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Basics  /  Learning
The Mystical Histogram
December 30, 2024

The histogram on your camera is a visual representation of the exposure levels in a photo. It helps you understand how light or dark different parts of your image are, so you can adjust your settings for a better exposure. Here’s a breakdown of the basics:

  1. What the Histogram Looks Like
  • The histogram is a graph with a horizontal axis and a vertical axis.
  • Horizontal Axis: Represents the brightness levels in your photo, from dark to light:
    • Left Side: Shadows (blacks).
    • Middle: Midtones (grays).
    • Right Side: Highlights (whites).
  • Vertical Axis: Shows how many pixels in your photo are at each brightness level. Higher peaks mean more pixels at that level.

 

  1. What a “Good” Histogram Looks Like

There’s no one-size-fits-all perfect histogram because it depends on the scene you’re photographing. However:

  • Balanced Histogram: Often peaks are spread evenly, with no extreme spikes at the edges. This works well for most situations.
  • High Key (Bright Image): Peaks shift toward the right, indicating more highlights.
  • Low Key (Dark Image): Peaks shift toward the left, indicating more shadows.

 

  1. Common Issues to Look For
  • Clipping:
    • Highlights Clipping: If the graph touches or spikes on the far right, you’re losing detail in the brightest areas, which turn pure white.
    • Shadows Clipping: If the graph touches or spikes on the far left, you’re losing detail in the darkest areas, which turn pure black.
  • To avoid clipping, adjust your exposure by tweaking shutter speed, aperture, or ISO.

 

  1. Using the Histogram
  • Review Exposure: After taking a shot, check the histogram to see if it matches your intent. For example, if you’re shooting a bright, snowy scene, expect the histogram to lean toward the right.
  • Adjust Settings:
    • If the histogram is too far left (underexposed), increase exposure by:
      • Slowing the shutter speed.
      • Widening the aperture (lower f-number).
      • Raising the ISO.
    • If the histogram is too far right (overexposed), decrease exposure by:
      • Speeding up the shutter.
      • Narrowing the aperture (higher f-number).
      • Lowering the ISO.

 

  1. Practice Makes Perfect
  • Use your histogram to fine-tune exposures until it becomes second nature. Compare how the histogram changes with different lighting and settings to see how it aligns with creative goals.

A good, balanced histogram typically looks like a smooth, bell-shaped curve that doesn’t have spikes touching the far left (shadows) or far right (highlights). Here’s what it usually indicates:

Balanced Histogram

Key Features of a Balanced Histogram:

  1. Shadows (Left Side):
    • The graph tapers off as it approaches the far left.
    • There are no big spikes touching the left edge, meaning you’re not losing detail in the darkest areas (no blocked shadows).
  2. Midtones (Center):
    • The peak of the curve is often in the middle, representing a lot of detail in the midtones (the “average” brightness of the image).
  3. Highlights (Right Side):
    • The graph tapers off as it approaches the far right.
    • There are no big spikes touching the right edge, meaning you’re not losing detail in the brightest areas (no blown highlights).

What a Balanced Histogram Means

  • Proper Exposure: Your image has a good range of tones, from shadows to highlights, without clipping.
  • Detail Preservation: Most areas of your photo retain their texture and details, making the image more visually pleasing.
  • Neutral Composition: Works well for general scenes like landscapes or portraits under normal lighting.

 

Example Scenarios for a Balanced Histogram:

  • A landscape photo with a bright sky, dark shadows in trees, and plenty of midtones in grass or water.
  • A portrait lit with soft, even lighting, where skin tones are nicely exposed.

 

Important Notes:

  • Scene Dependent: A balanced histogram is ideal for evenly lit scenes, but some situations, like high-contrast scenes or creative choices, will lead to unbalanced histograms. For example:
    • Dark, Moody Images: The histogram might lean left.
    • Bright, Airy Images: The histogram might lean right.
  • Not a Rule: Use it as a guide rather than a strict rule. The look of the histogram depends on your artistic intent.

Histograms can vary significantly depending on the scene and the style of photography. Below are examples of how histograms look in different scenarios and what they mean.

  1. High Contrast Scene

Example: A bright sunset with dark shadows in the foreground.

  • Histogram Shape:
    • Peaks at both the left (shadows) and right (highlights), with a dip in the middle (midtones).
    • Looks like a “camel’s hump” with two peaks.
  • What It Means:
    • The image has very bright areas and very dark areas with minimal midtones.
    • This is common in high-dynamic-range (HDR) scenes where you might need to use bracketing or post-processing to recover detail.
  • How to Adjust:
    • Use exposure compensation or bracket your shots to capture shadow and highlight details.
  1. Low-Key Image

Example: A moody portrait with deep shadows and minimal bright areas.

  • Histogram Shape:
    • Peaks concentrated toward the left (shadows).
    • Few, if any, pixels in the highlights or bright midtones.
  • What It Means:
    • The image is intentionally dark, with shadow details dominating.
  • How to Adjust:
    • This is often intentional, so as long as your shadows aren’t clipped (spike at the far left), you’re good.
  1. High-Key Image

Example: A bright and airy photo of a snowy landscape or a white background.

  • Histogram Shape:
    • Peaks concentrated toward the right (highlights).
    • Few pixels in the shadows or dark midtones.
  • What It Means:
    • The image is predominantly bright, which can create a soft, clean look.
  • How to Adjust:
    • Ensure highlights aren’t clipped (spike at the far right), especially for subjects like snow or white clothing.
  1. Underexposed Image

Example: A night shot or an incorrectly set exposure for a darker scene.

  • Histogram Shape:
    • The graph is bunched up on the left with minimal midtones or highlights.
  • What It Means:
    • The image is too dark, and you’re losing detail in the shadows.
  • How to Adjust:
    • Increase exposure using a slower shutter speed, wider aperture, or higher ISO.
  1. Overexposed Image

Example: A brightly lit scene with blown-out skies.

  • Histogram Shape:
    • The graph is bunched up on the right with minimal shadows or midtones.
    • Highlights may clip (spike at the far right).
  • What It Means:
    • The image is too bright, and you’re losing detail in the highlights.
  • How to Adjust:
    • Decrease exposure by using a faster shutter speed, narrower aperture, or lower ISO.
  1. Flat/Low-Contrast Image

Example: A foggy day or evenly lit, low-contrast portrait.

  • Histogram Shape:
    • Peaks are concentrated in the middle, with little data on the far left or right.
  • What It Means:
    • The image has limited contrast, and most tones fall in the midtone range.
  • How to Adjust:
    • Add contrast in post-processing to stretch the histogram and enhance detail.
  1. Clipped Shadows and Highlights

Example: A poorly exposed image with both dark and bright areas losing detail.

  • Histogram Shape:
    • Spikes at both the far left and far right edges.
  • What It Means:
    • The image has lost detail in both the darkest and brightest areas.
  • How to Adjust:
    • Reduce contrast by adjusting exposure or dynamic range settings (if your camera has them).

Summary of Histogram Use:

  • Balanced Scenes: Aim for a smooth, spread-out histogram without spikes at the edges.
  • Creative Choices: For low-key or high-key images, the histogram will naturally lean left or right—just avoid excessive clipping unless it’s intentional.
  • High Contrast: Consider techniques like bracketing or post-processing to manage extreme histograms.
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Basics  /  Creative  /  Learning  /  Photography
The Exposure Scale
December 30, 2024

The f-stop scale is a sequence of numbers that represents the aperture settings of a camera lens. Aperture refers to the size of the opening in the lens that allows light to pass through to the camera sensor or film. The f-stop scale helps photographers control how much light enters the camera and also influences depth of field (how much of the image is in focus from front to back).

Understanding the f-stop numbers:

The f-stop values are written as f/n, where n is a number like 1.4, 2, 2.8, 4, 5.6, 8, 11, 16, 22, etc. These numbers represent the ratio of the lens’s focal length to the diameter of the aperture opening. Here’s a breakdown:

  1. Larger f-stop numbers (e.g., f/16, f/22):
    • Smaller aperture opening.
    • Less light enters the camera.
    • Greater depth of field (more of the scene is in focus, good for landscapes).
  2. Smaller f-stop numbers (e.g., f/1.4, f/2.8):
    • Larger aperture opening.
    • More light enters the camera.
    • Shallower depth of field (less of the scene is in focus, good for portraits or isolating a subject).

How the f-stop scale works:

Each step in the f-stop scale either doubles or halves the amount of light entering the camera. For example:

  • Moving from f/2.8 to f/4 reduces the light by half (because the aperture is smaller).
  • Moving from f/8 to f/5.6 doubles the light (because the aperture is larger).

Why it matters:

  1. Exposure: The f-stop is one part of the exposure triangle, along with shutter speed and ISO. Changing the f-stop affects the overall brightness of your image.
  2. Creative control: You can use the f-stop to achieve specific visual effects, like blurring the background in portraits or keeping everything sharp in a landscape.

A quick tip:

If you’re struggling to remember the sequence, here’s a simple guide:

  • The scale progresses in powers of √2 (about 1.4), so each f-stop multiplies or divides the area of the aperture by 2.
  • Common full stops are: f/1.4, f/2, f/2.8, f/4, f/5.6, f/8, f/11, f/16, f/22.

Interacting with the Exposure Triangle

Let’s dive into how the f-stop interacts with the exposure triangle, which includes aperture (f-stop), shutter speed, and ISO. Together, these settings control the brightness of an image (exposure) and influence its creative look.

  1. Aperture (f-stop)
  • What it does:
    • Controls the size of the lens opening, which determines how much light reaches the sensor.
    • Affects depth of field (area in focus in front of and behind your subject).
  • Interaction with the triangle:
    • If you use a wide aperture (e.g., f/2.8), more light enters, so you might need a faster shutter speed or lower ISO to avoid overexposing the image.
    • Conversely, a small aperture (e.g., f/16) lets in less light, so you may need a slower shutter speed or higher ISO to compensate.
  1. Shutter Speed
  • What it does:
    • Determines how long the camera’s sensor is exposed to light.
    • Measured in seconds or fractions of a second (e.g., 1/1000, 1/250, 1/60, etc.).
    • Affects motion blur—faster shutter speeds freeze action, while slower speeds blur motion.
  • Interaction with aperture:
    • If you use a small f-stop number (wide aperture, e.g., f/2.8) and let in a lot of light, you’ll often need a fast shutter speed to avoid overexposure.
    • If you use a large f-stop number (small aperture, e.g., f/16), you may need a slower shutter speed to let in enough light for proper exposure.
  1. ISO
  • What it does:
    • Determines how sensitive your camera’s sensor is to light.
    • Low ISO (e.g., 100): Less sensitive to light, produces cleaner images with less noise.
    • High ISO (e.g., 1600 or more): More sensitive to light, useful in low-light conditions but increases noise (graininess).
  • Interaction with aperture:
    • If you’re shooting with a small aperture (e.g., f/16) in dim light, you might need to increase ISO to achieve a good exposure without using an extremely slow shutter speed.
    • Wide apertures (e.g., f/2.8) often allow you to use lower ISO settings, reducing noise.

Balancing the Triangle

Here’s how changes to one setting affect the others:

Scenario 1: Bright environment (e.g., sunny day)

  • You might use:
    • A smaller aperture (e.g., f/11) to avoid too much light.
    • A faster shutter speed (e.g., 1/1000) to freeze motion.
    • A low ISO (e.g., 100) to maintain image quality.

Scenario 2: Low light (e.g., indoors or at dusk)

  • You might use:
    • A wide aperture (e.g., f/2.8) to let in more light.
    • A slower shutter speed (e.g., 1/60) to allow more light onto the sensor (but beware of motion blur).
    • A higher ISO (e.g., 800 or 1600) to brighten the image, accepting some noise as a trade-off.

