[Photography] Using Depth of Field and Perspective for Better Composition

We all know this problem. You take a picture of a beautiful scene but it just doesn’t turn out the way you want. Something is missing. It usually isn’t a matter of your camera or the settings you are applying. But what is it then? The question at hand is how do you get from a snapshot to an interesting, unique, and well composed photograph.

To answer this, we have to move away from the technical aspects and go more into the creative and artistic aspects of photography. You might say that this is a very subjective matter and that beauty is in the eye of the beholder, but there are a few building blocks that will help to improve your photography and also develop your own unique visual language.

Depth of field for a more three-dimensional Look

An important aspect of photography is that we want to capture a three-dimensional reality by taking a two-dimensional image. When we are out in the field, our eyes in collaboration with our brain create very complex images within split seconds. The most important factor in this context is that our eyes are constantly moving while focusing on different subjects. The focal plane is shifting with a subject in focus and everything in front or behind appearing to be blurred. This “Depth of Field” is one the most important techniques we can utilize to simulate depth and three-dimensionality.

Utilizing depth of field to create a more three-dimensional look

In order to play with depth of field, we need a scene with a defined foreground and a background. Whereas the background is usually a given, a lot of images lack foreground which makes an image appear flat and boring. Choosing a defined foreground will enable us to actively compose an image and become creative.

Once you have chosen a background and a foreground you like (ideally both complementing each other), you have to find the right position for you and your camera in order to combine both for an appealing overall image. To find the right position, you should try different angles, move around, get low to the ground and don’t solely rely on your zoom. By using a large aperture (small f-stop number) and a selective focusing, we can isolate the foreground from the background by making the foreground objects sharp and the background blurry (or vice versa). This will convey a sense of depth and three-dimensionality.

No foreground. Lack of depth and composition.

This image (above) of one of the ancient tombs around Hue, Vietnam looks flat. There is no depth, no three-dimensionality and it lacks a clear composition. Because a foreground is missing, the image is too busy and distracting.

Foreground and background nicely isolated to create a sense of depth.

Above an image of the same subject but with a much better composition. The focus is on the eye of one of the dragons, making it our foreground. The rest of the tomb is our background, slightly blurred and nicely separated. It generates a sense of depth and also appears much calmer and structured than the first image. The viewer is being led into the picture. You can use this technique when photographing very popular places like for example the Eiffel Tower, Angkor Wat or other monuments. Instead of taking the same shot as every other tourist, experiment with different backgrounds and foregrounds, get creative, move, and I am sure you will end up with an original and authentic image.

Cambodian Fighter. Focus on the subject, still including the environment.

You can also apply this technique to your people and portrait photography. It not only helps to really put emphasis on your subject, but also to incorporate some of the environment, which will help to tell a story. In the picture above, the focus is on the weary fighter, catching his breath during a fierce Khmer Boxing fight in Cambodia. We are at eye level with the fighter and again, the foreground is nicely separated from the rather blurry background. Yet, we can still see parts of the surrounding environment which is the ring and the crowd in the back. The focus however always remains on the main subject.

Leading lines for a sense of perspective

Of course depth of field is not the only means to create a sense of depth and three-dimensionality. The concept of leading lines is another one of those building blocks that you can apply. The viewer of a photograph usually associates diagonal lines which are leading into an image, to a vanishing point perspective. This means that objects which are farther away also appear smaller. This context automatically and unconsciously gives the viewer an impression of three-dimensionality.

Two images with a clear vanishing point perspective.

As you can see in the images above, a shallow depth of field is not necessarily needed to convey that sense of depth we are looking to achieve. Here it’s all done by using a jetty as lines, which connect different layers of the picture – the image becomes much more plastic and complex.

Night Scene: The bridge leading into the picture.

Similarly the image above becomes three-dimensional because the pedestrian bridge is leading into the image. It also appears to become smaller and smaller as it leads into the background. This way the image has that sense of depth even without applying a low depth of field. The bridge as a leading line is connecting our different layers, the foreground and the background.

The bridge and the train convey a sense of depth.

