Sep 29, 2015

[Photography] 7 Ways to Take Advantage of Autumn in Your Portrait Photography

Fall is my favorite. At least it used to be before it was Pumpkin Spice Everything. I’m so tired of Pumpkin Spice Everything, but I’ll never tire of chilly weather, or scarves, or leaf piles. Or even shorter days, mainly because long summer days are just too much pressure for me.

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I like everything about fall including, maybe especially, that it’s ripe for portraits. Here are seven ways to help you take advantage of all of autumn’s goodness in your portrait photography.

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1) The light is phenomenal 

Yes, there is less of it, but it is so golden and delicious. I’m sure there is a very scientific reason for that, which of course I know and understand exactly, but I don’t want to bore you. I like a warmer image, so to get one without having to add a filter is fantastic. I prefer to shoot in the morning and early evening hours but in the fall, the light reflecting off of the warmer tones in the trees make even the deadest of shady patches come alive.

While people don’t normally wear yellows and oranges for picture day, the golden tones found in nature compliment all skin tones. This is why I always tell my clients to dress in colors that are found naturally outside—not only does it keep people from showing up in lime green, but the palette works for whatever background we find that day, and this time of year dressing in earth tones can really make a portrait pop.

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2) Clients dress in their finest

I’m not big on fancy clothes, but even I agree that flip flops take a back seat once we can bust out boots and scarves. Fall is when people tend to take it up a notch, plus it’s layering season. Layering is the best way to achieve portraits that look high-end or even fashion shoot-like. You won’t ever find me in boots, a t-shirt, a jacket, a skirt, tights, a scarf and a hat in real life….but on picture day, I’ll happily dress everyone in five layers and make them stick with it for 20 minutes if it makes my ragamuffin family look like we bathe regularly. I’ve found that my clients feel the same. Which is not to say that my clients are ragamuffins, I’m sure they always look as sharp as they do on picture day.

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3) Fall adds a playful feature to portraits

I don’t like traditional posing so fall adds so many more options: throw leaves, lay on leaves, climb in colorful leaves, throw leaves at me! (Try to watch out for sticks please) You get the idea. The colors are almost like an extra family member that matches everyone, and isn’t making things more difficult. Use it to your every advantage. It’s not possible to look like you’re miserable in five layers of fancy-pants clothes when you are having a leaf fight. I know, I’ve done the research.

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4) Don’t forget black and white

While the changing fall season offers colors, it also offers texture. Black and white portraits can still feel the magical spell of autumn through texture, tone, and playfulness. Plus, that phenomenal light thing goes for black and white too (see #1). I love black and white portraits, and while I am likely to do more color this time of year, I still proof a few black and whites for all of my clients.

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5) Compensate for the warmer tones

Sometimes if I am hitting the light just right, and my subjects are in perfect clothes, and the moon isn’t void of course, I find that images can get too warm. I know that sounds crazy, but it can happen. A custom white balance can help you on the front end, but if you didn’t notice it until after, don’t despair. An auto color run (under Image in Photoshop) or a cooling filter can fix everything. For as much as warm tones are flattering, no one wants to look like a seasonal gourd.

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6) Fall weather is perfect for cuddling

Now I’m not one to cuddle, much to my husband’s dismay; I can’t take people in my personal space for an extended period of time. Last weekend a client that knows how I feel about hugging and all that, giggled at how often I tell people to “snuggle up” when I’m shooting family portraits. I guess I figure that most people enjoy it. Or are at least willing to pretend they do for the sake of the pictures (even I am willing to do that for a good Christmas card), especially if it’s not 100 degrees F (30c) outside. And a snuggle feels like a lot less pressure than cuddling, now doesn’t it?

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7) The holidays are around the corner

In the US, the changing colors of the trees means that winter is almost here, which puts portrait photographers square into Holiday Card Season. Most of the clients I photograph this time of year are planning on using their images for sending out cards, or even creating holiday gifts.

So this is the only time of year I’m likely to offer a sale or special on portrait sessions, and every time I do, they sell out. That also means that this is the time of year that I can lose my mind in a pile of editing if I am not careful. To try to prevent both a nervous breakdown and spending a month staring at my computer screen, I usually offer mini sessions—10 to 15 minute shoots where I promise five or so pictures that I deliver as high resolution files. This takes any printing or card creating out of the equation, and also limits the amount of images I promised, rather than a full session which for me can be 50 or more. In turn, my clients get a few choices of images for their holiday cards and gifts, including that one great picture that was likely the whole reason they wanted portraits anyway. And I don’t have a nervous breakdown. Probably.