Creative Control

  • Portraits: Use a wide aperture (e.g., f/1.8 or f/2.8) to isolate your subject with a blurry background (shallow depth of field).
  • Landscapes: Use a small aperture (e.g., f/11 or f/16) to keep everything in focus, from foreground to background (deep depth of field).
  • Action shots: Use a fast shutter speed (e.g., 1/1000) to freeze movement, paired with a wider aperture if light is limited.
  • Night photography: Use a slower shutter speed (e.g., 10 seconds), a wide aperture (e.g., f/2.8), and possibly a tripod to stabilize the camera.

Putting it All Together

Let’s say you want to take a portrait with a blurry background:

  1. Set aperture first: Choose a wide aperture, e.g., f/2.8.
  2. Adjust shutter speed: Use a fast enough speed to avoid motion blur but still expose the subject properly (e.g., 1/200).
  3. Adjust ISO if needed: If the image is too dark, raise the ISO to brighten it (e.g., ISO 400 or 800).

Would you like specific examples, or maybe tips for practicing with these settings?

Example Using the Exposure Scale

Here are some specific examples and practice tips to help you understand how to balance the exposure triangle while taking creative control of your photos.

Example Scenarios

  1. Portrait with a Blurry Background (Shallow Depth of Field)
  • Goal: Isolate the subject with a blurry background.
  • Settings:
    • Aperture (f-stop): Set to a wide aperture like f/1.8 or f/2.8.
    • Shutter Speed: Adjust to around 1/200 or faster to avoid motion blur.
    • ISO: Start with a low ISO (100-400) for better image quality. If it’s too dark, increase ISO.
  • Why it works: A wide aperture creates a shallow depth of field, making the subject pop while blurring the background.
  1. Landscape with Everything in Focus (Deep Depth of Field)
  • Goal: Capture a sharp foreground and background.
  • Settings:
    • Aperture (f-stop): Set to a small aperture like f/11 or f/16.
    • Shutter Speed: Use a slower speed like 1/30 or even longer if on a tripod.
    • ISO: Keep ISO low (e.g., 100) to maintain quality.
  • Why it works: A small aperture increases depth of field, ensuring the entire scene is in focus. A tripod is helpful for longer exposures to avoid blur.
  1. Action Shot (Freezing Motion)
  • Goal: Freeze a fast-moving subject (e.g., sports or wildlife).
  • Settings:
    • Aperture (f-stop): Use a moderately wide aperture like f/4 or f/5.6 to let in more light.
    • Shutter Speed: Set a fast speed, e.g., 1/1000 or faster.
    • ISO: Increase ISO if needed to maintain brightness (e.g., ISO 800 or higher).
  • Why it works: A fast shutter speed prevents motion blur, while a moderate aperture and higher ISO ensure enough light.
  1. Night Photography (Low Light)
  • Goal: Capture a bright image without using flash.
  • Settings:
    • Aperture (f-stop): Use a wide aperture like f/2.8.
    • Shutter Speed: Use a long exposure, e.g., 10-30 seconds (requires a tripod).
    • ISO: Start with ISO 800 and increase only if necessary to minimize noise.
  • Why it works: A wide aperture and long shutter speed maximize light, while a tripod keeps the camera steady during the long exposure.

Tips for Practicing the Exposure Triangle

  1. Start in Aperture Priority Mode:
    • Set your camera to Aperture Priority (A or Av) mode.
    • Adjust the aperture, and the camera will automatically set the shutter speed.
    • Practice with different f-stops to observe how they affect light and depth of field.
  2. Experiment with Manual Mode:
    • In Manual (M) mode, choose a starting aperture, shutter speed, and ISO, then adjust based on your results.
    • Example practice settings:
      • Bright Day: Start with f/8, 1/250, ISO 100.
      • Low Light Indoors: Start with f/2.8, 1/60, ISO 800.
  3. Use Exposure Compensation (+/-):
    • If your image looks too dark or bright in semi-automatic modes, use the exposure compensation dial to adjust.
  4. Shoot the Same Scene with Different Settings:
    • Pick a subject (e.g., a flower, building, or person).
    • Shoot it with multiple aperture settings (e.g., f/2.8, f/8, f/16).
    • Compare how depth of field and brightness change.
  5. Play with Motion:
    • Photograph moving water (e.g., a waterfall or fountain).
    • Use a fast shutter speed (e.g., 1/1000) to freeze the water.
    • Use a slow shutter speed (e.g., 1 second) to create a silky effect. Use a tripod for slower speeds.
  6. Low-Light Challenge:
    • Try shooting indoors or at night without a flash.
    • Practice balancing wide apertures, higher ISOs, and slower shutter speeds to get a well-exposed shot.

Apps and Tools to Help

  • Photography Cheat Sheets: Download printable guides or apps like “PhotoPills” or “Exposure Calculator” for on-the-go help.
  • Histogram Use: Enable the histogram on your camera to check exposure. Aim for an even spread, avoiding peaks on the far left (underexposed) or far right (overexposed).
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Basics  /  Learning  /  Photography
Exposure Triangle
November 2, 2024

Perhaps the most basic concept in photography is “THE EXPOSURE TRIANGLE” – this is a concept that helps balance three core elements—aperture, shutter speed, and ISO—to achieve a well-exposed photo. Each one affects the brightness of a photo and how it looks in terms of depth, motion, and graininess. Here’s how each part of the triangle works:

1. Aperture (measured in f-stops, like f/2.8, f/4, etc.):

  • This is the size of the lens opening. Think of it like the pupil of an eye—the larger it is, the more light it lets in.
  • Lower f-numbers (like f/1.8 or f/2.8) mean a wider aperture, letting in more light and creating a shallow depth of field. This makes backgrounds blurry, which is great for portraits.
  • Higher f-numbers (like f/16) mean a smaller aperture, letting in less light but giving you a larger depth of field. This keeps more of the scene in focus, ideal for landscapes.

2. Shutter Speed (measured in seconds or fractions, like 1/1000, 1/250, etc.):

  • This controls how long your camera’s sensor is exposed to light. Think of it as how fast your camera’s “eye” blinks.
  • Faster shutter speeds (like 1/1000) freeze motion, so they’re great for action shots or if you’re shooting handheld.
  • Slower shutter speeds (like 1/30 or even 1 second) let in more light but can cause motion blur. They’re useful in low-light conditions or if you want to create a motion effect, like with flowing water.

3. ISO (often between 100 and 6400 on most cameras):

  • ISO measures the sensitivity of your camera’s sensor to light.
  • A low ISO (like 100 or 200) keeps your image crisp and clean, but requires more light—perfect for sunny days.
  • A high ISO (like 1600 or 3200) makes your sensor more sensitive to light, so it’s good for darker settings. However, higher ISO levels can introduce “noise” (graininess) in your photos.

How They Work Together

If one of these settings changes, the others need adjusting to maintain the same brightness. Here’s an example:

Scenario: Let’s say you’re shooting a portrait and want a blurry background.

You might start by selecting a wide aperture, like f/2.8. This lets in a lot of light, so to prevent overexposure, you might use a faster shutter speed or lower ISO.

Balance: By balancing aperture, shutter speed, and ISO, you control exposure while also deciding on the visual effects, like motion blur or sharpness across a scene.

If you think of each element as one side of a triangle, adjusting one side always affects the others. The goal is to keep the “exposure balance” by adjusting the others in tandem, depending on the look and feel you want.

However, if you can imagine different types of triangles, its is possible to adjust these settings – in relation to each other – to form similar looking image. That is,  you can achieve a similar-looking photo with different combinations of aperture, shutter speed, and ISO, and this is one of the powerful aspects of understanding the exposure triangle. Adjusting each element affects not only the exposure but also the artistic style of the photo, like depth of field, motion blur, or noise. This is called an “EXPOSURE EQUIVALENT” – different settings that give the same overall exposure level.

Let’s go through an example:

Example Scenario
Imagine you’re photographing a landscape on a sunny day, and you want the entire scene to be in focus (sharp from front to back) with minimal noise.

1. Settings Option 1:

  • Aperture: f/16 (narrow, for deep depth of field)
  • Shutter Speed: 1/100 (lets in enough light with a stable exposure time)
  • ISO: 100 (keeps noise low)

This combination would give you a well-exposed photo with everything in focus and low noise.

2. Settings Option 2:

  • Aperture: f/8 (wider than f/16, lets in more light)
  • Shutter Speed: 1/400 (faster, to compensate for more light entering at f/8)
  • ISO: 100 (same, to maintain low noise)

With this set of settings, you’d still get a well-exposed shot, but the depth of field is slightly shallower. This might mean the extreme edges of your focus range are softer, but for many landscapes, this can still give a similar result.

3. Settings Option 3:

  • Aperture: f/11 (medium depth of field, still covers much of the scene)
  • Shutter Speed: 1/200
  • ISO: 200 (a little more sensitive to help balance out any exposure loss)

This setup again allows for a similar exposure level, but with slight compromises in depth of field and a tiny bit more noise due to the increased ISO. Still, the photo would look very similar in terms of overall brightness and clarity.

In each option, the “exposure stays balanced”, but the choice of settings subtly changes how the final photo looks.

Why Choose One Over the Other?

The choice between these settings often depends on your creative intent:

If you want maximum sharpness and are okay with a narrow aperture, Option 1 might be best.

If you want more flexibility in shutter speed (to avoid camera shake, for instance), you could go with Option 2.

If you’re in low light and need a higher ISO, Option 3 offers a compromise.

The more you experiment, the more you’ll see how these settings impact the style and feel of your photos.

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Creative  /  Landscape  /  Photography
What To Photograph in November
October 25, 2024


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Creative  /  Featured  /  Gear  /  Landscape  /  Learning
Long Exposures
October 11, 2024

I’ve been struggling with a block recently, constantly turning from one direction to another, not knowing what I wanted to do, photograph, learn or research. I’ve got my website to a good place (finally!) so its time to push on and build on that solid base. 

But, where do I go next and what should I learn?

I’ve got a stack of photography books waiting for me to read but I’ve been picking them up, casually leafing through the pages and putting them down again. There’s loads I want to dig deeper on, loads of eMails I’ve received from subscriber lists I’m on but everything is building up.  I’ve spent a couple of weeks not really getting anywhere…

So, I’ve finally pulled myself together and on the back of an eMail I received – which I actually read – I plucked long exposures from my long list of topics and tried a few things out. This is something I’ve tried before but mostly at night – where its relatively easy to produce great pictures from light trails in various places – city centre, a bridge looking down to a motorway, etc. What I though I’d do this time was try it during the day to make it much more challenging for myself. 

"Long exposure: the dance between stillness and motion." – Unknown

Taking long exposure photographs during the day can create stunning images, like smooth water surfaces, motion-blurred clouds, or bustling cityscapes that appear almost deserted. To do this, you’ll need a Neutral Density (ND) filter, which reduces the amount of light entering the camera, allowing for longer exposure times even in bright daylight.

Here’s a step-by-step guide to help you get started with daytime long exposures using an ND filter.

Choose the Right ND Filter

  • ND filters come in different strengths, measured in stops, which determine how much light they block. The higher the number of stops, the more light they block.
  • For daytime long exposures, you’ll typically need a filter with at least 6 stops (ND64), but for more dramatic effects, 10 stops (ND1000) or even 15 stops (ND32000) are commonly used.
  • Consider the level of light you’re shooting in. For very bright conditions, a stronger ND filter will help you achieve longer exposures without overexposing.

Set Up Your Camera on a Tripod

  • A tripod is essential to keep your camera stable during long exposures.
  • Ensure your tripod is stable and can hold your camera steady for extended periods, as even slight movements will blur your image.

Compose and Focus

  • Compose your shot without the ND filter on so that you can see clearly through the viewfinder or on the screen.
  • Switch your lens to manual focus to avoid your camera trying to refocus when the ND filter is attached. Manually focus on the part of the scene that you want to be sharp.

Calculate Your Exposure Time

  • With the ND filter off, set your camera to Aperture Priority (A/Av mode) and choose a small aperture (e.g., f/8 to f/16) to get a baseline exposure. Note the shutter speed your camera chooses.
  • Use an ND filter calculator app or manually calculate the new shutter speed based on your ND filter strength. For example, if your base shutter speed is 1/125 sec, and you’re using a 10-stop ND filter, you’ll need an exposure of 8 seconds.

