TIPS FOR GREAT AUTUMN COLOR PHOTOGRAPHY

The best photography is found where technical know-how and creative aesthetics meet.  For this month's blog, I will share a combination of both.

The right brain needs to "see something," then shake hands with the left brain and say,       "I have an idea.....and this is what I need from you." I will share tips from both sides of the brain and how they relate. Confused? Read on.

Although I have my preferences, every time of day and every weather condition can produce interesting results. It's more of a matter of taste than what is right or wrong. 

That said, I do prefer to shoot in the mornings, evenings, under cloudy or overcast skies, or after a calm rain. Mornings give me less harsh lighting, coupled with diagonal light and long shadows--all of which I take advantage. Evenings give me the same attributes, plus warm hues. Cloudy or overcast skies make colors "pop" and make it easy for the built-in light meter to give me what I want. Rainy days give me reflections--I love reflections.  

Other conditions I like are before the sun rises or sets. Both scenarios require uncommon long exposures, which can create magic in the final image.

Let me show some examples of why autumn remains my #1 season to photograph. I will share any pertinent right brain or left brain applications along the way.

========================================

Some say Maroon Bells in Colorado are the most photographed peaks in the U.S. I can't vouch for that, but, as you can see, it just might be true.

I have photographed Maroon Bells several times. When I know what I want, sometimes I need to return two, three, or even more times.....to get it right. This is that one time when almost everything came together for me. I had hoped that the clouds cleared the peaks completely. However, as it turned out, I liked the mystery added by the clouds. 

I waited 45 minutes for this shot. Yes. Really. When I started shooting that early morning, The clouds almost completely covered the peaks. So, I continued shooting other areas while I kept my eyes on the weather over the peaks. Then, I saw them. I got my composition, set my depth of field, set the proper exposore. Click!


Lessons: Be patient, very patient--the best opportunities seldom appear the moment you want them. Get up early. Most lakes are more mirror-like in early mornings. In my book,       I spend several sentences on a model I've followed for decades: CDE. You get your Composition, Depth of Field, and Exposure right and you can guarantee yourself a good shot. In this case, I chose a vertical view to enhance attention to the reflections. I intentionally included the rocks sprinkled throughout to add "eye flow" and "containment."

Make sure you have enough depth of field to cover everything from foreground to background (sharpening and clarity cannot fix errors in focusing and choice of f/stop).

When I decide on my composition and focus point/f-stop combination, I then estimate the best exposure (f/stop & shutter speed combination) and take a test shot. I then double check for depth of field and exposure, make any adjustments needed, then get my shot.  

    

Sometimes we don't have to do much with a scene--it's just there waiting for us to go "click."
However, we have to be there when the magic is happening. Timing. Timing. Timing. 

For this shot, I set out to find some side lighting, hoping to find the right composition. Wow did I luck out! Yes, I planned the timing. Yes, I had a general sense of what I wanted. Yes,    I had the skills to make the best of any scenario that presented itself to me. But, who was to know I would come across this natural Monet scenario, including the clouds. Click.

Lessons: Don't shoot like a tourist; shoot like a photographer. A tourist will start shooting at 10:00 and stop at 4:00, and look for those "post card" locales. Take advantage of side lighting. Include shadows and highlights in the scene--they give it mood, contrast, and a three dimensional feel. Add some foreground and some background, but not so much that they compete for attention--just enough to complement the main theme.

For the following shot, I put my camera right up against this tall aspen and shot straight up.
I was on my knees, so I couldn't see what I was getting. I had to carefully estimate where to aim my camera. My camera was on a tripod.

Lessons: There is no rule that says our eyes have to be behind the camera to get a shot.
Vary your perspectives--don't shoot everything from eye level. Focus approximately 1/3 of the way from the bottom of the view finder in order to increase your depth of field--never focus on the bottom of the viewfinder. As a general rule of thumb, your depth of field will be 1/3 in front of your focus point and 2/3 behind your focus point. Always over expose a scene like this when shooting against the bright sky, or you'll end up with silhouettes! This image was created at a +2 1/3 over exposure! Yes. If you expose for the middle tones, all other tones will fall into place--with just a little fine tuning needed afterward. My camera was about two feet from the ground.