Providing a relationship in size

When regarding a picture, the viewer often needs a reference point in order to correctly interpret the information our two-dimensional images provide. We can do this by establishing proportions and providing a relationship in size. Often this isn’t needed as we know a lot of the subjects we are capturing. In the image above we were dealing with familiar objects like a pedestrian bridge, a street and a commercial building. It was easy to put everything into context. But a lot of times, when we are confronted with unfamiliar things, this isn’t as easy.

Mingun Pahtodawgyi in Mingun, Myanmar. Can you tell how big it actually is?

In the picture above is Mingun Pahtodawgyi, a temple in Mingun, Myanmar. Left unfinished, this huge construction was planned to become the world’s biggest stupa with a height of 150 meters. It is huge and impressive but the picture above somehow doesn’t manage to convey this. Just by looking at this image it is impossible to gauge the sheer size of the temple. A reference is missing.

Mingun Pahtodawgyi. Are you getting a better sense of dimension?

Here I have added myself to the picture and despite my rather stupid pose, it instantly provides a point of reference. This relationship in size helps to categorize the stupa and establishes a sense of dimension. To achieve this effect and to provide a relationship in size, you can also use other elements which help the viewer to better comprehend an image.

The hike up Mt. Minatubo, Philippines. Another example of relationship in size.

Try to practice, and utilize, these three building blocks to improve your photography. You can also try combining two of these techniques to generate an even greater sense of depth. Of course these concepts are by far not the only factors that make for a good and well composed image. There are many more things to take into account but for now, it should give you a good starting point.

Temple dogs – a shallow depth of field and leading lines combined.

I hope you liked this article. Feel free to comment below and let us know what other techniques or concepts you found helpful on your quest of becoming a better photographer.

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[Photography] How to Create a Sun-shower Photo on a Cloudy Day

Yes, You Can Change The Weather!

You just brought home a bunch of beautiful flowers, and you’d love to get an interesting photo of them. You take them outside, but it’s a dark, cloudy day. The light is boring, and the forecast is for several days of overcast weather. By the time the sun finally comes out, your flowers may have wilted.

What should you do? Well, you can change the weather. Really, you can by using your off-camera flash and a simple garden hose to create a sun-shower. Thanks to Canon’s wireless flash system you can, in the words of the Temptations, have sunshine on a cloudy day.

Here’s how to create a sun-shower photo on a cloudy day:

Equipment used:

• Canon EOS 70D


• Canon 85mm f/1.8 USM lens


• Canon 430 EX II Speedlight flash


• Flashpoint Heavy Duty Lightstand


• Adorama Universal Swivel Holder


• Velbon GEO E535D Carbon Fiber Tripod


• Expoimaging Rogue Gel Universal Lighting Filter Kit

The idea here is to use a wireless flash to recreate the effect of direct sunlight, and adjust the light so it looks natural. Then, to simulate rain, just add water. The flash will create dynamic specular highlights as the water sprinkles through the image. The goal is to go beyond a simple “record” shot of your flowers (or whatever it is you are photographing) and load up your photograph with visually interesting elements.

Step 1: Waterworks

To make this happen, you’ll need a garden hose and sprinkler, with either a nozzle at the end of the hose, or an oscillating sprinkler. If you live in a home with a yard, you most likely already have these. In this example, a hose with a built-in, controllable nozzle was available, so that’s what was used. Make sure the nozzle or sprinkler head is placed in a fixed position, either to the side of or behind the flowers, with the water hitting the flowers but not falling where the flash or camera will be placed.

Caution: Don’t bring your camera gear out yet, it might get wet during this phase.

Be prepared to improvise. In this case, a lawn chair was pressed into service as a way to hold the hose nozzle in place.

Once you’ve adjusted your “rain,” turn off the water and bring out your photo gear.

Choose a longer focal length lens (medium telephoto) and shoot with a wide aperture. This will help blur the background and create separation between background and foreground. An added benefit: the farther working distance between camera and subject will hopefully allow you to position the camera at a safe distance from the path of the water.

Step 2: Composition

Set up your camera (a tripod is highly recommended), focus on the flowers, and compose. Find a dark background to maximize contrast from the “rain,” and leave some room at the top of the image to show the water drops. Just for fun, take a few “before” pictures for future reference.