Switch to Manual Mode and Apply the ND Filter

  • Switch to Manual Mode (M) on your camera and set the aperture, ISO, and calculated shutter speed.
  • Carefully screw on or attach your ND filter. Be cautious not to bump your camera, as this can change your composition or focus.

Take the Shot

  • Use a remote shutter release or your camera’s built-in timer to avoid camera shake when you press the shutter button. This is especially important for longer exposures.
  • Check your image. If it’s overexposed, reduce the exposure time or use a stronger ND filter. If it’s underexposed, increase the exposure time.

Experiment with Exposure Times

  • Long exposures are a bit of trial and error. Try different exposure times to see how they affect the look of your image, especially if you’re capturing moving clouds or water.
  • Remember that the light may change throughout the day, so you might need to recalculate exposure as you go.

Additional Tips

  • Use a Low ISO: Keeping your ISO low (ISO 100 or lower) will minimize noise and maximize image quality during long exposures.
  • Bracket Exposures: Take multiple shots at slightly different exposure times to ensure you get the perfect shot.
  • Mind the Weather: Wind can cause vibrations on your tripod, and changing light conditions may impact your exposure settings. Cloudy days often provide a more even light, which can be ideal for long exposures.

Daytime long exposures with an ND filter open up a lot of creative possibilities, so experiment with different filters and subjects to see what effects you like best. Enjoy capturing those dreamlike, silky smooth scenes!

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Basics  /  Creative
Overcome Creative Block
July 16, 2024

Are you stuck in a photographic rut? Not sure where to go and what to shoot? Hopefully this article will help get you out and about shooting again.

There are plenty of times when I get creative block. I sit staring at my camera and I really struggle to think of what to photograph next. For me, photography is a release, something to turn to to relieve some of the stresses of our busy lives. I love being out in the open, warm or cold with my camera or drone and just having the freedom to look and when I can actually SEE too that’s a bonus. At times, I take lots of pictures and don’t appreciate at the time their quality. I can come home from a shoot and feel disheartened at what I think I’ve taken only to find that actually there are some great shots mixed in with the rubbish, I just didn’t realise at the time.

So you can see that the block can sit in there (especially if it digs itself wedged in!) right from home, out to the shoot and back again. What can we do to break it?

These images (from a much wider set) came as a result of being stuck on where to fly/capture my drone. Quite a few times this year I’ve driven along the Woodhead Pass from Barnsley to Manchester and noticed how low the levels in the reservoirs are. It came to me suddenly that I ought to capture just how low they were!

Woodhead Reservoir
Woodhead Reservoir
Woodhead Reservoir
Woodhead Reservoir
Woodhead Reservoir
Woodhead Reservoir
Woodhead Reservoir
Woodhead Reservoir
Woodhead Reservoir

Perhaps it isn’t a lack of inspiration that’s driving the brain block but something external to photography. Take a break from whatever you are doing and stop trying so hard. Listen to some music. Read a book. Cook. Bake. I do all of these to relax. Try it and the old creative juices might just start to flow again.

But, what if it’s not that and you need some inspiration on subjects?

The first and most obvious thing to do is just to pick up your camera and start shooting. Indoors or outdoors. Do you have a partner or children? Take them as they go about their business in the house, at work or play. Do you have a car? Go take some shots of that. Up close, far away, get up high (from an upstairs window perhaps?), get down low. Wait until its dark and switch your headlights on. Throw a star filter into the mix too (not sure what they are … look it up!!). Out in the garden I have found no end of interesting subjects to photograph, especially through the great lock down of 2020! Flowers, insects, birds, local cats.

I love long exposures, especially at night. The first time I stood above a motorway on a bridge (in safety of course), took my camera off auto and did some 5-10 second exposures to capture the light trails I was amazed!

Do you normally take pictures of similar things? Are you a landscape person – if so, try people. Or pets. Put yourself outside your comfort zone.

Go for a walk – either in your local area of take the car out – but no pictures whilst driving! If you are going out in the car, have a think about what is in the local area before you set off so you aren’t just driving aimlessly. Google Maps is great for scouting areas before you visit and it has perhaps the most comprehensive database of places and websites (as you would expect!) along with pictures posted from other previous visitors. Look up street photography – a massive subject but immensely popular.

Something else? What about a photo challenge? Do an online search and any number of suggestions will pop up, running for (normally) a week or a month or if you feel exceptionally challenged you can sign up to a 365 day challenge. I have another post about this.

Pick something in your house and challenge yourself to find as many ways as possible to take different images of it.

Perhaps you need to study some of our peers. There are countless photography websites out there waiting to impart their experience and knowledge. Do some searching. Find an amazing photographer and study their work. What makes their images stand out? What styles were successful for them?

Nip to the newsagents and pick up a copy of a great photography magazine – or not; get an online copy and you don’t even have to move.

I think you can see that there is (just about) a limitless amount of inspiration around us in the modern world. If none of the above is working out for you, just search for ‘photo inspiration’.

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Basics  /  Creative  /  Gear  /  Learning
Handheld Shutter Speed
July 13, 2024

Minimum Shutter Speed for Handheld Photography

Photography is a fascinating blend of art and science, where understanding technical details can significantly enhance the creative process. One of these crucial technical aspects is shutter speed, particularly when shooting handheld. Let’s dive into what shutter speed is, why it matters, and how to determine the minimum shutter speed for handheld photography.

Understanding Shutter Speed

Shutter speed, one of the three pillars of photography (alongside aperture and ISO), refers to the duration the camera’s shutter remains open to let light hit the sensor. It is measured in seconds or fractions of a second. A fast shutter speed (e.g., 1/1000s) means the shutter opens and closes quickly, capturing a brief moment in time, while a slow shutter speed (e.g., 1/10s) keeps the shutter open longer, allowing more light to hit the sensor but also capturing more movement.

Why Shutter Speed Matters

Shutter speed affects both exposure and motion blur. A faster shutter speed reduces motion blur and is essential for freezing fast-moving subjects, whereas a slower shutter speed can introduce motion blur, which can either be a creative effect or an unwanted artifact. When shooting handheld, maintaining an appropriate shutter speed is crucial to avoid camera shake, which can result in blurry photos.

The Reciprocal Rule

A widely accepted guideline for determining the minimum shutter speed for handheld photography is the Reciprocal Rule. This rule suggests that the shutter speed should be at least the reciprocal of the focal length of the lens. For example, if you are shooting with a 50mm lens, your shutter speed should be at least 1/50s. If you’re using a 200mm lens, aim for a shutter speed of at least 1/200s. This rule helps counteract the natural hand movements that can cause camera shake.

Crop Factor Consideration

If you are using a crop sensor camera, such as APS-C or Micro Four Thirds, you need to account for the crop factor. The crop factor is a multiplier that effectively increases the focal length of your lens. For instance, an APS-C sensor typically has a crop factor of 1.5x. So, a 50mm lens on an APS-C camera would act like a 75mm lens (50mm x 1.5), and you should use a minimum shutter speed of 1/75s.

Image Stabilization

Modern cameras and lenses often come equipped with image stabilization (IS) technology, which can significantly reduce the effects of camera shake. Image stabilization can allow you to use slower shutter speeds than the Reciprocal Rule suggests, sometimes by several stops. For example, with effective image stabilization, you might be able to shoot at 1/25s with a 50mm lens instead of the recommended 1/50s. However, the effectiveness of IS varies between systems and even between different models, so it’s always good to test your specific equipment.

Factors Affecting Minimum Shutter Speed

Several factors influence the minimum shutter speed required for handheld photography:

  1. Focal Length: Longer focal lengths magnify not only the subject but also any camera movement, requiring faster shutter speeds.
  2. Camera Resolution: Higher resolution sensors capture more detail, including any blurriness from camera shake. With high megapixel cameras, you may need to use faster shutter speeds.
  3. Handheld Technique: Your ability to hold the camera steady impacts the minimum shutter speed. Bracing yourself, using proper hand placement, and controlling your breathing can help reduce camera shake.
  4. Lighting Conditions: In low light, achieving faster shutter speeds can be challenging without increasing ISO or using a wider aperture, both of which have their trade-offs.
  5. Subject Movement: If your subject is moving, you’ll need to use a faster shutter speed to freeze the action, regardless of whether you’re shooting handheld or using a tripod.

Practical Tips for Handheld Photography

  1. Use a Fast Shutter Speed: Always aim for a shutter speed faster than the reciprocal of your lens’s focal length. Err on the side of caution, especially in challenging conditions.
  2. Enable Image Stabilization: If your camera or lens has IS, turn it on. It can provide significant benefits in terms of reducing camera shake.
  3. Improve Your Technique: Hold your camera close to your body, use both hands, and keep your elbows tucked in. Lean against a stable object if possible.
  4. Adjust ISO and Aperture: In low light, increase your ISO or open up your aperture to allow for faster shutter speeds. Be mindful of the trade-offs: higher ISO can introduce noise, and a wider aperture reduces depth of field.
  5. Take Multiple Shots: When in doubt, take several shots in quick succession. The chances of getting a sharp image increase with multiple attempts.

Advanced Considerations

  1. Shutter Speed and Stabilization Systems: Different systems like Canon’s IS, Nikon’s VR, Sony’s OSS, and in-body stabilization (IBIS) have varying degrees of effectiveness. Familiarize yourself with your specific system’s capabilities.
  2. Telephoto Lenses: When using telephoto lenses, the need for faster shutter speeds becomes more critical due to the magnification of camera shake. Consider using monopods or tripods for additional stability.
  3. Environmental Factors: Wind, unstable surfaces, or moving platforms (like boats or vehicles) can all necessitate faster shutter speeds to maintain image sharpness.
  4. Creative Effects: Sometimes, a bit of motion blur can enhance the artistic quality of your photo. In such cases, experimenting with slower shutter speeds can yield interesting results, but this often requires a steady hand or intentional movement.

Real-World Examples

Imagine you are photographing a street scene with a 35mm lens on a full-frame camera. According to the Reciprocal Rule, your minimum shutter speed should be 1/35s. However, you notice some motion blur at that speed, so you increase it to 1/60s to get sharper images. If you switch to a 70-200mm lens, at 200mm, your minimum shutter speed should be at least 1/200s, but considering practical experience, you might opt for 1/320s to ensure clarity, especially if shooting moving subjects or if you’ve had a bit too much coffee that morning.

In low-light scenarios, such as a dimly lit room, using a fast lens (e.g., f/1.8) and increasing ISO can help you maintain a faster shutter speed, but be mindful of the noise that higher ISO settings can introduce. Experiment with your camera’s capabilities to find the best balance.

Understanding and applying the concept of minimum shutter speed for handheld photography is fundamental for achieving sharp, high-quality images. While the Reciprocal Rule provides a solid starting point, factors like crop factor, image stabilization, personal technique, and environmental conditions also play significant roles. By practicing and experimenting with your equipment, you can find the optimal settings that suit your style and conditions, ensuring your handheld shots are as sharp and clear as possible. Happy shooting!

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Basics  /  Creative  /  Learning
Long Exposure Photography
July 10, 2024

Taking long exposure photographs can result in stunning and unique images, whether you’re shooting at night or during the day. This technique captures the passage of time within a single frame, leading to smooth, flowing water, light trails, star trails, or a sense of motion and dynamic energy. Here’s a comprehensive guide on how to take the best long exposure photographs both at night and during the day.

Understanding Long Exposure Photography

Long exposure photography involves using a slow shutter speed to capture stationary elements of a scene sharply while blurring or smearing the moving elements. This can create surreal, dreamlike images that show the effect of time on a scene.

Essential Equipment

To get started with long exposure photography, you’ll need the following gear:

  1. Camera: A DSLR or mirrorless camera with manual mode capabilities.
  2. Tripod: Essential for keeping the camera steady during long exposures.
  3. Remote Shutter Release: Helps to avoid camera shake when pressing the shutter button.
  4. Neutral Density (ND) Filters: These reduce the amount of light entering the lens, allowing for longer exposures during the day.
  5. Wide-Angle Lens: Often preferred for capturing more of the scene.
  6. Extra Batteries and Memory Cards: Long exposure shots can drain your battery quickly and use up significant memory space.