It was getting late and the sun was setting. As I drove along a gravel road, I noticed the back lit aspens. Not the best lighting situation, but my intuition inspired me to stop the car, get out, and start exploring. I found this grouping of aspens with bright light behind them. 

I knew I wanted to emphasize the trail leading up to the aspens.

Lessons: Challenge yourself to shoot in less than ideal conditions--late evening, setting sun, back lit trees. In order to emphasize the trail and use it as a leading line, I had to get low, looking up at the trail. Alter your perspectives to get more interesting compositions. Don't be afraid to use your exposure compensation dial--what I call the "life saver" in photography.
This image was shot at a +1 1/3. You can safely assume that when you shoot against bright light, like in this scene, the built-in light meter will tend to expose for the brightest areas (the background sun light), thus rendering the leaves and trees darker than you would like.

I had been shooting all morning. Up to this point, I had concentrated on strictly nature shots. However, when I got to Lost Lake in Colorado, I saw this couple enjoying the moment.

Lessons: If you compose your shots carefully, you can include people and still go beyond documentary photography. If you can add reflections on top of that, you will end up with more than just a snapshot of a couple in a canoe. I composed my shot first, before the people were in view, then patiently waited for them to come across to complete my composition. See something before you see it. Create images, don't just take pictures.

As I shot around the Historic Loop in Eureka Springs, Arkansas, I saw this carriage coming up the street. The travel guide stopped next to this house as he shared Eureka history with the couple in the carriage. I quickly ran up to him, introduced myself, and asked him if I could take their picture. He said yes. I told him, "I'll stand over there and give you two signals--one when I'm ready to get the shot, and another one when I'm done. He and his customers politely obliged me, and I got my prize for the day.

Lessons:  At the risk of sounding redundant-- always get your composition down first, the rest will follow. I spend a chapter on composition in my book. Don't hesitate to talk to strangers--some of my best shots have been because I talked to people I didn't even know. Overcast skies really make autumn colors pop. Oh, and don't forget CDE. 

I could not leave you without introducing some photo art concepts. In today's digital world of photography, most of us try so hard to get everything, in every image, absolutely totally sharp and super saturated. It's okay to have less than sharp images. Really. We are programmed to think that is the only way it can be a great photograph. Part of that programming comes from the day we heard our parents say, "Take a picture." We are still "taking pictures."

I was in Crested Butte, Colorado, at the end of Maroon Avenue, when I came across a trail surrounded by aspens. I knew immediately that I had to convert the scene to Impressionism. I have the straight shot too in my collection, but I favor this one.

Lessons: Don't think so linear. Think outside the box. Loosen up. You don't always have to "take a picture." Think artistically. If you have a multiple exposure feature In your camera, start experimenting with it! Photography is not about engineering tolerance levels; it's about having fun! This is a double exposure. The first shot was slightly out of focus; the second one in sharp focus and slightly under exposed.

Now, pick your spots, go uninhibited without a specific agenda, let nature speak to you instead of you making firm decisions in advance, loosen up, and have fun! Oh, and don't forget--composition first!  

TIPS FOR GREAT AUTUMN COLOR PHOTOGRAPHY

The best photography is found where technical know-how and creative aesthetics meet. For this month's blog, I will share a combination of both.

The right brain needs to "see something," then shake hands with the left brain and say,       "I have an idea.....and this is what I need from you." I will share what the right brain sees and what it instructs the left brain to do. Confused? Read on.

Let's start with the right conditions, i.e., when to shoot, or not. Although I have my preferences, every time of day and every weather condition can produce interesting results. It's more of a matter of taste, than what is right or wrong. 

That said, I do prefer to shoot in the mornings, evenings, under cloudy or overcast skies, or after a calm rain. Mornings give me less harsh lighting, coupled with diagonal light and long shadows--all of which I take advantage. Evenings give me the same attributes, plus warm hues. Cloudy or overcast skies make colors "pop" and make it easy for the built-in light meter to give me what I want. Rainy days give me reflections--I love reflections.  

