{"id":605,"date":"2013-10-30T01:42:31","date_gmt":"2013-10-30T08:42:31","guid":{"rendered":"http:\/\/blog.ansatejones.com\/?p=605"},"modified":"2013-10-30T01:42:31","modified_gmt":"2013-10-30T08:42:31","slug":"the-abcs-of-improving-your-photographic-technique","status":"publish","type":"post","link":"http:\/\/ansatejones.com\/blog\/2013\/10\/30\/the-abcs-of-improving-your-photographic-technique\/","title":{"rendered":"The ABC’s of improving your photographic technique"},"content":{"rendered":"
ABC’s are a way overdone format for how-to articles, I know. It kind of happened by accident when I was writing up some photo tips and realized that the three most important elements of basic photography could be boiled down to:<\/address>\n

A: Available Light<\/h4>\n

B: Background<\/a><\/h4>\n

C: Composition<\/a><\/h4>\n
If it sounds too easy, it kind of is. What I’m about to share with you are very basic principles that will end up being a lifesaver in your photography. And if it sounds too hard, don’t worry. I’ll go into more detail than you could ever want in later posts.<\/address>\n
For now let’s start with:<\/address>\n

A: Available Light<\/h1>\n

If we’re going to start anywhere it’s with light, the single most important thing to consider when taking a picture. Don’t believe me? Look at the etymology. Photography literally translates to ‘drawing with light’. Even with our digital camera technology, we still require lightwaves reflecting off the subject and striking the sensors to take a picture.<\/p>\n

Right, enough sciency talk. Let’s talk about quality and amount of light. ‘Quality’ means what temperature the light is, how harsh or soft it is, even what angle it’s coming in at to hit your subject. Here’s some things to keep in mind:<\/p>\n

Time of day<\/h2>\n

The sun, of course, is an excellent source of light but the darn thing has a tendency to move throughout the course of a day. And of course, then it disappears for 8-12 hours (unless you’re up near the poles). Because of this, the angle of light changes and thus the quality.<\/p>\n

Have you ever taken a picture at high noon in a desert? Notice how washed out and colorless everything looks? How dark the shadows are? Full, unobscured sun is one of the hardest light sources to wrangle simply because it is so strong and so direct. It’s even worse if you’re trying to take portraits because when the light is overhead, people’s eye sockets are excellent at collecting horrible shadows that turn your subjects into deformed monsters. But hey, Halloween is coming up…<\/p>\n

\"\"<\/a>

Something as simple as moving into the shade can 'save face' for the photographer during a family portrait (I'm so sorry)<\/p><\/div>\n

As the sun rises and sets the light tends to strike objects from the side and is also softer and warmer (meaning, redder). This is the kind of light you want, and if you take pictures at sunset and sunrise you just might catch what’s called ‘the magic hour’– basically where everything looks like it’s on fire. This is like the holy grail of time for photographers.<\/p>\n

\"\"<\/a>

Believe it or not, these pictures were taken within two hours of each other.<\/p><\/div>\n

Weather<\/h2>\n

Because it’s just so dang bright, the position of the sun matters most on a clear day. But shooting in the middle of the day is possible if the weather is overcast.<\/p>\n

\"\"<\/a>

Sunny California vs. Overcast Portland. And yes, my hair really was that color once upon a time!<\/p><\/div>\n

This is because the clouds diffuse the light and make it softer, less direct (which, incidentally, is exactly what a diffuser attachment will do for your flash). Overcast days are usually also more humid and this helps the colors pop out even more.<\/p>\n

\"\"<\/a>

Diffusion's not just for clouds! The trees can produce dappled light, a nice compromise between full sun and dark shade.<\/p><\/div>\n

Something to consider if you do have to shoot on sunny days, or even if you’re just looking to make some amazing landscape photographs, is a polarizing filter<\/a>. This is something that attaches to your lens and helps reduce the light contrast between sky and land. It also cuts down on reflections and brings out the color in and underneath reflective surfaces, such as water or glass. You usually use them on SLR cameras with interchangeable lenses, but they do have some options out there for point and shoot cameras now too. So now you have no excuse.<\/p>\n

\"\"<\/a>

It even works on storefront windows! Neat!<\/p><\/div>\n

Color temperature<\/h2>\n

Daylight is generally a white or blue, except as the sun nears the horizon (remember, it gets redder at sunrise and sunset). As luck would have it, camera flashes also tend to be daylight range. But studio lights, candles, and most lamps in your house are going to give off much redder light than daylight or flash. Mixing color temperatures by using different light sources could either look really artistic or really horrible. If you’ve ever tried to take flash pictures indoors you probably know what I’m talking about.<\/p>\n