Basic Camera Settings for Long Exposure

  1. Shutter Speed: The defining factor for long exposure photography. For daytime shots, you might need ND filters to achieve longer shutter speeds. At night, the absence of light allows naturally longer exposures.
  2. Aperture: A smaller aperture (higher f-number like f/11 or f/16) helps increase the depth of field and reduce the amount of light hitting the sensor, essential for longer exposures.
  3. ISO: Keep ISO as low as possible (100 or 200) to minimize noise in the images.
  4. Focus: Manual focus is often more reliable in low-light conditions. Focus on a subject before switching to manual to lock it in.

Long Exposure Photography at Night

Nighttime long exposures are particularly rewarding, as they can capture elements invisible to the naked eye, such as star trails, light trails, or the Milky Way.

Steps for Nighttime Long Exposure Photography

  1. Scout Your Location: Find a spot with minimal light pollution for star photography or a busy urban area for light trails.
  2. Set Up Your Tripod: Ensure it is stable and secure.
  3. Compose Your Shot: Use live view to help with composition. Include interesting foreground elements to add depth to your image.
  4. Set Your Camera to Manual Mode: Control shutter speed, aperture, and ISO manually.
  5. Start with Basic Settings: Begin with a shutter speed of 15-30 seconds, an aperture of f/2.8 to f/4, and an ISO of 1600-3200. Adjust based on the available light.
  6. Use a Remote Shutter Release: To start the exposure without causing camera shake.
  7. Check Your Histogram: Ensure the highlights are not blown out and adjust settings accordingly.
  8. Experiment: Adjust your shutter speed to see the effect on light trails or star trails. Longer exposures result in longer trails.

Tips for Specific Nighttime Long Exposure Scenarios

Star Trails:

  • Use the longest possible shutter speed. In some cases, bulb mode might be necessary.
  • Combine multiple shorter exposures in post-processing to reduce noise.
  • An intervalometer can automate the process of taking continuous shots.

Light Trails:

  • Position yourself at a busy intersection or road.
  • Use a shutter speed between 10 and 30 seconds to capture the movement of headlights and taillights.
  • Experiment with different angles and compositions to create dynamic images.

Milky Way:

  • Use a wide-angle lens with a large aperture (f/2.8 or wider).
  • Start with a shutter speed of 20-30 seconds and an ISO of 3200.
  • Use a star tracker for longer exposures without star trails.

Long Exposure Photography During the Day

Daytime long exposures can be challenging due to the abundance of light. However, with the use of ND filters, it is possible to capture stunning images of flowing water, moving clouds, or bustling cityscapes with smooth, blurred motion.

Steps for Daytime Long Exposure Photography

  1. Find a Good Location: Waterfalls, rivers, coastal scenes, or urban environments are ideal for daytime long exposures.
  2. Set Up Your Tripod: As with nighttime photography, stability is key.
  3. Attach an ND Filter: Choose the strength based on the desired effect. ND filters range from 3 stops (ND8) to 10 stops (ND1000) or more.
  4. Compose Your Shot: Use live view and compose the shot before attaching the ND filter if it’s very dark.
  5. Set Your Camera to Manual Mode: Control shutter speed, aperture, and ISO manually.
  6. Start with Basic Settings: Begin with a shutter speed of 1-2 seconds, an aperture of f/11, and an ISO of 100. Adjust according to the light and effect you want.
  7. Use a Remote Shutter Release: To avoid camera shake.
  8. Check Your Histogram and Adjust: Make sure the exposure is balanced and adjust the settings as needed.

Tips for Specific Daytime Long Exposure Scenarios

Waterfalls and Rivers:

  • Use a slower shutter speed (1-4 seconds) to capture smooth, flowing water.
  • Experiment with different ND filter strengths to achieve the desired effect.
  • Keep an eye on the light, as changes in brightness can affect your exposure.

Clouds:

  • Use a strong ND filter (10 stops or more) to allow for longer exposures, capturing the movement of clouds across the sky.
  • A shutter speed of several minutes can create a dreamy, streaky effect in the clouds.

Urban Scenes:

  • Use ND filters to blur the movement of people and traffic, creating a sense of motion and energy.
  • A shutter speed of 10-30 seconds can smooth out crowds and traffic, making them appear almost ghostly.

Post-Processing Long Exposure Images

Post-processing is an essential part of long exposure photography. Here are some tips to enhance your images:

  1. RAW Files: Always shoot in RAW to retain the most detail and flexibility in editing.
  2. Adjust Exposure and Contrast: Fine-tune the exposure, contrast, and white balance to bring out details.
  3. Reduce Noise: Use noise reduction techniques, especially for nighttime shots with high ISO settings.
  4. Sharpening: Apply selective sharpening to enhance details while avoiding noise amplification.
  5. Blending Multiple Exposures: For star trails or scenes with high dynamic range, blend multiple exposures to achieve the best results.

Advanced Techniques and Tips

Using the Bulb Mode

Bulb mode allows you to keep the shutter open for as long as you press the shutter button. This is useful for extremely long exposures (minutes to hours). Combine bulb mode with a remote shutter release or intervalometer for best results.

Calculating Exposure with ND Filters

Using an ND filter requires adjusting your exposure settings. Here’s a quick method:

  1. Determine the base exposure: Without the ND filter, set your desired aperture and ISO, then adjust the shutter speed to get a correct exposure.
  2. Apply the ND filter: Note the filter strength in stops.
  3. Adjust the shutter speed: For example, if your base exposure is 1/60 second and you’re using a 10-stop ND filter, the new shutter speed would be approximately 16 minutes.

Combining Long Exposures with Other Techniques

  • HDR Long Exposure: Capture multiple long exposures at different exposures and blend them to increase dynamic range.
  • Light Painting: During a long exposure, use a light source (torch, sparkler) to add creative light trails or illuminate parts of the scene.
  • Intentional Camera Movement (ICM): Move the camera during the exposure to create abstract patterns and effects.

Troubleshooting Common Issues

Camera Shake:

  • Use a sturdy tripod and a remote shutter release.
  • Enable mirror lock-up if your camera has this feature.

Overexposed Images:

  • Use stronger ND filters.
  • Adjust your aperture and ISO settings.

Focus Issues:

  • Focus manually and use live view to ensure sharpness.
  • Consider focus stacking for increased depth of field.

Battery Life:

  • Long exposures can drain batteries quickly. Carry spares and consider using a battery grip.

Safety and Etiquette

  • Stay Safe: When shooting at night or in remote locations, be aware of your surroundings and take safety precautions.
  • Respect the Environment: Leave no trace and be mindful of wildlife and natural settings.
  • Be Considerate: If shooting in urban environments, be considerate of others and avoid obstructing pathways.

Conclusion

Long exposure photography opens up a world of creative possibilities, allowing you to capture the passage of time in a single frame. Whether you’re shooting at night or during the day, understanding the technical aspects, using the right equipment, and applying post-processing techniques will help you achieve stunning results. Practice and experimentation are key, so get out there and start capturing the world in a way that only long exposure photography can reveal.

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Creative  /  Featured  /  Learning  /  Photography
Intro to Focus Stacking
July 10, 2024

Focus stacking is a powerful technique in photography that allows you to create images with an extended depth of field. This means that more of your image will be in sharp focus, from the nearest foreground elements to the farthest background details. This technique is particularly useful in macro photography, landscape photography, and any other situation where you want to capture a lot of detail across different planes of focus.

Why Use Focus Stacking?

In photography, achieving a large depth of field—where everything from the foreground to the background is in sharp focus—can be challenging. Using a small aperture (like f/16 or f/22) can help, but it often leads to issues like diffraction, which reduces overall sharpness. Additionally, even with a small aperture, there may still be areas in your image that remain out of focus. Focus stacking solves these problems by combining multiple images taken at different focus points into a single, sharp image.

The Basics of Focus Stacking

To understand focus stacking, let’s break down the process into simple steps:

  1. Take Multiple Photos: You start by taking several photos of the same scene. For each photo, you adjust the focus so that different parts of the scene are in sharp focus. You might take one photo where the foreground is sharp, another where the midground is sharp, and another where the background is sharp.
  2. Combine the Photos: Using software, you then combine these photos into a single image. The software picks the sharpest parts of each photo and blends them together. The result is an image where everything from the closest to the farthest elements is in focus.

Equipment Needed

To get started with focus stacking, you’ll need some basic equipment:

  • Camera: Any camera that allows you to manually adjust the focus will work, but a DSLR or mirrorless camera is ideal.
  • Tripod: Keeping your camera steady is crucial for focus stacking, so a sturdy tripod is essential.
  • Lens: A lens that allows for manual focus adjustment is necessary. For macro photography, a macro lens is preferred, but you can use any lens depending on your subject.
  • Remote Shutter Release: This helps to avoid any camera shake when taking the photos.

Steps to Perform Focus Stacking

Let’s go through the steps in detail:

1. Setting Up Your Shot

Before you start taking photos, you need to set up your shot. Here’s how:

  • Compose Your Shot: Set up your camera on a tripod and compose your shot as you normally would. Make sure your camera is stable to prevent any movement between shots.
  • Focus Manually: Switch your camera to manual focus mode. Automatic focus might shift slightly between shots, which can ruin the focus stacking process.
2. Taking the Photos

Now that your shot is set up, it’s time to take the series of photos:

  • Start with the Closest Focus Point: Begin by focusing on the nearest element in your scene. Take a photo.
  • Adjust the Focus Slightly: Move the focus slightly deeper into the scene, so that the next part is in focus. Take another photo.
  • Repeat: Continue this process, adjusting the focus a bit further into the scene with each shot, until you’ve covered all the important parts of the scene.
3. Combining the Photos

After you’ve taken all your photos, you’ll need to combine them using focus stacking software. Here are the basic steps:

  • Import Your Photos: Load all the photos into the software.
  • Align the Photos: The software will align the photos to make sure they match up perfectly. This step is crucial if there was any slight movement between shots.
  • Blend the Photos: The software will blend the photos, taking the sharpest parts of each image to create a final, composite image with everything in focus.

Recommended Focus Stacking Software

There are several software options you can use for focus stacking:

  • Adobe Photoshop: Photoshop has a built-in focus stacking feature. It’s a bit complex but offers a lot of control.
  • Helicon Focus: This is dedicated focus stacking software and is user-friendly with powerful features.
  • Zerene Stacker: Another dedicated focus stacking tool, known for producing high-quality results.

Practical Tips for Better Focus Stacking

To get the best results from focus stacking, here are some practical tips:

  • Use a Small Aperture: While you don’t need to use the smallest aperture, using a mid-range aperture like f/8 or f/11 can help improve overall sharpness without causing diffraction.
  • Consistent Lighting: Ensure the lighting remains consistent between shots. Any changes in lighting can make blending the images more difficult.
  • Minimize Movement: If you’re shooting outdoors, try to avoid windy conditions, as even slight movements in your subject can ruin the stack.
  • Overlap Focus Points: Make sure there’s some overlap between the focus points of each shot. This ensures that no part of the scene is left out of focus.
  • Practice: Like any technique, focus stacking takes practice. Start with simple subjects and gradually work your way to more complex scenes.

Focus Stacking in Different Types of Photography

Macro Photography

Macro photography is one of the most common applications of focus stacking. When photographing small subjects up close, the depth of field becomes extremely shallow, often just a few millimeters. Focus stacking allows you to capture the intricate details of your subject without sacrificing depth.

Landscape Photography

In landscape photography, you often want to have everything in the scene—from the foreground flowers to the distant mountains—in sharp focus. Focus stacking can help achieve this, especially when using wide-angle lenses and shooting at large apertures to capture more light.

Product Photography

Focus stacking is also useful in product photography, where you want the entire product to be in focus to show off its details. This is particularly important for items like jewelry or electronics, where fine details matter.