Another condition I like is before the sun comes up or after the sun sets. They often both require uncommon long exposures, which can create magic in the final image.

Let me show some examples of why autumn remains my #1 season to photograph. I will share any pertinent right brain or left brain applications along the way.

========================================

I was driving along a narrow gravel road in Colorado. It was too late in the day and too late in the season for that particular area. The golden leaves had all dropped from the ubiquitous aspens. The sun had already set behind the mountains. These are the conditions when, instead of complaining and kicking myself in the butt, I quickly ask, "What does this moment give me?"

As I scanned the scene, I looked up on the side of the mountain and found something that fueled the creative aesthetics side me. What I saw were ghost aspens, which I created.
I converted the image to B&W since there was little color in the scene.

Lessons: Don't just shoot what you're looking for. Don't wait for something to hit you between they eyes---scan for the subtleties in nature. Don't hesitate to shoot after the sun goes down, when others put their cameras down. Turn negatives into positives. 

    

Sometimes we don't have to do much with a scene--it's just there waiting for us to go "click."
However, we have to be there when the magic is happening. Timing. Timing. Timing. 

I set out to find some side lighting, hoping to find the right composition. Wow did I luck out!
Yes, I planned the timing. Yes, I had a general sense of what I wanted. Yes, I had the skills to make the best of any scenario that presented itself to me. But, who was to know I would come across this naturally-given Monet scenario, including the clouds. Click.

Lessons: Don't shoot like a tourist; shoot like a photographer. A tourist will start shooting at 10:00 and stop at 4:00, and look for those "post card" locales. Take advantage of side lighting. Include shadows and highlights in the scene--they give it mood, contrast, and a three dimensional feel to your images. Add some foreground and some background, but not so much that they compete for attention. Just enough to complement the main theme.

For this shot, I put my camera right up against this tall aspen and shot straight up.
I was on my knees, so I couldn't see what I was getting. I had to carefully estimate where to aim my camera. My camera was on a tripod.

Lessons: There is no rule that says our eyes have to be behind the camera to get a shot.
Vary your perspectives--don't shoot everything from eye level. Focus approximately 1/3 of the way from the bottom of the view finder in order to increase your depth of field--never focus on the bottom of the viewfinder. As a general rule of thumb, your depth of field will be 1/3 in front of your focus point and 2/3 behind your focus point. Always over expose a scene like this when shooting against the bright sky, or you'll end up with silhouettes! This image was created at a +2 1/3 over exposure! Yes. If you expose for the middle tones, all other tones will fall into place--with just a little fine tuning needed afterward.  

It was getting late and the sun was setting. As I drove along a gravel road, I noticed the back lit aspens. Not the best lighting situation, but my intuition inspired me to stop the car, get out, and start exploring. I found this grouping of aspens with bright light behind them. 

I knew I wanted to emphasize the trail leading up to the aspens.

Lessons: Challenge yourself to shoot in less than ideal conditions--late evening, setting sun, back lit trees. In order to emphasize the trail and use it as a leading line, I had to get low, looking up at the trail. Alter your perspectives to get more interesting compositions. Don't be afraid to use your exposure compensation dial--what I call the "life saver" in photography.
This image was shot at a +1 1/3. You can safely assume that when you shoot against bright light, like in this scene, the built-in light meter will tend to expose for the brightest areas (the background sun light), thus rendering the leaves and trees darker than you would like.

I had been shooting all morning. Up to this point, I had concentrated on strictly nature shots. However, when I got to Lost Lake in Colorado, I saw this couple enjoying the moment.

Lessons: If you compose your shots carefully, you can include people and still go beyond documentary photography. If you can add reflections on top of that, you will end up with more than just a snapshot of a couple in a canoe. Compose your shot first, before the people are in view. Then patiently wait for them to come across to complete your composition. See something before you see it.

