Photographers Journal
Read More
Get Down, Get Close and Go Wide.
Although the title may bring to mind 70's funk, following this advice will pay dividends when shooting for high visual impact. Incorporating the use of a wide angle lens allows the photographer to get closer than usual to the subject while still collecting important information held within a scene. Shooting from a lower perspective not only gives the foreground subject a sense of both physical and psychological load but can allow the photographer to include whats directly overhead.
In this image, with the effect of an extreme wide angle lens, the construction worker is allowed to dominate almost a third of the frame. Compositionally the image is dissected in half with the rope acting as a C curve drawing the eye through the image to the point of interest in the left corner at the one third vertical and two thirds horizontal position. The construction workers eye level is roughly in this position in the opposite corner which aids in balancing the image.
The dramatic overhead clouds act as a symbolic shroud covering the landscape, adding an element of pressure. Furthermore, the continuance of the rope out of the right side of the frame and the workers head and eye position gives the impression of unseen action in the immediate environment.
As made explicit by the hard shadow of the rope across the workers chest a portable flash was incorporated as a side light to illuminate the two men. Although a cloudy day there was considerable backlighting so the use of flash helped illuminate the foreground, saturating colours and adding to the separation of foreground subjects with the background.
Ultimately if a standard 50mm or longer lens had been used to photograph this scene from a predictable angle of view most of the informative elements comprising this image would have been excluded from the frame. Experimenting with wide angle lenses and alternate perspectives is another step towards increasing the impact of your visual storytelling.
Industrial photo shoot. Client: Florida Light and Power, Next Era Energy, Arthur, ON
Nikon D800, Sigma 12-24mm, f/11@1/125, ISO 400
Abstraction can put a new face on the familiar
The ability to peak a viewers curiosity and stimulate a visual journey is the essence of a good photograph.
There are many techniques to amplify the initial impact of an image. Deconstructing the familiar by reconsidering a subjects form may open up possibilities for the creation an unique image. Examining the subject through the viewfinder while being slightly out of focus is one such technique. This method helps reveal the percentages of dark and light space that comprise the subjects form. Once a sense balance is found within the unfocused shapes the image is brought back into focus and photographed. Using this technique can help shed preconceived notions about the subject allowing you focus on the idea of form in a balanced, albeit unorthodox composition.
This technique was used on a recent photo shoot with Downtown Porsche, Toronto. Nikon D800, Nikkor f2.8, 70-200mm VR
copyright http://www.capphotographic.com
Isolation, space and tension.
Simplicity is power when creating graphic images.
Isolating the subject from the background is the perfect way to create an unadulterated focal point.
In this image the contrast between the black background and the white subject cleanly define the edges of the horse and rider. By converting the image to black and white and boosting the overall contrast the sense of drama is also heightened.
Lastly the elimination of distracting background clutter compliments the tension of the subjects suspension in space.
"Masters" Spruce Meadows, Calgary Alberta. Nikon D300s, Nikkor 300mm f/8@1/2000 sec, 400 ISO.
copyright http://www.capphotographic.com
Studio lighting on location.
The combination of natural and artificial light on a location shoot can boost the visual impact an image. An overcast sky is perfect for even light portraiture but adding location studio lighting can give an otherwise flat portrait an added punch by seperating the subject from the background. Likewise, contrast between highlights and shadows from hard light can be reduced by adding soft fill from a strobe fixed with a light modifier.
Woman with horse and motorcycle. Elinchrom Quadra Ranger,1 head with 70mm beauty dish, Nikon D800, Nikkor 300mm f/5.6@1/250, 100 ISO.
Woman leaning on fence: Elinchrom Ranger Quadra 1 head with 70mm beauty dish,Nikon D800, Nikkor 70-200mm VR f/8@1/250, 100 ISO. PS infrared filter.
Rider B&W with white fence: Elinchrom Ranger Quadra, 1 head with 70mm beauty dish, Nikon D800, Nikkor 70-200mm VR f/5.6@1/250, 400 ISO.
Eventer with broken arm:Elinchrom Ranger Quadra 2 heads, Elinchrom 70 cm beauty dish, Elinchrom snoot, Nikon D800, Nikkor 70-200mm VR f/8@1/125, 400 ISO
copyright http://www.capphotographic.com
Finding Solace in Film.
The digital revolution and it's effect on the photography industry cannot be overstated. A few short decades ago film was king, the silver halide crystal and photo chemistry ruling the image making paradigm.
Those days have all but vanished with only small populations of diehard film users toiling in darkened rooms under the glow of safety lights and enlarger bulbs. There are several reasons shooting film forces one to step back and consider the method and mindset required for creating a photograph.
The finite number of exposures on a roll of film is the first consideration that should be front of mind. Unlike the memory card that carries the potential of thousands of images, this reality immediately compels a photographer to temper their trigger finger as each exposure has a dollar figure attached. No matter what format and film one chooses this can be an expensive proposition. As an example Agfa Scala (a B&W transparency film) each roll of 120mm film, development and shipping costs roughly $5.00 per exposure.
Although the act of previsualizing the final image before photographing a scene has all but vanished, metering a scene thoroughly and envisioning the final result pre- exposure is hugely important to the creative process when shooting film. Considering which film to use, the expansion and contraction of the tonal range of a scene through exposure and development (pushing and pulling of film), the proper chemistry for processing the exposed film and finally which paper to print the image on for best results all factor into this pre-exposure decision making.
The time between exposure and development of the final image largely effects the mindset of the film photographer. Any sense of anticipation is abolished when shooting digitally as the digital camera is fundamentally a tool of instant gratification. Fortunately, during this lapse the film photographer is forced to percolate the idea of what was photographed rather then fed the instantaneous and easily disposable image on the back of a camera.
For decades now in the world of image making its ubiquitously accepted that digital photography has forced film to abdicate the throne. This being said, unlike digital image making shooting film compels one to approach the act of image making with a humility, skill and patience whereby making the act of photography less about taking a photograph and more about the satisfaction found in making one.
Moraine Lake, Alberta. Pentax 6x7, 105mm f/22@8 mins, Ektachrome ISO 100
copyright http://www.capphotographic.com
Composing an image
Balance in a photograph is more than a function of it's composition. There are times when the elements within an image carry a palpable weight giving the impression of imbalance even if the image is in accordance with established rules of composition.
This photo of an encroaching storm over Toronto's Cherry Beach was taken on a windy autumn evening. Although the clouds convey an impending drama another layer of depth was needed to draw the viewer further into the photo.
I decided to give equal space to the converging lines of the dock and the ominous clouds. The composition deviates from the standard rule of thirds by placing the horizon line through the middle of the frame rather than the typical one third or two thirds. The leading lines of the converging perspective of the dock and similar directional cloud formations draw the eye to a centre point of tension on the horizon line. This gives an equilibrium between the top and bottom halves.I intentionally gave the image a blue cast that almost verges on monochromatic. This effect is meant to amplify the viewers response to elements.
The image was photographed at twilight using a tripod mounted Nikon D300s with an ultra wide Sigma 12mm lens @ f/22 -8 sec exposure, 400 ISO. copyright http://www.capphotographic.com