Before – here is the composition, with no added light. It’s okay, but not terribly exciting. Exposure: 1/1000th at f/1.8, ISO 400.

Same composition, with the 70D’s built-in flash turned on. You can see more detail, but the lighting is flat and still uninteresting. 1/250th at f/13, ISO 400

All lined up – with the hose aimed at the flowers off to the left, the camera (in this case, a Canon EOS 70D with a Canon 85mm f/1.8 lens) was brought in, and a flash on a light stand was moved behind and slightly to camera right of the flowers. The dark shrubs behind the flowers provide a good contrast.

Step 3: Cue the “sun”

Turn on the flash. Don’t know how to operate a Canon DSLR or G-series compact? Scroll to the end of my article on Using Off-camera Flash to Fix Lighting Problems for Outdoor Portraits to get step-by-step instructions on how to trigger Canon off-camera flash wirelessly. You can control the flash intensity and, through trial and error, find the best exposure for illuminating the flowers.

Now we have the backlight flash turned on, but the lighting ratio of ambient to flash light is wrong, and the flowers are overexposed while the effect of the backlighting is barely visible. You may need some trial and error, adjusting the EV and flash intensity settings until you get the right combination. Exposure: 1/250th at f/11, ISO 400

Hint: When adjusting the exposure and flash intensity, check your results in the LCD monitor, but also turn on the histogram to make sure the light is not falling off the chart.

Step 4: Warm up the light

While overhead sunlight is fairly neutral, sunlight in the early and later part of the day takes on a pleasing warm tone. That’s why they call this time of day the Golden Hour. You can emulate this light by using full CTO Orange gel, available in the Expoimaging Rogue Gel Universal Lighting Filter Kit. Now it looks like you’re shooting in late afternoon or evening.

Sunset? Nah, it’s the middle of the day. But thanks to the cloud cover and a Full CTO Orange gel over the backlight, it looks like sunset. Exposure: 1/250th at f/11, ISO 400. (make sure to set your shutter speed no higher than your camera’s sync speed)

Flowers are placed, flash is gelled, and the “rain” is on. You’re ready for the final shot.

Step 5: Make it rain

Now that the composition and exposure are set and the light is gelled and in place, it’s time to turn on the water.

It’s a late afternoon sun-shower. This is what your final result could look like. But wait, the drops seem to be going up. Why is that? See below. Exposure: 1/250th at f/11, ISO 400.

In this final shot, the flowers drenched in a sunlit downpour in the middle of a dark, dreary day. There’s one thing that would make this shot better, and that would have been switching to rear-curtain flash sync. In the final example here, the drops appear to be going up because the flash is triggered at the beginning of the exposure. Change your flash settings to rear curtain sync and the drops will be going in the right direction. (There wasn’t time to make the change here because it had started to rain for real, ending the session.)

Have fun transforming your backyard into an outdoor set and creating all kinds of weather.

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[Photography] How to use Texture to Improve Your Photos

I recently wrote about the importance of texture in my article about converting photos to black and white in Lightroom and my review of MacPhun’s Intensify app. Today I thought it would be interesting to take a closer look at this compositional element, and how becoming more aware of it can help you create stronger images.

Why is texture important? The primary reason is that it helps you create a sense of depth and tactility within your photos.

Let’s look at some practical examples.

Photo with lots of texture

Here’s a photo I took in a Bolivian town.

Look at all the beautiful textures; in the dog’s fur, the stone he is laying on, the concrete step and wooden door behind him. Can you imagine what the dog’s fur is like to touch? Or the stone, concrete or wood? The textures of those objects help you do that, and bring a two-dimensional image to life.

Photos with some texture

Here’s another photo taken in South America.

There are several contrasts that make the photo interesting. One is the difference in brightness between the church and the sky (tonal contrast). The other is the contrast in texture. The stonework has a rough surface and a lot of texture. The sky has none. The contrast between the rough and the smooth adds an extra layer of interest.

Portraiture is another subject where you can exploit the contrast in texture between the relatively smooth surface of someone’s skin, and a highly textured background. The portrait below is an example of that. The lack of texture in the model’s skin contrasts with the textures in his sweater, hair, and the background.