As I shot around the Historic Loop in Eureka Springs, Arkansas, I saw this carriage coming up the street. The travel guide stopped next to this house as he shared Eureka history to the couple. I quickly ran up to him, introduced myself, and asked him if I could take their picture. He said yes. I told him, "I'll stand over there and give you two signals--one when I'm ready to get the shot, and another one when I'm done. He and his customers politely obliged me, and I got my prize for the day.

Lessons:  At the risk of sounding redundant-- always get your composition down first, the rest will follow. Don't hesitate to talk to strangers--some of my best shots have been because I talked to people I don't know. Overcast skies really make autumn colors pop.

I could not leave you without introducing some photo art concepts. In today's digital world of photography, most of us try so hard to get everything, in every image, absolutely totally sharp and super saturated. It's okay to have less than sharp images. Really. We are programmed to think that is the only way it can be a great photograph. Part of that programming comes from the day we heard our parents say, "Take a picture." We are still "taking pictures."

I was in Crested Butte, Colorado, at the end of Maroon Avenue, when I came across the trail surrounded by aspens. I knew immediately that I had to convert the scene to Impressionism. I have the straight shot too, but I favor this one.

Lessons: Don't think so linear. Think outside the box. Loosen up. You don't always have to "take a picture." Think artistically. If you have a multiple exposure feature In your camera, start experimenting with it! Photography is not about engineering tolerance levels; it's about having fun! This is a double exposure. The first shot was slightly out of focus; the second one in sharp focus and slightly under exposed.

Now, pick your spots, go uninhibited without a specific agenda, let nature speak to you instead of you making firm decisions in advance, loosen up, and have fun! Oh, and don't forget--composition first!  

SURREALISM THROUGH PHOTOGRAPHY

I have been fascinated with surrealism since the days as an art major in college. Although there were several surrealist painters, the god father of Surrealism, to me, remains Salvador Dalí, the painter from Spain. 

I explain surrealism as the juxtaposition of things in life we don't usually associate with one another. A good example are tulips and ice--we don't think of the two in the same sentence.

Characteristics of surrealism include: the element of surprise, sometimes shock. Incongruencies. A combinations of elements that leave us scratching our heads with surprise, confusion, perplexity. In real life, I sometimes find humor in the odd combinations.

Whenever I am out and about with my camera, I am always on the lookout for those characteristics. They're out there. I just have to be alert. 

Want to see the surrealism I've seen? Let me show you some examples.   

Let's start off with some humor.

I found this great mind twister in Steamboat Springs, Colorado several years ago. Unfortunately, the coffee shop, which this was part of, does not exist anymore--nor does the head-scratching bathroom.

The unexpected scale of a simple leaf bigger than two human hands brought out the 

Dalí in me. I visualized this before I pulled it together. I found the huge leaf and knew 

I had to do something with it. I kept it at home until I decided. A couple of days later, 

a friend came to visit me. I asked him if he would help me construct this visual. I let 

him borrow my black fleece pull-over so it would blend in with the black flannel material

I used as a backdrop for this creation.

You don't expect to see such a dainty figure, by herself, in this harsh environment, surrounded by steel, concrete, and sharp angles. This image begs questions: Who is she? What is she doing there? Where is she going? What's with the heels?

Sometimes things are just out of context. Here we see a close up of an old Farmall
tractor steering wheel. What the mind expects to see in the background are a farm house,

maybe rolling hills, a barn--not an out of focus case with farm toys. As you can see,

my range of surrealism is all over the map.  

This looks like something Salvador Dali would have painted---a beautiful nature scene with rocks floating in the air.

For the above image, I photographed the reflections of the peaks (Maroon Bells in Colorado) in the lake. I knew I was going to show it "upside down" to get this effect.

I saw these street performers on Pearl Street Mall in Boulder, Colorado. The surrealism was in their silver-painted faces and clothing. In addition, I saw the skinny guy in the background with red lips that stood out against his silver face. I had my camera aimed at them, just waiting for something to happen. Then, for a split second, the skinny guy looked at me, as he stood between the other two in the sunlight. The instant I got this shot, he retreated into the dark background.