Troubleshooting Common Issues

Even with careful preparation, you might encounter some issues when focus stacking. Here are some common problems and how to solve them:

  • Ghosting: This happens when elements move between shots, creating a ghostly double image. To avoid this, ensure your subject and camera are as stable as possible.
  • Alignment Issues: If your photos don’t align perfectly, the software might struggle to blend them. Make sure your tripod is sturdy and use remote shutter release to avoid any camera shake.
  • Lighting Changes: If the light changes between shots, it can create inconsistent exposures. Try to keep the lighting constant, or shoot in controlled lighting conditions indoors.
Conclusion

Focus stacking is a valuable technique for photographers looking to maximize the depth of field in their images. By taking multiple photos at different focus points and combining them using software, you can create stunning images that are sharp from front to back. While it requires some practice and patience, the results are well worth the effort.

Whether you’re shooting macro subjects, landscapes, or products, focus stacking can help you achieve a level of detail and sharpness that’s otherwise difficult to attain. With the right equipment, software, and a bit of practice, you’ll be able to create images that truly stand out. Happy shooting!

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Creative  /  Photography  /  YouTube
What To Photograph In June
May 29, 2024


Here’s a short video courtesy of PhotoPills with the best ‘sky’ and ‘astro’ elements to photograph in June 2024.

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Creative  /  Photography  /  Street
Street: Gear & More
May 29, 2024

Street photography is an exciting and dynamic genre that captures candid moments in public spaces. It requires a blend of technical skill, creativity, and the right equipment to capture those fleeting instances of human life. While the photographer’s eye and approach are paramount, having the right gear can significantly enhance your ability to capture compelling images. Here’s an extensive guide on the essential gear for street photography.

1. Cameras

a. Compact Cameras
Compact cameras are a favorite among street photographers due to their small size and inconspicuous nature. They are easy to carry, quick to deploy, and less intimidating to subjects.

  • Sony RX100 Series: Known for their excellent image quality and compact size, the RX100 series offers a one-inch sensor and a fast lens. The latest models include features like 4K video and excellent low-light performance.
  • Ricoh GR III: This camera is almost legendary in street photography circles. It boasts a large APS-C sensor, a fixed 28mm equivalent lens, and a pocketable design. The Ricoh GR III’s high image quality and fast operation make it ideal for street work.

b. Mirrorless Cameras
Mirrorless cameras strike a balance between performance and portability. They offer interchangeable lenses and advanced features while remaining relatively compact.

  • Fujifilm X100V: With its fixed 23mm (35mm equivalent) f/2 lens, the X100V is a superb choice for street photography. It has a hybrid viewfinder, weather sealing, and excellent image quality with a unique color science.
  • Sony A7C: This full-frame mirrorless camera is compact and lightweight, offering high resolution and excellent low-light performance. Paired with a small prime lens, it’s a powerful tool for street photography.

Rangefinders offer a different shooting experience with their unique focusing mechanism. They are often preferred for their compact size and unobtrusive nature.

  • Leica M10: The Leica M10 is the epitome of a rangefinder camera. It’s compact, built like a tank, and has an unmatched heritage in street photography. The manual focus might be a learning curve, but it’s a rewarding experience.

2. Lenses

Choosing the right lens is crucial for street photography. Generally, prime lenses are preferred for their compact size, speed, and superior image quality. Here are some popular focal lengths and why they are favored:

a. 35mm
The 35mm lens is considered a classic choice for street photography. It offers a natural perspective that closely mimics human vision.

  • Sony FE 35mm f/1.8: Lightweight and sharp, this lens is perfect for capturing street scenes with excellent detail and beautiful bokeh.
  • Fujifilm XF 23mm f/2 R WR: Equivalent to 35mm on a full-frame sensor, this lens is compact, weather-sealed, and delivers superb image quality.

b. 50mm
The 50mm lens provides a tighter field of view, allowing for more selective compositions and a more intimate feel.

  • Canon RF 50mm f/1.8 STM: Affordable and sharp, this nifty fifty is great for those who want a versatile lens for street photography.
  • Sony FE 50mm f/1.8: Another budget-friendly option that delivers excellent image quality and is very compact.

c. 28mm
A 28mm lens offers a wider field of view, allowing you to capture more of the scene without stepping back.

  • Leica Summicron-M 28mm f/2 ASPH: Known for its sharpness and compact size, this lens is a favorite among Leica users.
  • Nikon Z 28mm f/2.8: Lightweight and affordable, this lens is perfect for capturing wider street scenes with ease.

3. Accessories

a. Bags

A good camera bag is essential for carrying your gear comfortably and securely.

  • Peak Design Everyday Sling Available in different sizes, this sling bag is versatile, stylish, and provides quick access to your gear.
  • Domke F-5XB: This compact shoulder bag is rugged and designed with street photographers in mind. It’s discreet and offers good protection for your camera and a couple of lenses.

b. Straps
A comfortable and secure strap can make a significant difference, especially during long shooting sessions.

  • Peak Design Slide Lite: This strap is comfortable, adjustable, and can be worn as a sling, neck, or shoulder strap. It has quick-release connectors for convenience.
  • BlackRapid Street Breathe: Designed specifically for street photographers, this strap distributes weight evenly and allows for quick access to your camera.

c. Extra Batteries and Memory Cards
Running out of power or storage space can be frustrating. Always carry extra batteries and memory cards.

  • Anker PowerCore 10000: A portable charger that can keep your camera and phone charged on the go.
  • SanDisk Extreme Pro SD Cards: High-speed, reliable SD cards are essential for ensuring you don’t miss any shots.

d. Lens Cleaning Kits

Dust and smudges on your lens can ruin your shots. Keep a cleaning kit handy.

  • Giottos Rocket Blower: Perfect for removing dust from your lens and sensor.
  • Zeiss Lens Cleaning Kit: Includes wipes and a microfiber cloth to keep your lenses spotless.

4. Clothing and Footwear

Comfortable clothing and footwear are crucial for street photographers who spend long hours walking and standing.

a. Clothing
Dress comfortably and appropriately for the weather. Consider layers that you can add or remove as needed.

  • Columbia Silver Ridge Convertible Pants: These pants are lightweight, breathable, and can be converted into shorts, making them ideal for various weather conditions.
  • Uniqlo Heattech and Airism: These lines offer lightweight, moisture-wicking, and thermal clothing options to keep you comfortable in different climates.

b. Footwear
Invest in good shoes that provide support and comfort for long periods of walking.

  • Merrell Moab 2 Ventilator: These hiking shoes offer great support, durability, and breathability.
  • Nike Air Zoom Pegasus: Known for their comfort and cushioning, these running shoes are great for long days on your feet.

5. Ethics and Legal Considerations

While not gear per se, understanding the ethics and legalities of street photography is crucial.

a. Ethics
Respect the privacy and dignity of your subjects. Be mindful of how your presence and actions might affect them.

  • Ask for Permission: When possible, ask for permission, especially if you’re photographing children or in sensitive situations.
  • Be Discreet: Use a small camera and avoid intrusive behavior. Blending in helps you capture more natural scenes.

b. Legalities
Laws regarding photography in public spaces vary by country and region. Familiarize yourself with local regulations.

  • Public vs. Private Spaces: Understand the distinction and know where you’re allowed to photograph without permission.
  • Model Releases: If you plan to sell your photos or use them commercially, obtaining model releases is often necessary.

6. Techniques and Tips

a. Zone Focusing
Pre-focus your lens to a specific distance (the “zone”) and use a small aperture to ensure a wide depth of field. This allows you to capture spontaneous moments without worrying about autofocus.

b. Shooting from the Hip
This technique involves shooting without looking through the viewfinder, allowing for more candid and less intrusive shots. It requires practice to get the framing right.

c. Lighting
Street photography often relies on natural light. Learn to use different lighting conditions to your advantage.

  • Golden Hour: The soft, warm light during sunrise and sunset can add a beautiful glow to your photos.
  • Night Photography: Embrace the challenge of low-light conditions. Use high ISO settings and wide apertures, and look for interesting light sources like street lamps and shop windows.

7. Post-Processing

While street photography often strives to capture the essence of a moment, post-processing can enhance your images and help convey your vision.

a. Software
Invest in good editing software to fine-tune your images.

  • ON1: A great all round image editing package along with several powerful plugins and stand complimentary products that together can form a strong workflow to great excellent, print ready end results
  • Adobe Lightroom: This is a popular choice for its comprehensive tools and ease of use. It’s excellent for organizing and editing your photos.
  • Capture One: Known for its superior color grading capabilities, Capture One is another excellent choice for serious photographers.

b. Editing Tips

  • Crop and Straighten: Adjust your composition if necessary to improve the balance and focus of your image.
  • Adjust Exposure and Contrast: Fine-tuning these settings can bring out details and add depth to your photos.
  • Convert to Black and White: Street photography often looks striking in black and white, emphasizing shapes, shadows, and textures.

8. Backup and Storage

Keeping your photos safe is crucial. Here are some tips for backing up and storing your images.

a. External Hard Drives
Use reliable external drives to store your photos.

  • Seagate Backup Plus Slim: Compact and reliable, this drive is perfect for backing up your photos on the go.
  • WD My Passport: Another popular option, known for its durability and storage capacity.

b. Cloud Storage
Cloud services provide an additional layer of security and convenience.

  • Dropbox: Offers automatic backup and easy sharing options.
  • Google Drive: Integrates well with other Google services and provides ample storage space.

9. Inspiration and Continuous Learning

a. Books
Reading books by renowned street photographers can provide inspiration and insight.

  • Street Photography Now” by Sophie Howarth and Stephen McLaren: This book features work from contemporary street photographers around the world.
  • Magnum Contact Sheets” by Kristen Lubben: Offers a behind-the-scenes look at how iconic images were made, including contact sheets from Magnum photographers.

b. Online Resources
There are numerous online resources to help you learn and improve your street photography skills.

  • YouTube Channels: Channels like “The Art of Photography” and “Eric Kim Street Photography” offer tutorials, tips, and inspiration.
  • Online Courses: Platforms like Udemy and MasterClass offer courses on street photography taught by experienced photographers.

c. Street Photography Communities
Joining communities can provide support, feedback, and inspiration.

  • Flickr Groups: There are numerous street photography groups on Flickr where you can share your work and get feedback.
  • Instagram Hashtags: Use hashtags like #streetphotography and #urbanphotography to connect with other photographers and showcase your work.

10. Developing Your Style

Street photography is not just about the gear; it’s about developing your unique style and voice.

a. Consistency
Stick to a certain style or theme to create a coherent body of work. This could be in terms of subject matter, color palette, or composition style.

b. Experimentation
Don’t be afraid to experiment with different techniques, angles, and approaches. Sometimes, breaking the rules can lead to unexpected and striking results.

c. Patience and Persistence
Street photography often involves waiting for the perfect moment. Be patient and keep shooting. The more you practice, the better your timing and intuition will become.

Conclusion

Street photography is a captivating and challenging genre that offers endless opportunities to document the world around us. While having the right gear can enhance your ability to capture compelling images, it’s ultimately your vision, creativity, and approach that will make your photographs stand out. Equip yourself with a camera and lenses that suit your style, dress comfortably, respect the people you photograph, and continuously seek inspiration and knowledge. With dedication and practice, you can capture the extraordinary within the ordinary and tell powerful stories through your images.

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Creative  /  Learning  /  Photography  /  Street
What Is Street Photography?
April 24, 2024

Street photography is an art form that captures candid moments of daily life in public spaces. It’s a genre that thrives on spontaneity, observation, and the ability to recognize and seize fleeting moments that often go unnoticed by the casual observer. At its core, street photography aims to document the human experience within the context of the urban environment, offering a glimpse into the diverse tapestry of life that unfolds on the streets.

Defining street photography can be tricky and multi-dimensional, as it encompasses a wide range of styles, approaches, and interpretations. However, several key elements help to delineate this genre from others within the realm of photography.

First and foremost, street photography is characterized by its unobtrusive nature. Its output should appear to be observational, as if the viewer of the image is viewing the scene in reality without any impact  on the people or place.