The contrast between rough and smooth is also common in long exposure photography, where photographers use shutter speeds of a minute or longer to blur the motion of the sea, or other body of water. The result is a photo containing both still elements (such as the concrete jetty and the island in the photo below) and moving elements that have recorded as a smooth, even tone, thanks to the long exposure.

Post-processing and texture

One of the benefits of digital photography is that you can use the tools available in programs like Lightroom to emphasize texture. Or in the case of portraits, to de-emphasize it by applying a local adjustment to smooth skin (my article Four Ways to Improve Your Photos With the Clarity Slider in Lightroom shows you how to do that in more detail).

Here’s a quick tip. Think about enhancing texture as a local adjustment rather than a global one. In the example of the dog above I made two Clarity adjustments in Lightroom. The first was a global adjustment made by setting Clarity to +12 in the Basic panel. The second was a local adjustment made by using the Adjustment Brush to select the dog (see below) and setting Clarity to +41. The result is that the textures of the dog’s fur and the background don’t compete.

The red mask shows where the Adjustment brush has been applied locally to only the dog

Practical Exercise

The aim of this article is to get you thinking about texture and how you can use it to make your photos better. Here are a couple of exercises to help train your eye to see texture:

1. Street photography

Take a walking trip around your neighbourhood, looking for subjects with lots of texture. Think of things like doorways, letterboxes or anything made from concrete or stone. They don’t have to be fantastic photos, the aim is to raise your awareness of texture and get you thinking about how you can use it in your photos.

2. Portrait photography

Find a friend or a model to be your subject and find backgrounds with interesting textures. This could be anything from a wall, a doorway, or a large rock. The idea is to play with the contrast between the relative lack of texture (on skin) and the texture of the background.

Once the exercise is complete, the next step is to experiment with emphasizing texture in post-processing. Whether you use Lightroom, Photoshop or a plug-in like Intensify or Silver Efex Pro2, think about how can you use these tools to emphasize texture, or the contrast in texture between skin and a textured background.

Your turn

Now it’s your turn. How do you use textures in your photos? Do you have any tips for our readers, especially when it comes to post-processing? Let us know in the comments.

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Mastering Lightroom: Books One, Two and Three

My Mastering Lightroom ebooks are a complete guide to using Lightroom’s Library and Develop modules. Written for Lightroom 4 and 5 books One and Two take you through every panel in both modules and show you how to import and organise your images, use Collections and creatively edit your photos. Book Three shows you how to create stunning black and white images in Lightroom.

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[[Optical Component]] Luminaire emitting light of different colours

The disclosed embodiments relate to a luminaire (100) comprising an array of LEDs (120). The array of LEDs (120) comprises LEDs chosen from the group of blue LED, green LED, red LED, yellow LED, amber LED, cyan LED, and white LED. The luminaire (100) further comprises a reflecting tube (140) and...



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[[Optical Component]] Optical fiber protector

This invention generally relates to devices and methods for protecting an optical fiber during assembly of an optical system. In certain aspect, the invention provides an optical fiber protector. The optical fiber protector includes a first portion and a second portion. The first portion is configured to contact and couple to...



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[[Optical Component]] Mounting structures for components of intravascular devices

Intravascular devices, systems, and methods are disclosed. In some embodiments, the intravascular devices include at least one mounting structure within a distal portion of the device. In that regard, one or more electronic, optical, and/or electro-optical component is coupled to the mounting structure. Methods of making and/or assembling such intravascular devices/systems...



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[Photography] 5 Not-So-Obvious Mistakes Photographers Make When Starting a Business and How You Can Avoid Them

By plantoo47

When starting your photography business it’s easy to get caught up in how good your portfolio looks, buying new equipment, or how many followers you have on social media. While these tasks are important, you risk overlooking some crucial numbers that will help you to hold yourself accountable and succeed as a result.

Large corporations have whole departments tracking data to help their CEO’s make better business decisions. So why is this completely overlooked in one-person businesses?

In this article you will learn the Five not-so-obvious mistakes photographers make when starting a business. I will also give you some handy tips on how you can avoid these mistakes in the future.