\"\"<\/a>

It's How I Met Your Mother all over again!<\/p><\/div>\n

Some people prefer natural light and some like the finer control of artificial light. There are all sorts of filters you can get to make your lights and flashes redder or bluer or softer or harsher, so all that matters nowadays is how you use the light and how much of it you have.<\/p>\n

Angle of light<\/h2>\n

This is a biggie. Remember the shadowy eyesocket problem? That’s just one example of many where the angle of light is not ideal for the subject. If you’ve ever flipped through a magazine you’ve probably noticed that most model pictures are shot with light coming in from the side. This is because side light rocks and makes objects look amazing by enhancing the natural contours. If you took that same model and shot him or her with a straight-on flash, that face would lose all natural contour shadows and basically flatten out. Not to mention the possibility of red eye. Nobody wants that in the modeling world. (Then again, Halloween…)<\/p>\n

\"\"<\/a>

Flash in the face vs. flash from the side. Which looks more natural?<\/p><\/div>\n

Unless you’re going for a really dramatic shot, just using side light and nothing else may not work for you. You might need some light on the other side to balance it out and make the face look more normal. Sometimes you have enough ambient light, as I did in this next picture thanks to the streetlights.<\/p>\n

\"\"<\/a>

We were talking about models?<\/p><\/div>\n

And sometimes you need to help it out. You can use additional lights… or you can reflect the light you have. Film and photography professionals use white boards to do this, but just about any surface can do it.<\/p>\n

\"\"<\/a>

Like, say, your own subject's hand.<\/p><\/div>\n

The best thing you can do if you want to use flash is to get an external one that sits on top of your camera. You can angle external flashes independently of the camera itself, which means you can bounce the light off of walls or the ceiling and get some nice, indirect light on your subject. If your camera comes with a flash shoe you can do this. Even better is to get a remotely triggered flash, which doesn’t even require the flash to be attached to the camera! But not all SLRs can manage this yet.<\/p>\n

\"\"<\/a>

The angle of light can throw shadows, influencing your picture. From left to right: bounced overhead, bounced high on nearest wall, bounced low on nearest wall.<\/p><\/div>\n

Most point and click cameras have a major disadvantage when it comes to light angle, and that’s the flash. It’s stuck there in straight-on mode! But do not despair, because there are options here too. You can get diffusers for point and shoots that will soften the light, and you can use bounce cards to angle the light. Check out this video<\/a> for a DIY solution that’s easy and cheap!<\/p>\n

\"\"<\/a>

I got this picture simply by bouncing the flash off the ceiling. I don't even want to imagine what it would have looked like straight-on.<\/p><\/div>\n

There’s so much more I can tell you about light, but let’s move on for now to:<\/p>\n

B: Background<\/a><\/h3>\n

<\/p>\n

ABC’s are a way overdone format for how-to articles, I know. It kind of happened by accident when I was writing up some photo tips and realized that the three most important elements of basic photography could be boiled down to:<\/address>\n

A: Available Light<\/a><\/h4>\n

B: Background<\/h4>\n

C: Composition<\/a><\/h4>\n
If it sounds too easy, it kind of is. What I’m about to share with you are very basic principles that will end up being a lifesaver in your photography. And if it sounds too hard, don’t worry. I’ll go into more detail than you could ever want in later posts.<\/address>\n

B: Background<\/h1>\n

Look, I can’t tell you how many pictures that could have been beautiful were ruined by poor planning when it comes to background. It seems to be something that happens to all of us: we get a sort of tunnel vision as photographers, narrowing in on the subject and completely forgetting to make sure the rest of the picture looks okay as well. But mark my words, people– background matters. And mistakes are usually so very, very simple to avoid. You just have to become skilled at seeing those mistakes before you make them. Ask yourself the following before snapping your photo:<\/p>\n

\"\"<\/a>

Photobomb 101<\/p><\/div>\n

Is there something distracting going on back there?<\/h2>\n

You could take the most beautiful model in the world and stick her in front of two bears doing it and you know what’s going to get the most attention. In all seriousness though, make sure that your background serves to accentuate your subject, not overpower it. It could be anything from something odd happening, to a busy clash of colors, to something more dramatically lit. Or it could be something that just doesn’t fit with what you want. Look at this portrait of my husband I took in front of Panera bread, just your typical quick travel shot to preserve memories or whatever. Why the hell did I take this picture in front of that ugly building? I will later undoubtedly ask myself when I am 90 years old and have forgotten I was writing this article. This will never go in an artist or model portfolio. The background ruins the entire thing.<\/p>\n