Unlike traditional portrait or studio photography, where subjects are often posed and aware of the camera’s presence, street photographers seek to blend into their surroundings, becoming invisible observers of everyday life. This approach allows them to capture authentic moments and genuine expressions without disrupting the natural flow of events.

Another defining feature of street photography is its focus on the urban landscape. Whether capturing bustling city streets, quiet alleyways, or vibrant marketplaces, street photographers are drawn to the energy and diversity found in urban environments. Through their lens, they explore the interactions between people and their surroundings, highlighting the juxtapositions, contrasts, and serendipitous encounters that occur within the bustling metropolis.

Furthermore, street photography is characterized by its emphasis on storytelling. Each image serves as a visual narrative, offering viewers a glimpse into a specific moment in time. Whether conveying a sense of joy, sorrow, humor, or intrigue, street photographs have the power to evoke a wide range of emotions and spark meaningful connections with viewers.

In addition to its documentary aspects, street photography is also a form of artistic expression. Photographers often employ creative techniques such as composition, framing, and lighting to imbue their images with a distinct aesthetic quality. From stark black and white compositions to vibrant color palettes, the visual language of street photography is as diverse as the cities it seeks to portray.

It’s important to note that street photography is not limited to the traditional definition of “the street” as a physical space. While urban environments are a common setting, street photographers can also capture compelling images in rural areas, suburban neighborhoods, and even indoor spaces such as train stations, cafes, and shopping malls. What unites these disparate settings is the photographer’s ability to observe and interpret the world around them in a unique and compelling way.

The rise of digital technology has expanded the possibilities of street photography, allowing photographers to instantly review and share their images with a global audience. Platforms such as Instagram, Flickr, and Tumblr have become virtual galleries where photographers can showcase their work and connect with fellow enthusiasts from around the world.

Despite its broad appeal and accessibility, street photography is not without its challenges. Photographers must navigate ethical considerations surrounding issues of privacy, consent, and representation, particularly when photographing strangers in public spaces. Additionally, they must contend with technical constraints such as lighting conditions, weather, and the unpredictable nature of street life.

In summary, street photography is a dynamic and multifaceted genre that celebrates the beauty, complexity, and diversity of human and urban life. By capturing candid moments of humanity in all its forms, street photographers offer viewers a window into the world around them, inviting them to see the extraordinary in the ordinary and find beauty in the everyday.

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Featured  /  Hyperlapse  /  Landscape  /  Learning  /  YouTube
Hyperlapse Example
March 7, 2024


This hyperlapse was taken using my DSLR – a Nikon D7100 and to ensure stability and consistency of shots, etc. was mounted on a tripod. I used an external remote to time each shot and control the overall number of shots for the length of video I wanted.

There’s nothing that exciting about this video clip – no big reveals, no UFOs flashing across the sky or anything like that. What I was trying to capture was a simple scene from home (this is from the dormer window in my attic) and show the graceful movement of the clouds on a reasonably well lit day over a long period of time. Hopefully I managed that.

When I came to working out how many shots I needed, I was working on the following:

  • number of frames per second (25) x number of seconds of video required = length of video

This clip is 4 mins and 24 seconds long so the actual number of images =

  • ((4 x 60) + 24) x 60) = 6,600 frames

There was 3 seconds between each frame which makes the elapsed time something like 5 1/2 hours condensed into those 4 1/2 minutes (or thereabouts) if my maths is correct.

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Basics  /  Gear  /  Photography
Camera Gear On The Go
November 15, 2023

I carry around all sorts of non-camera or photography specific equipment when I go out on a shoot. There’s allsorts of stuff lying around our homes that can be useful to ensure that you are well prepared or have whatever tool, gadget or random bit of stuff on hand when you need it. Here are some of my ideas…

  • Cloths / towel(s) – depending on the weather you might get a little (or a lot) wet. But that’s ok, your camera gear is much more important. Keep it dry at all costs! Also, a good supply of lens cloths coz we hate that dust (and smears!)
  • Extra batteries – make sure all your camera, drone, phone and tablets are all fully charged before you leave home; sounds obvious right! Easily overlooked, believe me! I’ve done it. Take spare batteries for torches, flash units – whatever needs them.
  • Battery pack – I have a rechargeable battery pack that I take just as a back up as I’ve known my phone to rapidly lose charge sometimes and it can be used to top up most devices with the right cable; which brings me to the next item…
  • Charging cables – no good having a battery pack and a flat device without the right cable to join them together is it?
  • Memory cards – take plenty! Don’t run out.
  • Notebook / pens – taking notes while out is something that I’ve got into a good habit with; locations, image settings, random thoughts, etc. It all goes into the book for future reference
  • Head torch – you always need both hands, right? A head torch for low light / night shoots allows you to see well without having to juggle (and potentially drop) your expensive gear
  • Screwdriver – my tripod has a clamp that screws into the bottom of the camera and is held into the top of the tripod which needs one of these. Also, you just never know
  • String / grips / clips – very useful for holding twigs and small branches out of the way when shooting flora and fauna; cliping stuff to your tripod to avoid a wet floor
  • Snacks / drinks – those long walks need energy! It can be a long way till the next brew!
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Creative  /  Learning  /  YouTube
Free Landscape Tutorial
July 11, 2023


Free feature length tutorial from Taylor Jackson around how to approach landscape photography in particular travel landspcapes.

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Basics  /  Learning
ISO
October 6, 2022

This is a bit trickier as when I was learning it didn’t make much sense to me and I couldn’t make head nor tail of what difference changing ISO would make. Essentially, ISO is a measure of how sensitive a camera is to light. So what? I hear you say.

Light comes into the camera down the lens, through the aperture, the shutter opens / closes and light hits the camera sensor. By changing the ISO setting you can change how sensitive the sensor is to light – not very much or quite a lot.

Small ISO numbers mean the sensor is not very sensitive to light and higher numbers mean the inverse (obviously) – more sensitive to light. This has the effect of changing the brightness or darkness of your image. Low ISO = less light so darker, high ISO = more light so brighter image. But, there is a trade off … higher ISO can make images look grainy and lose some quality…what’s known as ‘noise’ can creep into it. Think of old TV’s when they are not tuned into a TV channel and that speckly stuff shows…nothing that severe appears on images but something very faintly like that. Generally, low ISO gives sharper images.

ISO is written as a number – so ISO100, ISO 200, ISO 6,400 etc. Think of it as the number of receptors on the camera sensor that are waiting to receive light to form the image. ISO100 has 100 of them ready (and all the rest turned off – sort off); change the ISO to ISO6,400 and there are 6,400 of them capturing the same light so the sensor gathers more and the image is brighter. It’s not quite that but it’s something along the way to illustrate the purpose.

So that’s it – there are the three things that can effect an images exposure and hopefully you can start to see how changing one can affect the other… this is known as the EXPOSURE TRIANGLE.

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Basics  /  Learning
Exposure Triangle
October 6, 2022

At the outset this might seem as unfathomable as the Bermuda Triangle…and to some it always will be but let me try and break it down so that it might make a little sense.

We’ve already mentioned that aperture, shutter speed and ISO are all linked. They are all methods of changing the amount of light that the camera sensor records to form the image. Changing one often means that you have to adjust one or both of the others – they are inextricably linked and are often noted together in a triangle.

Consider the following image and think about the three elements linked together to change to quality of the final image required.

Getting the right exposure – or the desired exposure – for an image is at times an art – but it is taking all these three elements and blending them together, adjusting one to offset one of the others that is the key to a great looking image.

Why bother though when you can make the camera do all the decision making for you? Well, if you want to make your images pop and raise their quality significantly you should understand all this and know how to change these together. The difference in quality will astound you and you will be well on your way to more professional looking images.

Your camera can only do so much with the data it reads about the scene and sometimes it just gets it wrong. Some elements (such as a bright source of light) can confuse it and as a result it makes the wrong decision on where to set exposure within the triangle.

Let’s take a moment to consider an example. Imagine you have the perfect exposure of an image and it really pops but the subject of the image is a fast moving car and it looks a little blurry. You can fix this by increasing the shutter speed to capture the image more quickly. But, without adjusting ISO and / or aperture the exposure of the image has now changed (less light from the faster shutter speed) and it will be underexposed. You can therefore increase the shutter speed to capture the fast moving object more static (without a motion blur) and then change the aperture to let more light in to increase the exposure at the same time. Achieve that balance again for the perfectly exposed image that captures the object in a perfect moment of time. The triangle works!

The exposure triangle is a clever little thing and is at the heart of all great images. Manual mode makes all the decisions for you and gets the correct exposure for any given image but I’ve already mentioned that changing the settings of the triangle elements can really make your images pop.

What’s the difference?

Well, the three elements of the exposure triangle have some other impacts on the final recorded image:

  1. Aperture also controls something called the depth of field. Have you ever seen an amazing portrait image of someone where the background is all blurry so that your eye is drawn to the person (subject) in the image? Aperture controls how much of the image is in focus…from the foreground, through to the subject and beyond to the background.
  2. Shutter speed helps us to control how we capture motion in an image. A fast shutter speed and even something moving at speed will be captured still (more or less if you have a fast enough shutter speed) whereas if you use a longer shutter speed objects can be shown to have movement. Combine some still and moving elements into a single image and you’ve cracked it!
  3. ISO can effect the quality of the final image. High ISO can introduce some grain and make your image look a little aged or worn.

So you can see that controlling these three elements can have a massive impact on the look and quality of the final image. Control these and you control your camera. Well, not really. There’s still a lot more to go but you get the idea.

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Basics  /  Creative
Introduction To Composition
October 6, 2022

I find that I can take lots of shots of the same scene or subject and just be reframing and taking the object from a slightly (or completely!) different angle can give a vastly different effect or final image. Zoom in a little, move slightly to one side or up / down and your image can (and likely will) change a lot.

Purists of photography will tell you that there are all sorts of methods of deciding how to compose an image. The rule of thirds. Minimalism. Fill the frame. Diagonal lines. Leading lines. Scale. Look up. Look behind. Reflections. And plenty more. Then some would say you should go out an break them all! Of course, every one of these is useful to learn and consider and you should be aware of as many of these as possible so you have a good choice when considering the desired image. Personally, I don’t see these as rules but more as guidelines. Have them in your toolbox and pull them out when you need them. Or don’t and break them all.

Let’s look at some of them.

The Rule of Thirds

When you look through the viewfinder consider that the image is made of up a 3×3 grid of rectangles rather like a tic-tac-toe grid. The main theory of this is that you should place the main element of your image at one of the four intersecting points of these lines. You should never stick the main element right in the exact middle of your viewfinder. Unless you’re breaking this rule and you do it on a purpose! When deciding sky and land elements for a landscape image, place the horizon at one of the two horizontal lines so the either is either one third or two thirds ratio of sky to land. Most cameras will have some method of allowing you to see this grid either through the viewfinder or on the image preview screen at the rear of the camera.

Kao Lack Beach
f3.5 1/3200s ISO100

The image above from the coast of Kao Lack in Thailand uses the rule of thirds to position the subject – the washed up bottle (perhaps with a missing message?) lying on the shore – at exactly where two of the lines converge. This forms the main focal point for the image and good depth of field gives the huge monument / lighthouse in the background lesser importance and blurs it out. This image also works well as it’s shot directly into the setting sun which gives strong black and white tones especially with the reflection of the water.

Now let’s break that rule. This image shows the aforementioned lighthouse as the focal point of the image but right in the middle and not where any of the lines converge. The late afternoon tones from the setting sun provide a stark silhouette highlighting the monument from behind to make the eye drop straight onto it.

The village of Khao Lak in Thailand is where the tsunami hit in 2004, now physically recovered the tourist industry is once again thriving.

Frames

Using a frame within an image can help to isolate the main element or draw the eyes into it. When you are composing your image, is there something that you can use to frame the subject within the viewable angle. The simplest example of this is a window – what about taking an image of the outside from inside? The window will frame the subject (no pun intended) to draw the eye in and through the image to the subject.