One more. I was hiking in the Lost Valley area in northwest Arkansas when I saw this.
There was a hole in this decaying but still standing tree! The visible root arms stretched out like dinosaur feet.

So, go out there with Dalí eyes and keep your eyes open for the bizarre, the unexpected, the weird. If you can't find it, create it! Think right brain. Have fun!

PHOTOGRAPHING “GHOSTS” IN CAMERA

Although anyone can use photo editing software to create ghosts, for me it’s more fun and more photographically challenging to produce them in camera.

The two most important components are a tripod and slow exposures. A tripod is necessary to keep every detail in the image crisp/sharp, except the ghost—that’s what gives the image that mystery and mystique. Slow exposures are a must in order to blur the ghost, and not make it turn out like just a real person that looks out of focus.

The final effect will vary depending on these variables: The environment/setting; how the “ghost” is dressed; the shutter speed (1 second vs. 8 seconds); the degree of movement or motion by your ghost model.

The environment/setting. I like to choose environments that are conducive to place a “ghost” in the image. I have used interesting rooms, stair steps, stair cases, and other backgrounds.

The shutter speed. I have experimented throughout the years with different shutter speeds.  I prefer a range of around 8 seconds to 15 seconds, unless my "ghost" is moving fast. These, of course, are not magical formulated times, just estimates. This is art, not science.  A 1 second exposure doesn’t give my model enough time to move, which affects the end result. However, eight (8) seconds or longer gives the model enough movement or motion to record a ghostly apparition on the sensor or film.

Each created image will require anywhere from 1-4 tries to get the effect you want. Sometimes I’m lucky enough to get the right estimates in advance. Other times, I need to instruct my model to do this, or do that, in order to get it right.

Now, let me walk you through my ghost creation process, step by step. 

1) Sometimes I visualize my environment/backdrop in advance. If I see something when I’m
    out and about, I might keep that scene in mind as a possibility, for future reference.

2) Before I go to the scene to shoot, I decide who my ghost is going to be. I have used
    myself as my ghost. I have asked friends to serve as my models. Once, I paid a model
    to serve as my ghost. I also think of what I want my ghost to wear for what I have in
    mind.

3) Now I’m at my selected backdrop/scene.
    a) I decide on my composition first and foremost. I also remain open to any ideas
        from my model.
    b) I set up my tripod and camera based on my composition, without my model

        in the scene yet. I take test shots for composition, depth of field, and exposure.
    c) I then demonstrate what I want my model to do, how, how slowly, and when.           
        Once I start shooting, it might require 1-4 tries before it’s “a wrap.”  

Okay. Now that you know how I do it, let me share some examples.

I was in the quaint historic town of Manitou Springs, Colorado. There are some awesome stone steps there called the Manitou Place Steps. For months, I had thought they would be a great backdrop for "ghosts." 

One day I went there with that in mind---to create ghosts coming down the steps. I took my assistant with me that day to help me out. I knew in advance I was going to be my own ghost. After several attempts to create a ghost coming down the steps, I just wasn't satisfied with the results. Then, out of nowhere, this group of young friends started coming down the steps. They saw me and my tripod and one of them said, "I'm sorry, are we in your way?"     I said, "No, you're good," then quickly thought, "There's my ghost. Quick. Shoot!"

A 3-second exposure. They were walking down the steps fairly fast.

There is this secret abandoned house in Colorado I like to visit periodically. It's old, falling apart, dingy, inches of dust inside---it's great! My favorite room is an old bedroom. I call it
the "Blue Room." I have used it several times to create ghosts. This is one of my favorites. In this case, I was the ghost. It looks like the ghost is running toward its own shadow. I did
a double exposure. For both shots, the only thing moving are the ghosts. Spooky.

This was faster than most of my ghost shots (1/15), but I knew I was going to start running before my self-timer opened the shutter.