\"\"<\/a>

And this is when we went to a chain restaurant you can find just about anywhere in the US!<\/p><\/div>\n

Are you accidentally creating some kind of surreal collage?<\/h2>\n

Look, photographs tend to flatten no matter what depth of field you use. It’s a 2-D representation of the real world. This can be used for good, such as the table scene with Gandalf and Frodo in Fellowship of the Ring… or it could make your husband look like he’s growing a tree out of his head. Or folding up some woman into origami. Which, you know. Halloween. Whatever.<\/p>\n

\"\"<\/a>

You're right, he is sort of a monster. Never mind.<\/p><\/div>\n

So what can be done?<\/h2>\n

How can you combat these background problems? The simplest solution is to find another background for your picture. Sometimes this is really easy; you can just take a step to the left or right to get rid of that tree problem, for instance.<\/p>\n

\"\"<\/a>

Tada!<\/p><\/div>\n

But what if, god forbid, you have something like this?<\/p>\n

\"\"<\/a>

So bad I'm showing it twice.<\/p><\/div>\n

The Panera Bread problem can’t be solved by a step to the left or right. But there’s other things you can do that are just as easy.<\/p>\n

Simplifying the background<\/h3>\n

All I did here was move my husband against the wall of the building, which gave a nice solid colored background that allows the eye to feast on him in all his glory with no weird distractions.<\/p>\n

\"\"<\/a>

Feast, you mortal fools! Feast on the glory that is pure, unadulterated Ken!<\/p><\/div>\n

But let’s say you really want some context. Let’s say it really is a travel photo and you want to remember exactly where you were when you took this photo. Another solution?<\/p>\n

Blurring the background<\/h3>\n

Simply stepping forward toward your subject or even just zooming in will make the background blurrier. These two options are technically due to two separate effects, but the result is comparable. If you really want to enhance the blurriness you can try changing the aperture settings on your camera. Aperture is your depth of focus setting, determining how far back you want the picture to be in focus. So a low aperture setting would make the background less in focus, while a high one would ‘flatten’ the subject into the background by making everything more in focus.<\/p>\n

\"\"<\/a>

Same lens, different aperture settings and focal lengths (zoom settings).<\/p><\/div>\n

One cannot blur a background by aperture alone<\/h3>\n

One caveat with aperture is that, no matter how low the setting is, focus carries into the background. What do I mean by that? Simply that things in front of your focal point are going to be far blurrier than things in back, even if they are the same distance from your subject. Example: if you take a closeup picture of someone holding an apple, with someone behind them holding an apple, but you focus on the face of the closer person, that first apple is going to be near unrecognizable, the subject’s face is going to be in sharp focus, the background apple will be slightly out of focus, and the background person will be a little less in focus than the apple, and so on. But of course the further back you go, the more blurry things will eventually get.<\/p>\n

What this means, bluntly, is that you can’t usually solve your problem by just lowering the aperture setting.<\/p>\n

\"\"<\/a>

Same lens, same distance, but different aperture.<\/p><\/div>\n

See? You can see some blurring in the picture on the right, and Ken stands out a bit more, but barely a difference at all, because the Panera Bread background is, of course, in back of the subject. So what you need to do is get much closer to your subject than the background is, either by zooming or stepping forward. Then if you use the aperture settings you’ll start to see a big difference.<\/p>\n

Fancypants lens party<\/h3>\n

If you want to get super fancy, and have the right sort of camera, you can try different lenses to change depth of field\/focus. I took this picture with a prime lens, a lens with a fixed focal length that goes down to like 1.5 on the aperture setting or something (my normal lens only goes down to around 4.0-5.0).<\/span><\/p>\n

\"\"<\/a>

The 50mm fixed prime lens means I had to stand even further back to take this picture. And it still has a blurry background!<\/p><\/div>\n

Selective focus becomes a very fine thing the lower you go on aperture. But because of the fixed focal length the prime lens can’t zoom in or out, so you’re sort of stuck getting fairly close to your subject to get this effect.<\/p>\n

\"\"<\/a>

I call this one on the right 'Ken's Chin'. Oh yeah, and I guess Ken's in there too.<\/p><\/div>\n

You can also just try a zoom lens, which basically just zooms much further than your regular lens and gives you that depth of field you need between the subject and the background.<\/p>\n

\"\"<\/a>

Same zoom lens and aperture, same zoom setting, but different distances from the subject.<\/p><\/div>\n

Now that you know how to make your backgrounds work for your subjects, it’s time to move on to:<\/p>\n

C: Composition<\/a><\/h3>\n

<\/p>\n

ABC’s are a way overdone format for how-to articles, I know. It kind of happened by accident when I was writing up some photo tips and realized that the three most important elements of basic photography could be boiled down to:<\/address>\n