Leading Lines

In an element utilising this concept there will be some physical form of line or edge that guides the eyes through the image to the main element. Consider the image below capturing a moment of toddler trauma. The bars of the cot bed lead the eye straight to the toddler and ensure that you are guided to him first before taking in the rest of the image.

f1.8 1/50s ISO400

There are plenty of other photography rules that people say shouldn’t be broken, and there’s the same rules that others say you should go out and deliberately break. At the end of the day (or whatever time it actually is) the photograph you are taking is yours, the creative decisions are yours and what the final outcome is, is…you’ve guessed it…yours too.

Rules are there to be broken. Or not. It all depends really.

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Basics  /  Gear  /  Photography
New Camera Startup
October 6, 2022

So you’re shiny new camera has arrived. You’ve unpacked everything, charged and inserted the battery and memory card and attached the lens (hopefully to the front!). So what now? But maybe not. This is an expensive piece of kit and you want to make sure you’re doing everything right. If you’re struggling with these starter tasks then the absolute first thing you should be doing is reading the camera manual to at least get this far.

It sounds like an absolute obvious thing (and I admit that I hate reading manuals and intructions) but camera manuals are an absolute goldmine of information. How do I actually take my first picture? How do I view it when I’ve taken it? What do all the buttons mean? What do SOME of the buttons mean?

The first pass through the manual will be and absolute mind-mash and there will be plenty of (if not most) terms, processes and functions that you will have no clue about, even with the camera in your hands. You might be able to change the settings as the manual describes but you certainly won’t understand why you would need to and what effect they will all have on your finished picture.

Don’t worry. You are at the start of a very long journey of learning…perhaps one that won’t ever finish! Skim read it the first time perhaps. Make notes in it, highlight stuff, put some markers in there for quick reference. Make a list of things you want to understand first. Have some easy goals in mind though so here’s a starter checklist:

  1. Find your way around the basic controls of your camera
  2. Make sure you know how to make sure the camera is on (or off) fully auto mode
  3. Charging and inserting the battery
  4. Connecting the lens
  5. Inserting and formatting a memory card
  6. Turning it on!
  7. Make sure auto-focus is turned on
  8. How to focus using the shutter button (hint: half press it!)
  9. Take your first picture
  10. Working out how to review your first image

Sounds like a bit of an epic? Don’t worry it’s all totally achievable and fairly easy to get through with the help of the manual. For now, forget about everything else and get through that list. At that point, give yourself a pat on the back and take plenty more pictures to get the feel of the camera, how to hold it and get used to using it. Practice for a bit. You are well on the way of the start of your journey!

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Basics  /  Photography
First Settings To Change
October 6, 2022

What next? Hopefully you’ve read my post on the first 10 things to do when you open the brand new box containing your camera. If not, go and give it a scan and make sure that you’ve done those starter tasks. But what next? There are some other things you can do to make your camera work better for you and to customise it to your personal tastes. These are in no particular order but will hopefully help.

Attach The Camera Strap

I got myself a lovely cotton one from Amazon and it didn’t cost the earth but there are loads out there if you don’t want to use the one that comes out of the box. Some clip on, some are on all the time, some have a quick release to a belt holder…there are loads and you can end up spending quite a bit of money on them. They are down to personal preference BUT I would recommend having some sort of strap on your camera. Remember that first time when you dropped your phone and the screen shattered? The same applies to a camera and when you factor in the cost of replacing the camera AND the lens if you should drop it, you will regret not having one from the start.

Change The Image Review Settings

Personally I don’t have this switched on at all but my camera allows me to see every image I take on the LCD screen on the rear of the camera automatically as I take them – by default it will show for 5 seconds before it switches back off again. I have it switched off as I find it an irritant and I would rather decide myself when to preview images. If you do want preview switched on there are usually other things you can have displayed at the same time as the image – focus points, highlights, the histogram, shooting data, etc.

Set The Image Size And Quality

There will be another post into the infinite debate about RAW vs. JPG (type that into Google and see what others think!) but for now make a decision as to how your camera will record images onto your memory card(s). You can pick (obviously) RAW or JPG  and the basic difference is that RAW will store the image and a lot of extra information about it (metadata) to give the most control should you edit the image in post processing. JPG doesn’t store as much and takes less space. Or if you’re camera takes 2 memory cards (my Nikon D7200 does) you could have RAW stored on the card in slot 1 and the JPG equivalent stored on the card in slot 2. Also, with JPG you can decide what quality to store / resolution to store (high, medium or low) and this will dictate how much space on your memory card is taken with each image and as a result the total number of images you can take without downloading them to your computer / storage system.

Set The Diopter

Set the what? When you look through the viewfinder and you are framing the image, does it look sharp and clear after you have done a half press on the shutter button? At the side of the viewfinder window there should be a little dial that turns rather tightly. This is the diopter. While you are looking through the viewfinder turn that dial and the image you are looking at will blur / soften and then come back into sharpness as you turn it. All this affects is the image you are looking at and NOT the image that the camera takes – that’s down to the camera and the lens focus. Think of this like twisting the view piece on binoculars. It might make a difference for you – especially if you wear glasses.

So, you’ve done all that, what should you do next?

Learn about exposure and how the exposure triangle affects the finished image. There’s webpage after webpage and book after book on this single subject alone so getting it right in your mind from the start is really important. The exposure triangle links three key things together – aperture, shutter speed and ISO – that are the absolute foundation of a great image. Learn this early on and you will be off to the best start. Check out my introductory post here.

What about finding some resources out on the internet? There are some great websites packed with ideas for knowledge, pictures and creativity; tutorials and countless videos. Whenever you are stuck or want to know more, remember that Google is your friend and you will soon find some great websites you can trust and can keep going back to. Most will also allow you to subscribe to their mailing list and will send regular eMails with even more great content to keep the creative juices flowing. There are also some amazing courses online and there will be some in your local area too, either at college or perhaps run by a local camera club. Some courses will have a formal qualification at the end (for example a diploma) but others might just be totally educational without assessment. Watch out for special offers around the normal sale times as many educational and training websites will have their own courses too.

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Creative
Photo-A-Day
October 6, 2022

Its always good to challenge yourself and keep pushing the boundaries of learning. Pick a topic, do some research and try out some new techniques. Having a dry day when it comes to being creative? Why not have a go at a photo challenge and see how far you can push your boundaries and if you can develop that elusive habit to take pictures on a regular basis.

At times I find myself struggling for inspiration, more-so this year with all the challenges it brings. However a photo challenge can really help get the creative juices flowing and put you on the road to being more exciting with your images, more often.

The basic concept of a photo challenge is to where you are presented with a range of subjects over a period of days and you take an image related to that days topic while trying to be creative and think outside the box in it’s composition. Subjects are likely to be things that you wouldn’t normally think of, hence the challenge!  Often, it will last for 7 days or many run for a month or on the same day every week, sometimes with daily themes linked into the month or season of the year. If you are feeling particularly committed then there are 365 challenges around that last for an entire year! Note: don’t get hung up on starting these on a particular day – the first day of a month or year, for example – as this goes against the concept. Putting it off until then means you are more likely not to bother when that day comes around. Find one and start now!

Below are a couple of examples that you could use to get you going!

Red
A building
Light
Dark
Animals
Weather
Sky
Technology
Wood
Water
Rain
Household
Transport
Flowers
Green
Plastic
Paper
Spices
Finished Items
Work in Progress
Framed
Camera in Camera
Mirrors
Looking Up
Behind You
Blue
Boxes
Afterwards
Towns
Landscape		Yellow
Night
Light at Night
Open
Closed
People
Isolation
Silhouette
Purple
Strangers
Candles
Mess
Leading Lines
Grass
Open Spaces
Falling Down
Churches
Superstitions
Family
Outdoors
Winners
Shadows
On Reflection
Anything Goes
Glass
Animals
Insects
Close Up
Far Away
Texture		Trees
Colour
Skylines
Black & White
Gothic
Autumn Colour
Three
Rain
Dusk or Dawn
Letters
Feeling Fruity
Odd
Upside Down
Self-Portrait
Panorama
Landscape
Smiles
New
Doors
Transport
I Enjoy…
Change of Season
Sport
Picture in Picture
18:00 Hrs
A Sign
Laughter
Gadgets
Taken For Granted
A Guilty Pleasure

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Basics  /  Creative  /  Gear  /  Landscape  /  Learning  /  Photography  /  Travel
Controlling Light With Aperture
October 6, 2022

How do we see? Admittedly some are better than others (without my glasses I’m as blind as a bat!). But, in order to see our eyes need light. It enters through the pupil, is focussed by the lens (or the other way around with glasses!) then hits the optic nerve where it goes off to be processed by the brain.

Camera’s work on exactly the same principle. It needs light (sometimes not very much) to be able to see the area in front of it to record the image. It is focussed by the glass in the lens, then goes through a hole in the lens (like the pupil), before passing into the camera sensor (optic nerve if you like) to record the scene. There’s a little more to it but that’s the basic.

Grab too much light in the recording and the image will be OVER EXPOSED. Don’t get enough light and the image will be UNDER EXPOSED. Mostly these are bad as you’re looking for a sweet spot somewhere along the line between the two that give a good balance of a few things (bear with me), but sometimes over or under exposing an image is what we want. The important thing is we need to manage and control the exposure and make sure it’s not down to guess work. On auto mode the camera does a lot of work for you and tries its best with the information it reads from the scene to take the most appropriately exposed picture – or so it thinks.

But, three things can be adjusted to control exposure – aperture, shutter speed and ISO. Getting all this right for the type of image you are trying to achieve is what we’re all about over the next few posts. Get them right in connection with each other and you’ll instantly make a massive jump forwards in the quality of your images from ‘point and shoot’ to something more refined, balanced and looking much more professional.

Let’s start with APERTURE.

This refers to a hole or a gap in the camera’s lens – the word simply means ‘opening, hole or gap’. It is closed by default and how wide it opens can be controlled in manual mode to determine how much light enters the lens and the camera sensor is exposed to. Open the hole really wide and a lot of light comes in, open it only a little bit and not so much. Change the aperture setting and you control the size of the hole.

The size of the hole is referred to as the ‘f stop’ and if you’ve seen ‘f2’ or ‘f13’ or similar then this is what it is referring to. There will be more on f-stops and how they relate to lenses in a later section.

What I find really confusing is that smaller f-numbers give a bigger hole. See the following image:

Different aperture settings and relative hole size for light

F2.8 gives a massive (relative) hole to let in lots of light, often used in low light situations, and f11is a much smaller hole that lets in hardly any light at all – much less than f1.4 and there is a sliding scale in between.

This is just an introduction to the concepts of aperture and I’ll write more on it in a separate post. This simple understanding should suffice for now. Hopefully.

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Basics  /  Learning  /  Photography
Shutter Mode
October 6, 2022

In shutter mode you have total control over the speed of the shutter. You set the speed depending on what you are trying to achieve and the camera makes decisions for the other parts of the exposure triangle – ISO and APERTURE.

If you want to capture something static select a fast shutter speed and the moving object should be caught nice and still – if you’ve set it fast enough.

If you want to portray movement then slow the shutter speed down and you get motion blur of moving objects in the image.

Depending on what you select the camera will choose the aperture and ISO to suit the available light in order to attempt to capture a balanced, well-lit image. It can’t always do it right but it tries to do a good job using the information it has by sampling the scene.

Other factors will come in to play too and if you’re looking for a pin sharp image you should always be using a tripod and perhaps a remote to minimise camera shake. But that’s for another day.

To use this setting, turn the mode wheel of your camera to ‘S’ and then there is another wheel (usually near the picture trigger) to rotate to change the speed of the shutter. Remember it is shown on the camera display as either a number in seconds – 1″ is 1 second, 5″ is 5 seconds, etc. Alternatively for speeds of less than a second it is shown as a fraction – 1/2 is half a second, 1/8 is an eighth of a second, etc.

f6.3 2s ISO400

This image from the centre of Bangkok, Thailand had the shutter speed dialled in (2 seconds) and the camera decided that the aperture should be f6.3.