Mistake #1 – Not knowing your income goal

One of the most common mistakes you can make as a freelance photographer is not setting any targets around how much money you want to make. I think we can all agree that it is an amazing feeling to be able to earn enough money to support yourself.

An effective way to grow your income is to first be aware of how much you’re currently earning so that you can figure out how much you want to earn in the future. Have a good solid brainstorming session about the next 12 months and really ask yourself, “How much do I want to realistically earn this year?”

By Simon Cunningham

Making a million dollars a year photographing would be fantastic, but you have to be realistic about your financial goals. You don’t want to set a figure that is so high that you feel discouraged. You also don’t want to set a figure that undervalues your talent. You want to choose a figure that makes you feel a little stretched but is still achievable with some hard work.

A good place to start is to look at how much income you made in the last year, and then add 30% on top of this amount to calculate how much you’d like to make in the next year. For example, if you earned $15,000 last year, your goal this year should be $19,500 ($15,000 x 1.3).

If you don’t have any income records from last year, just choose a figure that you feel comfortable with, and that is attainable.

After you’ve worked out your target income for the year, the next thing to do is calculate your average fee. You can calculate this by dividing your total income by the number of sales (clients) you had over the last year.

So now that we know what your target income and average fee is, we can move on to calculate the number of photo sessions required to reach your target income goal.

By Historias Visuales

Mistake #2 – Not knowing how many photo sessions you need to do

The number of sessions that you need to do in the next 12 months is dependent on your target income and average fee. For example, to make $20,000, you will need to do 40 sessions within the next 12 months to reach your income goals. This is calculated by dividing your income goal of $20,000 by your average fee, which in this example is $500.

Your required number of sessions may feel daunting at first. It’s important to break it down into smaller increments so that you can visualize these amounts so it appears more attainable, so 40 sessions for the year turns into 3.3 sessions per month. This is calculated by dividing 40 sessions by 12 months.

When you’re setting your income goal, think about how much time you want to take off for the year. You need to give yourself leeway for traveling, illness, recovery, planning and so forth. Just because you’re a business owner doesn’t mean you don’t need

to have time off like the rest of the world.

Going back to the example, the number of sessions required is 3.3 per month. Let’s round this down to three sessions to make things cleaner. This means you need to do 0.75 sessions per week.

By Korry Benneth

If you’re not comfortable with the volume, you could tweak your targets. For example, if you were to get more skilled at charging higher fees, we could set your average fee to $1000 instead of $500. How would this impact your volume? Well $20,000 divided by $1000 is 20. That’s 20 less photo sessions you have to do for the year, which equals out to just 1.6 sessions per month or only one photo session every couple of weeks.

So the next question is, should you focus on doing more sessions, or should you learn how to effectively increase your fees? The choice is ultimately up to you, but this example illustrates the importance of knowing your numbers so you can make the necessary adjustments in your business that will help you succeed.

Mistake #3 – Not knowing how many inquiries you need

Inquiries are the first point of contact you have with potential clients. Your main goal when you receive an inquiry is to convert it into a booking.

Measuring the number of required inquiries in your photography business can be a little challenging as some of the people that contact you initially don’t end up booking for various reasons. So as a rule of thumb I like to use a 50% conversion rate. This means that to get three bookings for the month, you need to get at least six inquiries.

As you can see, generating inquiries is easily one of the most important steps in the sales process. When it comes down to it, if you want to achieve your goal of $20,000, you need to generate six inquiries per month with an average fee of $500. Once again, you will only know this if you are aware of the important numbers in your business, which I’m sure, most of your competition is overlooking.

Mistake #4 – Not knowing how many bookings you need

Converting enquires into bookings is another often overlooked part of the photography sales process. Not only do you get the opportunity for income now, it gives you an opportunity to book future business through referrals.

By Ken Teegardin

The number of bookings required in your business should match the number of sessions required. So if you need to do three photo sessions per month, then you also need to book three clients per month.

Obviously the bookings you get today could help get you more sessions in the future. However, I have found that these numbers tend to correct themselves if you focus on getting your target bookings each and every month. So if you’re not doing enough sessions, you have to revisit your bookings and see how you can increase your inquiries.

