abstracts"
One of my favorite photography techniques is to spend some time creating only abstract images. Some of the ways to do this are to eliminate anything from the frame that introduces a sense of scale(size), to move in close enough to make a common object unrecognizable or to fill the frame with pure color or pattern. Intentionally creating abstracts forces you to set aside your usual way of looking at the world and expands your visual vocabulary. Abstracts can be effective. Just like other graphic media, photography can communicate through pure color, line, shape and composition. It is not always necessary to have The more of this "direct" communication you can introduce into your "normal" photographs, the more effective they will be. Looking at a photo should cause an emotional response. That is the "wow" we all want. Emotion is what makes a cool image. Return from Photography Tip Archive to Florida Photography Tips
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The first general photography tips will cover potential problems when using a polarizing filter. A polarizer is a must-have filter for every photographer, film or digital. Be sure to use a circular polarizer with any auto-focus camera as older linear polarizers can cause both focus and metering problems. Always check if you should inherit an old filter or see an unbelievable price on a new one.
glass and water surfaces. But most photographers seem to think first of darkening blue skies when reaching for this filter. This works most effectively at ninety degrees to the direction of the sun. This last fact is also the cause of most polarizer faux-pas.
polarization. Please check your skies carefully when using polarizing filters on very wide angle lenses. This effect seems slightly more noticeable with digital photography than with film. Lessening the amount of polarization makes this gradation less apparent.
an easily recognizable main subject or even to have a main subject. This is a more direct and primitive type of communication. It is all about moods, emotions and ideas rather that a specific subject.