The Crescent Hotel in Eureka Springs, Arkansas. Built in 1886. It is known for its historic ghosts. Many guests claim to have seen spirits. I took one of their nightly ghost tours. During the tour I got this crazy idea of creating "ghost of the Crescent' images. Someone 

I know in town agreed to be my model. We spent about two hours creating ghosts inside and outside the hotel. I ended up with eight good ghost images, which are being sold as 5"x7" note cards in the hotel gallery and gift shop. I told my model, "You're famous!" She quickly replied with, "In a ghostly sort of way."

Here are three of the eight.

For this one, I asked Roz to stand on top of the fountain wall and barely sway slowly back and forth. A 15-second exposure in late evening.

I wanted the ghost to be in front of the hotel, as if thinking of her past. Note
the two (real) guests standing on the third floor balcony. I also asked Roz to
slowly sway back and forth. A 10-second exposure.

Some of the ghost stories revolve around some of the staircases in the hotel.
I wanted the ghost to be coming up the stairs as I looked down at it. For this shot,
I asked Roz to walk slowly up the stairs and pause just a second between steps. I guided her she walked. A 6-second exposure.

So, go out there and get spooky. Let your imagination run wild. Use my techniques and approach and give it your personal spin, coupled with your creativity and imagination. Most importantly, have fun with it. Send me some examples of your “ghosts.” 

If you're interested in one of these ghost images as large spooky prints on your wall, give me a shout. 

        

PHOTOGRAPHING FIREWORKS

There is more than one way to photograph fireworks. Here are some factors that can contribute to the quality of fireworks images:
1) The locale itself. Sometimes, firework displays are in great settings, like cityscapes, water reflections, or mountains as backdrops.
2) The quality of the firework displays alone can be a contributing factor.
3) Weather---rain, wind, fog, etc.

Now here are a few controllable factors that make it all worth the effort. Not all images will be "keepers," but these tips will increase your chances of getting some great fireworks---they've worked for me for many years.

First, I try to find out where the fireworks will be--from what location will the contractor be shooting off the fireworks? I like to get there several minutes before the fireworks begin, so I can find a good spot, make some test shots, decide on what focal length might work best, etc. During the display, I will alter my shots during the evening between vertical and horizontal shots. After just a few minutes, I know which of the two will work best for me during that particular evening. 

PRE SHOOT SETTINGS
Lens. Depending on where I am standing, I will decide on my focal length. Usually, my 24mm-70mm lens will be my starting point. For those tight shots of just the fireworks, I will resort to 200mm-300mm--again, based on my distance to the fireworks display. Depending on how high the fireworks go, I might also use a 17mm-20mm range.
F/stop. Depending on the situation, I usually set my f/stop between f/8 & f/11. 
I have found that anything wider gives me over-exposed images.
Shutter Speed. I use the BULB setting. That, in essence, becomes my shutter speed.
ISO. I have used 100 for years with great success. Again, BULB is my shutter speed, therefore a higher ISO is a moot subject, since I'm in control of the "shutter speed."
Shutter Release. I use my cable release for more control and so I won't touch the camera during the firework displays. A remote release would work, but I prefer my cable release.
File Type. I've heard all the reasons why RAW is the only way to go. I've tried both RAW and JPEG and have found that JPEG Fine (largest file, with lowest compression) works just fine for me. It's a personal choice, so shoot with whatever you are used to or prefer.
Focus. Definitely manual focus! The movement from all the displays will confuse your auto- focus system and you will get some out of focus shots. The fireworks will be so far away from you that f/8 should cover enough depth of field to get sharp enough images. Additionally, I don't want to freeze every single burst perfectly---I want to include those streams of color at the end of the big bursts. Note: disengage the VR feature on your lens. It doesn't know the lens is on a tripod.
Single or Multiple Shooting? This is where shooting in BULB comes in. Read below for an explanation of my technique; my approach.

MY TECHNIQUE  (always with a tripod)  

1) I aim my lens and set my focal length to where I think most of the fireworks will be that evening. I will fine-tune that after the fireworks begin.
2) I focus on any object which I think is roughly the same distance as the fireworks will be. Again, I will fine-tune that after the fireworks begin, manually focusing. I start with f/8 and adjust from there as the evening progresses.