Mistake #5 – Not having a method of keeping track of your numbers

Hopefully by now you have a better understanding of the relationship between different targets in your photography business. It is clear that more inquiries lead to more bookings, which lead to more sessions, which ultimately leads to more income.

It’s all well and good to be aware of the numbers, but to make significant change in your photography business requires you to hold yourself accountable and ensure that you’re following through on your goals. There are a couple ways you can do this.

One way is to draw a table in your notebook that displays each target for the month. You then record a dash next to the target when you get it done. So if you have a target of three sessions for the month, every time you do a session you draw a dash next to this target. You can also break this down into weeks if that makes it easier for you to update.

By Wendy House

You could also track your numbers by drawing up your targets on a whiteboard in your home office or studio. This is an excellent idea as you’re constantly looking at it.

Another way to do this is to create a spreadsheet. I know a lot of creative professionals cringe when they hear the word “spreadsheet”. However I encourage you to push through your barriers and use a spreadsheet to track your numbers.

The advantage of a spreadsheet is that it does all the work for you. All you have to do is input your progress and the spreadsheet can tell you how you’re doing. I can just hear what you’re saying at the moment. “Michael, this sounds great, but how do I actually create this spreadsheet you’re talking about?” I thought you might ask, so I’ve prepared a spreadsheet for you to download for you to use in your business. I initially created this spreadsheet for my partner’s photography business to track her numbers, and it really helped change her mindset in her business.

Before using my tool she couldn’t tell me what percentage of inquiries were converting into bookings. After she started tracking her numbers, she felt empowered and knew exactly how her business was going at any given time. Sometimes it was a pleasant surprise to know that she smashed her targets, other times she knew that she had to find ways to generate more business.

You don’t have to look at your numbers daily. I recommend updating your numbers at the end of each week. I also suggest that at the end of each month you send your numbers to an accountability partner. Knowing that you have to submit your numbers will only motivate you more. Choose someone you trust and you’re comfortable enough with to share your goals. This could be your spouse, sibling, good friend or business buddy. Sometimes all you need is some encouraging words to keep you focused in your business.

Bonus mistake #6 – Not tracking your expenses

It can be somewhat soothing to plan and think about how much money you’re going to make. Having said that, it’s just as important to understand how you’re spending your income.

Lots of new and even seasoned professional photographers overlook this highly important step. Reducing your costs is another method of making more money so you can spend it on more important things, like a new lens or a holiday.

By Jorge Franganillo

So how can you go about tracking your expenses? Well it’s quite simple, use accounting software. There are many accounting solutions on the market that are both free and paid. Personally, I recommend going with Wave (because it’s free) or Xero (because it’s awesome). Both systems allow you to automatically pull your transactions from your business account bank statement directly into your accounting software. This means you don’t have to spend hours entering your expenses. Pretty cool huh?

Most photographers get overwhelmed when they think of financial management. But investing time in this area will do wonders for your business.

By far the most important feature of accounting software, is the ability to create reports that allow you to see where, and how much, money you are spending in your business. From there you can make necessary adjustments to cut back on your costs.

By M.Kemal

Bringing clarity to your business

The whole purpose of this article is to bring clarity into your business. A lot of photographers like yourself start a business because you want to earn a living doing something that you enjoy. But you soon come to realize that making a living and growing your business is not easy. It can be overwhelming thinking about how you’re going to get through tomorrow’s to-do list while keeping all of your existing clients happy. This overwhelming feeling often leads to “fog brain” and prevents you from having clarity in your business.

Being aware of your numbers will ultimately help you make better decisions. Instead of spending one hour on Facebook today, you could spend that time contacting potential referral partners for your business.

At the end of the day, activities that generate more inquiries are much more important than getting bogged down with emails, packaging, social media, design and other administrative activities, especially when trying to reach higher income targets. Get someone else to do those things so you can focus on what’s important: servicing your clients, doing sessions, finalizing bookings and generating so you can fund the lifestyle that you want and deserve.

For more photography business tips read these articles:

• The Ultimate Guide to Going Pro as a Photographer


• How to Calculate Your Cost of Doing Business – And Other Necessary Numbers


• 5 Things to Consider Before Starting Your Photography Business


• 30 Things you Should Know to Help you Start a Photography Business

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