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So throw back a pumpkin spice latte and put on a pair of boots and go shoot some portraits, even if you usually don’t. Everything is on your side in the fall – great light, fabulous surroundings, and more clients than any other time of year. That doesn’t happen very often (well, it happens once a year, but still).

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The post 7 Ways to Take Advantage of Autumn in Your Portrait Photography by Lynsey Mattingly appeared first on Digital Photography School.



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Sep 28, 2015

[Photography] The Camera Bag of a Professional Traveler

“Travel is the best teacher.”

Have you ever heard this saying? As a photographer, travel teaches you more than you could ever imagine. It requires a lot of preparation and attention to details. Yet, it also requires you to be open, ready for the unexpected, and willing to take risks sometimes to get the best shots!

Whether you are traveling into your backyard or across the globe, knowing what to put in your camera bag can be daunting. There are so many great gadgets out there.

travel-bag-photographer

How do you know what’s most important to bring? How do you know what not to bring?

Choosing the best equipment to pack for any kind of adventure is challenging. It’s not about being the next national geographic photographer, it’s about being ready to create awesome experiences and capture those moments at the same time. You are first a traveler, second a photographer.

No matter where you go, what goes in your camera bag is just as important as what goes in your suitcase – maybe even more important! Too much equipment, or the wrong equipment, can make or break your memory making experiences.

Depending on your photography focus, you want to have a wide range of gear options, that take up as little space and weight as possible. That’s the number one goal. After traveling the world for over a year with only one 30 liter backpack and my camera bag, I’ve learned what’s absolutely necessary to bring, and what I can leave behind the next time. Let’s breakdown the camera bag of a professional traveler and lifestyle photographer.

The obvious equipment to pack:

  • Memory cards
  • Batteries
  • Camera charger
  • Universal Plugin
  • Camera body
  • Lenses

obvious-equipment-travel-camera-bag

These are the items you always want to carry as a photographer. Besides the camera body and lenses, these things are fairly light weight and don’t take up too much room.

Memory Cards:

Consider having multiple smaller memory cards instead of one big one. Carrying four 8GB memory cards is a safer bet than carrying one 32GB memory card. You don’t want to risk carrying all of your images on one card because there is always a possibility of that card being corrupted or lost.

Charger and Plug:

When we travel, we tend to take more photos than if we were just at home. Your camera battery will run through a full charge much quicker on the road. Make sure you bring backup batteries, and don’t forget your battery charger. Consider where you are traveling and the outlet plug necessary. A universal port with surge protection is not something to skimp on!

Camera Body:

This is personal preference. All of the best camera manufacturers have developed amazing high-end digital cameras that are light-weight, fairly small in size, and perform beautifully. Do your research ahead of time and choose the best option for you. These days, even the lower-end DSLR camera models perform beautifully compared to just a few years ago. Consider purchasing a mirrorless camera. These are the latest technological advance in the photography industry.

Lenses:

This is another personal preference, so which lenses are best for you? Many people choose to bring a telephoto lens for travel experiences. They allow you to zoom in to things really far away and capture details you can not see from a distance. But these are the heaviest lenses on the market, and when traveling you will use it way less than you think. I say skip the telephoto lens and stick to using portrait (medium telephoto) and wide angle lenses for your travel experiences.

The not so obvious equipment:

  • Prime lenses
  • Rapid Strap
  • Lens wipes
  • Graduated Neutral Density Filter
  • Backup hard drive
  • Laptop computer
  • Backpack camera bag
  • Waterproof camera
  • SmartPhone and photography apps

not-obvious-items

A Prime Lens:

I carry two lenses when I travel. As a portrait and landscape photographer it is important to carry lenses with focal lengths of 24mm or smaller for landscapes and 35-85mm for portraits. A fixed lens, like the 35mm or 50mm is, in my opinion, the very best lens to carry for any travel trip. It’s lightweight and very small. With a wider aperture of  f/1.2 – f/2.8, this lens will allow more light to come in, which is important when photographing in low-light scenarios. The wider apertures will create a shallow depth of field, giving you much more creative freedom to become truly connected to your scene.

The challenge with a fixed lens is that there is no zoom. This is where your adventurous mindset comes into play! Your feet become your zoom. You will explore more of the area because you must move around to capture different angles and areas. Indoors, or out, close-up or far away, a prime portrait lens is the ideal traveling lens.

A wide angle zoom is also a great addition to add to your traveling camera bag. Any 10mm-24mm wide angle lens will allow you to capture those fabulous landscapes that can’t be photographed as well with your portrait lens.

Rapid Strap:

The rapid strap is the best camera strap on the market today. This is absolutely worth the investment of about $100. Giving you the flexibility of a shoulder strap and a secure, safety harness, this camera strap never left my body for nine months! Use it to save your neck from the pain of the heavy camera, and to feel secure and safe knowing your camera will always hang right by your side.