Depending on the camera make and model you can range from something like 1/10,000 of a second right up to 30 seconds. Beyond that there is something called ‘BULB’ mode where the shutter stays open for as long as you keep the picture trigger button pressed.

More on that in a separate section but essentially BULB mode takes exposures and shutter lengths to extreme times – above 30 seconds into minutes and in some cases hours. In this mode the shutter stays open for as long as the shutter button (or remote release) is depressed but be wary – this can dramatically drain the camera’s battery as these long exposures can demand a lot of juice!

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Basics  /  Learning  /  Photography
Manual Mode
October 6, 2022

Your road to professional quality pictures starts here! MANUAL mode is where all the big guns live – you have complete control over every setting of your camera and can use them all independently of each other to produce exactly the image you were intending.

Set the aperture and shutter speed and as you become more confident in your craft this will start to become easier and easier. It’s not like the old days when you had to wait for film to be processed to see the results! Check your image in the preview window and if you don’t like it, change those settings and try again!

Normally, as you look through the viewfinder you will see somewhere (normally at the bottom) some indication of whether the current settings will result in a good or bad exposure, displayed as a scale of exposure (under or over). Change the settings whilst you look through this and you can see this slide-scale change to what the camera thinks is the correct setting. But remember – this is your image and you are attempting to create a particular look so don’t always rely on this in just the same manner as you don’t always trust the settings on the full AUTO mode. This is your image after all!

Manual mode gives access to super-long exposures for night time photography (or astro photography). The image below was taken in Bangkok using fully Manual mode. Note how most of the image is static (buildings, road, etc.) but the moving traffic is caught as a blur with their lights being the predominant element captured but you can see some ‘ghost’ parts of the car bodies. This type of night image is known as a ‘light trail’ image:

f5.6 2s ISO100
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Basics  /  Learning  /  Photography
Auto (A) & Programmed Auto Mode (P)
September 22, 2022

When most people purchase their first DSLR camera they may feel overwhelmed with all the buttons, dials and settings so most will start on the AUTO mode – and there is absolutely nothing wrong with that. I still use it – sometimes I want to see what settings the camera will use for an image. Other times something might be happening really fast and I want to make sure I capture a half decent image before the moment passes. This stops me messing up and losing the opportunity for ever.

I might say that this way, effects that are created using other modes might possibly be created afterwards using software such as LIGHTROOM, LUMINAR or PHOTOSHOP… but I’ll never admit it …

With this mode the camera takes care of everything. All you have to do is point and press – well press half-way to allow the camera to focus and then all the way to take the image. The image below was captured on full AUTO mode (camera derived settings shown underneath:

The village of Khao Lak in Thailand is where the tsunami hit in 2004, now physically recovered the tourist industry is once again thriving.

Aperture and shutter speed are calculated and depending on the focus mode the camera will work out some depth of field details.

With PROGRAMMED AUTO (P) mode the camera will work in exactly the same manner and choose (what it thinks is) the best aperture and shutter settings. However, different combinations of these can be selected to give a different effect to the final image – alter the depth of field for example and all combinations will produce the same exposure.

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Basics  /  Learning  /  Photography
Aperture Mode
September 22, 2022

This mode is the opposite of shutter mode (S). Here you select an aperture (the size of the hole in the lens when taking the image and the camera determines and appropriate shutter speed by sampling the light available in the scene.

The most important effect that changing the aperture can have on an image is to vary the DEPTH OF FIELD. This is the amount of the image that is in focus from the nearest element in the image right through to that part that is furthest away. Landscape and portrait images demonstrate this the most by having the main subject of an image in pin-sharp focus whilst anything in front or behind blurs as they are not the main element.

In fact, this mode is most used by these two types of photographers as it gives them excellent control of how their images are represented.

Consider the image below:

Your eye should be drawn to the centre of the main flower with the stamen (the bits that have the pollen) in good, clear focus – the focal point – and as you move outwards towards the edge of the image it blurs, with those elements farthest away from the focal point subject to the most blur. To make more of the image in pin-sharp focus, change the aperture so that the hole is smaller – i.e. step up and increase the f-number.

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Basics  /  Learning  /  Photography
Camera Modes
September 22, 2022

Modern cameras have plenty of modes that you can use to try and get the best shot for any given situation. They range from fully automatic where the camera makes all the decisions for you and guesses at the type of shot you are wanting to achieve, right through to fully manual where all the decisions are down to you. There are of course, combinations of modes in between where you make some decisions and the camera does the rest depending on your choices.

This section will describe the most common modes – note that some of these might have slightly different names depending on the camera make and model.

Shutter Mode

In shutter mode you have total control over the speed of the shutter. You set the speed depending on what you are trying to achieve and the camera makes decisions for the other parts of the exposure triangle – ISO and APERTURE.

If you want to capture something static select a fast shutter speed and the moving object should be caught nice and still – if you’ve set it fast enough.

If you want to portray movement then slow the shutter speed down and you get motion blur of moving objects in the image.

Depending on what you select the camera will choose the aperture and ISO to suit the available light in order to attempt to capture a balanced, well-lit image. It can’t always do it right but it tries to do a good job using the information it has by sampling the scene.

Other factors will come in to play too and if you’re looking for a pin sharp image you should always be using a tripod and perhaps a remote to minimise camera shake. But that’s for another day.

To use this setting, turn the mode wheel of your camera to ‘S’ and then there is another wheel (usually near the picture trigger) to rotate to change the speed of the shutter. Remember it is shown on the camera display as either a number in seconds – 1″ is 1 second, 5″ is 5 seconds, etc. Alternatively for speeds of less than a second it is shown as a fraction – 1/2 is half a second, 1/8 is an eighth of a second, etc.

One Night in Bangkok

This image from the centre of Bangkok, Thailand had the shutter speed dialled in (2 seconds) and the camera decided that the aperture should be f6.3.

Depending on the camera make and model you can range from something like 1/10,000 of a second right up to 30 seconds. Beyond that there is something called ‘BULB’ mode where the shutter stays open for as long as you keep the picture trigger button pressed.

More on that in a separate section but essentially BULB mode takes exposures and shutter lengths to extreme times – above 30 seconds into minutes and in some cases hours. In this mode the shutter stays open for as long as the shutter button (or remote release) is depressed but be wary – this can dramatically drain the camera’s battery as these long exposures can demand a lot of juice!

Aperture Mode

This mode is the opposite of shutter mode (S). Here you select an aperture (the size of the hole in the lens when taking the image and the camera determines and appropriate shutter speed by sampling the light available in the scene.

The most important effect that changing the aperture can have on an image is to vary the DEPTH OF FIELD. This is the amount of the image that is in focus from the nearest element in the image right through to that part that is furthest away. Landscape and portrait images demonstrate this the most by having the main subject of an image in pin-sharp focus whilst anything in front or behind blurs as they are not the main element.

In fact, this mode is most used by these two types of photographers as it gives them excellent control of how their images are represented.

Consider the image below:

f2.8 1s ISO100

Your eye should be drawn to the centre of the main flower with the stamen (the bits that have the pollen) in good, clear focus – the focal point – and as you move outwards towards the edge of the image it blurs, with those elements farthest away from the focal point subject to the most blur. To make more of the image in pin-sharp focus, change the aperture so that the hole is smaller – i.e. step up and increase the f-number.

Auto Mode (A) and Programmed Auto Mode (P)

When most people purchase their first DSLR camera they may feel overwhelmed with all the buttons, dials and settings so most will start on the AUTO mode – and there is absolutely nothing wrong with that. I still use it – sometimes I want to see what settings the camera will use for an image. Other times something might be happening really fast and I want to make sure I capture a half decent image before the moment passes. This stops me messing up and losing the opportunity for ever.

I might say that this way, effects that are created using other modes might possibly be created afterwards using software such as LIGHTROOM, LUMINAR or PHOTOSHOP… but I’ll never admit it …

With this mode the camera takes care of everything. All you have to do is point and press – well press half-way to allow the camera to focus and then all the way to take the image. The image below was captured on full AUTO mode (camera derived settings shown underneath:

f4 2.5s ISO100

Aperture and shutter speed are calculated and depending on the focus mode the camera will work out some depth of field details.

With PROGRAMMED AUTO (P) mode the camera will work in exactly the same manner and choose (what it thinks is) the best aperture and shutter settings. However, different combinations of these can be selected to give a different effect to the final image – alter the depth of field for example and all combinations will produce the same exposure.

Manual Mode

Your road to professional quality pictures starts here! MANUAL mode is where all the big guns live – you have complete control over every setting of your camera and can use them all independently of each other to produce exactly the image you were intending.

Set the aperture and shutter speed and as you become more confident in your craft this will start to become easier and easier. It’s not like the old days when you had to wait for film to be processed to see the results! Check your image in the preview window and if you don’t like it, change those settings and try again!

Normally, as you look through the viewfinder you will see somewhere (normally at the bottom) some indication of whether the current settings will result in a good or bad exposure, displayed as a scale of exposure (under or over). Change the settings whilst you look through this and you can see this slide-scale change to what the camera thinks is the correct setting. But remember – this is your image and you are attempting to create a particular look so don’t always rely on this in just the same manner as you don’t always trust the settings on the full AUTO mode. This is your image after all!

Manual mode gives access to super-long exposures for night time photography (or astro photography). The image below was taken in Bangkok using fully Manual mode. Note how most of the image is static (buildings, road, etc.) but the moving traffic is caught as a blur with their lights being the predominant element captured but you can see some ‘ghost’ parts of the car bodies. This type of night image is known as a ‘light trail’ image:

f5.6 2s ISO100

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Basics  /  Learning  /  Photography
Where To Start Learning?
September 22, 2022

I have been mad keen on photography now for most of my life. as a kid we had a cheap analogue point and click camera that took a roll of film that had 24 exposures and no manual adjustments other than flash on/ off – so you had to be pretty sure of a shot when you were taking it. Then there was the weeks wait while the films were sent off for processing only to find that half of them were blurred or had fingers in the way! I still have a lot of those old photographs as prize possessions of youth and there are many memories contained within them.

As an adult I’ve been lucky enough to progress from analogue to digital and seen plenty of innovations and upgrades along the way. I’ve had Olympus (previous) and a few Nikon (current) cameras and am currently shooting with a D7200. I’m a gadget person so I’ve got allsorts of tools, add-ons, gizmo’s to help me get that perfect picture.

But what makes that perfect picture? I often look at others work and am amazed by the composition, subject matter, colours (or tones of a black and white image), technical ability and often wish that I was as accomplished as that person. But, if I’m being honest with myself, I might not be as accomplished or had pictures published or as recognised as others but some of my images (I think) are pretty good. I wonder how much of success is down to opportunity presenting itself (or being self-made)?
Looking back, if you are serious (or semi-serious) about your photography there are some basics that you need to get your head around to get you on the right road to success. Some of these might seem impossible to master or seem like a nonsense but give them a go, they might not be as tough as they appear at first.
Just for a while, forget all those text books on Amazon and all those other blogs that go into so much detail, forget YouTube for now, (sorry guys, you can still be there waiting but just hang on for a while). Let’s start with something straight-forwards.

Basics to start with are the exposure triangle, aperture, shutter speed and ISO.

All of these go together to form EXPOSURE – without the right exposure your image is going to be too bright and blown out with too much white or on the flip side it will be dark, dingy and with too much black and shadow. You’ve got to try and get the exposure (using the three things above) just right – or as right as you want them to be for the image you are trying to achieve.

Beginners start with their camera on auto mode – which I was stuck on for a long time where the camera makes all the critical decisions on these three for you. But beware! It’s not perfect and sometimes (often?) it just doesn’t do what you want it to do and the final image isn’t what you were trying to achieve. So, if a job needs doing, you have to do it yourself!

Getting off auto and onto manual mode can seem scary and an impossible barrier to achieving great shots. But, with practice you can get there. Heck, if I can do it then anyone can! Getting these three things right (or at least understanding them) will get you starting to use that mystical manual mode more and more…auto is always there as a safety net!

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