A: Available Light<\/a><\/h4>\n

B: Background<\/a><\/h4>\n

C: Composition<\/h4>\n
If it sounds too easy, it kind of is. What I’m about to share with you are very basic principles that will end up being a lifesaver in your photography. And if it sounds too hard, don’t worry. I’ll go into more detail than you could ever want in later posts.<\/address>\n

C: Composition<\/h1>\n

Composition is one of those things that separate photographers from people who just take photographs. It’s a fundamental part of art that has some guidelines but no hard and fast rules. But even for a part-time picture taker, the guidelines will help you take pictures you won’t cringe at later.<\/p>\n

Rule of Thirds<\/h2>\n

Arguably the most important guideline in composition is called the rule of thirds. You may have heard of it. Basically if you take a picture and divide it into thirds lengthwise and thirds heightwise you’ll get an idea of where major parts of the picture should line up with the intersection points.<\/p>\n

\"\"<\/a>

Alan's camera is the most interesting thing in this picture, so it'd better be on an intersection point.<\/p><\/div>\n

Not following the rule of thirds can often lead to an image that looks strangely unbalanced to the eye.<\/p>\n

\"\"<\/a>

This kind of visual tension works in movies, but not so much in photos.<\/p><\/div>\n

Nobody puts baby in the center<\/h2>\n

Symmetry and balance are generally a good idea. But you’ll probably notice that there are no intersection points in the middle of the Rule of Thirds grid. This is intentional. Plopping things dead center in a photograph is a general no-no in art because it leaves no mystery. A good picture lets the eye wander and discover new details, but putting your main subject in the middle gives it all away from the beginning. Even putting your subject just a little bit off center is highly preferable.<\/p>\n

\"\"<\/a>

Boooooorrrrrrrrinnnngggggg<\/p><\/div>\n

Leave room for cropping<\/h2>\n

Here’s another good rule of thumb: leave some room for cropping the picture later. Why? The picture that comes out of your camera has a dimensional ratio of 2:3 (e.g. 8 x 12) but standard mats and frames follow a different ratio, usually 4:5 (e.g. 8 x 10). Two inches is a big difference if you use up the whole frame with your subject. Often it means that important details will get covered up by the mat if you ever get the photo framed.<\/p>\n

\"\"<\/a>

In the picture on the left, one or both of my subjects will have to be cropped out to fit an 8 x 10 frame! On the right, I left plenty of room for cropping.<\/p><\/div>\n

Improvise get crazy<\/h2>\n

The final piece of advice I have with composition has no formulas. It is simply this: don’t be boring. Try to come up with interesting angles for your subjects.<\/p>\n

\"\"<\/a>

On the left: "Blah, look, a dead frog on the ground." On the right: "A bleached carcass in an endless wasteland." So much more dramatic!<\/p><\/div>\n

Consider focusing in on the details that you like best (seriously, shooting primarily with a zoom lens on one hike by mistake made me realize how as humans we naturally ‘zoom in’ on what we find interesting– which of course gets lost in the rest of the picture if we include too much).<\/p>\n

\"\"<\/a>

Bet you didn't even notice the apple in the first picture, did you?<\/p><\/div>\n

And finally, if you’re shooting people, try to get them to be themselves. When you’re looking back at your memories, candids will always have more meaning than an artificial smile and pose. It’s up to you as the photographer to get your subjects to loosen up and be themselves. When I was shooting pictures of friends during my last week in college, I told them to do something out of the ordinary for their portraits and I ended up with unique photos that still make me laugh. So much better than lots of scary teeth.<\/p>\n

\"\"<\/a>

Which one would you rather have as a heartwarming beach photo?<\/p><\/div>\n","protected":false},"excerpt":{"rendered":"

ABC’s are a way overdone format for how-to articles, I know. It kind of happened by accident when I was writing up some photo tips and realized that the three most important elements of basic photography could be boiled down to: A: Available Light B: Background C: Composition If it sounds too easy, it kind […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[8],"tags":[],"yoast_head":"\nThe ABC's of improving your photographic technique - Hieratic<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/ansatejones.com\/blog\/2013\/10\/30\/the-abcs-of-improving-your-photographic-technique\/\" \/>\n<link rel=\"next\" href=\"https:\/\/ansatejones.com\/blog\/2013\/10\/30\/the-abcs-of-improving-your-photographic-technique\/2\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The ABC's of improving your photographic technique - Hieratic\" \/>\n<meta property=\"og:description\" content=\"ABC’s are a way overdone format for how-to articles, I know. 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