3) This is the most important part of my technique.
A) I use any 5"x7" or slightly larger but opaque piece of material to cover and uncover my lens during the fireworks show. This can be anything: a gray card, light note book, CD cover, or just a folded 8.5"x11" piece of heavy paper. It serves as my "lens cap" AND, most importantly, my shutter!
B) When the fireworks begin, I will re-adjust my aim, focal length, and f/stop (if necessary) until I think most bursts will be covered with those adjustments. Then I tighten up my tripod head. Again, re-adjusting during the evening as needed.

C) I usually start with photographing 2-3 bursts in the same "frame." Here's how I do it. I remove my "lens cap" when I see a great display, and hit my cable release at the same time. I quickly cover my lens after I think I've photographed the first burst, but keep my finger on the cable release. When the next burst comes up, I remove my "lens cap" and photograph a second burst, then quickly cover my lens again. I now release the cable release. Voila! I have just photographed two bursts on a single "frame"-- in essence, a double exposure! I follow the same exact steps during the evening. Sometimes I repeat the process three times in a row to get 3 bursts in one image! Then I go back to just one burst. Then back to two, etc. I simply experiment back and forth all night, switching focal length, f/stop (if necessary), my aim, verticals and horizontals, and 1, 2, and 3 shots in one image.

I have gone home with some awesome fireworks images over the years using these simple in-camera technique. Here are some examples.

In Colorado, you will find some great fireworks in Breckenridge, Grand Lake, and Estes Park. In northwest Arkansas, I've read that Loch Lomond Dam in Bella Vista and Beaver Lake near Eureka Springs are good spots. 

Have fun. Loosen up. Experiment. Cheers. 

PERSPECTIVE REVISITED

In my book, Right Brain Photography, I spend an entire chapter on the subject of composition. I mention seven key principles of effective composition. For this month's tip, I will focus on just one of them--perspective. All seven principles are important, but if you forced me to rank them, I'd have to place perspective on the top of the list. 


We are all so programmed that most of our images, if not all, are created from eye level. The most common variation is either a horizontal or vertical; landscape or portrait format--but all from eye level, as we stand there and shoot.

As viewers, we can't always tell that the photographer took a different, unique approach to perspective. All we know is that we like the image; it's different. And sometimes the perspective is so obvious that the image has that "wow" factor. In both cases, they take the "common" out of those common subjects. Here are some examples of where I took a different perspective other than straight from eye level.


For this image, I placed my camera close to and below this giant crucifix at a cemetery. I aimed the camera straight up at the statue and shot it hand held, making sure that I got a fast enough shutter speed to hand hold. I just happened to get a little bit of flare from the sun, which added to the religious-themed image. There is no rule that says our eyes have to be behind the view finder to get a shot.

I did just the opposite for this image. I held my camera in front of me, slightly above my shoulders, aiming it straight down on this historic table setting. I changed my ISO to 800 in order to get a fast enough shutter speed to hand hold the camera in a dark indoor setting. 

I saw this small piece on the side of a giant train engine. It was in an awkward place where I could not get a clean shot, so I placed my camera close to the engine and aimed it at about a 45-degree angle to it. The silver/gray part of the image is actually the side of the big engine, which was facing me. You're looking almost straight up at the red knob.

I got very low with my tripod for this one, about two feet. At that level,
the cobble stones "took" me into the image. It would not have had the same feel if I had been standing. There wasn't much color in the scene, except for one man's red umbrella, so I converted the original to a B&W, leaving the red umbrella untouched.

We have all seen photos of mountains. But what would they look like if we were at the very top of the mountains looking down at the world? That is exactly what I did after I scaled Quandry (sic) Peak in Colorado---14, 265 feet! 

Whether we are photographing small, medium, or large subjects, we can make the common uncommon by taking a different perspective. Most importantly, we may oftentimes not get a photograph simply because the subject looks too common or mundane, therefore missing out on some unique images. 

So, next time you think something just isn't worth a photograph, look again, think again, and reconsider your perspective, beginning with how you see life around you.