Lens Wipes:

Lens wipes are great when traveling, I use Zeiss Wipes brand. They clean everything streak free and protect your camera and glass from dust and dirt. Use one every time you take the lens cap off. Plus you can use them to clean more than just camera equipment! Don’t leave home with out these little guys.

ND Filter:

Filters are also extremely lightweight and take up no room at all. They are a great addition to any photographer’s bag, traveling or not. Having different kinds of filters to use on your adventure will give you an even wider range of unique options for photographing your experience. My favorite is the Graduated Neutral Density Filter (GND). It is an inexpensive addition to your bag that opens up a world of exposure options, no lens can do on its own. GND filters reduce the amount of light that can pass through a lens, allowing you to expose more evenly for extreme lighting scenarios.

For instance, if it’s midday and the sky is really bright, but the valley in the landscape is much darker, you can use a GND filter to darken the exposure of the sky, while the lens reads the proper exposure for the valley.

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Backup Hard Drive and Laptop:

I carry a 2TB Western Digital Passport External Hard Drive and my reliable Macbook Pro everywhere I go. As a traveling photographer, the most important thing is to be able to upload and backup my images immediately. Although many photographers decide to leave these heavy items behind for obvious reasons, I say pack them and use them regularly. Make a habit of spending some time after each adventure to backup and edit your images. You will become a better photographer as you study your photos right away, and see what worked and what didn’t. This will make your entire adventure a great learning experience too!

Camera Backpack:

Backpack style camera bags are ideal. You can wear it on your back for easy transportation and hiking. You can carry it in front of you when traveling from one location to another, to keep your equipment safe and secure during your journey. Choose a backpack style that fits all of your equipment, and is also easy to unzip to get into right away. You will save a lot of time and energy by having a camera bag that is specifically designed for traveling.

Waterproof Camera:

One thing that I wish I had during this last trip was a smaller waterproof, shock proof camera. Though it might only be used a few times when jumping off waterfalls or out on a boat, these are experiences I don’t have photographs of because I didn’t have that extra piece of equipment.

If your budget allows for it, buy a nice point-and-shoot waterproof camera that fits in your pocket. You will be happy you did.

Smartphone and Apps:

Everyone has a smartphone now that takes pretty decent images. Although these gadgets will never be as great as your DSLR camera, they are convenient and always available. Don’t leave home with out your smartphone and check out these awesome photography apps:

  • Instagram – The most popular way to share your travel photography with the world.
  • Flipagram – Fun photo videos stories set to music you love. Share on many social media platforms.
  • Light Meter – On the go professional light meter with an easy interface to use on the go.
  • Dropbox – Easily sync and back up everything on your smartphone without having to do a thing.
  • Manual – Turn your smartphone into a DSLR with full control over Aperture, ISO and Shutter Speed and more.
  • Snapseed – Amazing editing on the go. Send your editing images directly to your favorite social media app right from Snapseed.
  • Hyperlapse – Amazing timelapse app by Instagram (iOS only). This app is addicting and will get you loving video!

The things to leave behind:

  • Big telephoto lens
  • Tripod
  • Selfie stick
  • Flash

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As a traveler, you want to minimize what goes in your camera bag. These are the things I recommend leaving behind.

Telephoto Lens:

Carrying all your lenses to capture the entire focal length range (8mm or less to 500mm or more) is unnecessary. Most people consider bringing a telephoto lens because you can zoom in really close to things that are far away. I say skip it. The point of travel is to explore, and create memories by enjoying each moment. Use your feet as your zoom, go to those places far away! You will be glad that you are not carrying this heavy lens and love the new fun things you discover along your journey.

Tripods:

I might get some negative feedback on this one. If you want to capture night scenes and long exposures, you might want one. However most of the time you can easily find something to set your camera on to capture these scenes just as well without a tripod. Tripods are heavy, awkward to carry, and tend to get in the way. Leave it at home and save yourself the trouble. Challenge yourself to find a make-shift tripod while out on your journey.

Selfie stick:

Use a make-shift tripod to capture yourself in a shot by looking for a nearby table, rock or ask a friendly traveler around to take the photo for you.

Every time a selfie stick comes out, you are bound to miss the beauty of the moment. I noticed this in every city I traveled to. Remember being a traveling photographer is all about balancing the experience of being in the moment and capturing it at the same time. Stay in the moment! Quickly capture a creative selfie of yourself and then capture the scene through your DSLR most of the time to stay connected to your entire experience.

Flash:

If you are a comfortable shooting with a flash, bring it. There is always an opportunity to use one. But, if you are not keen on using a flash regularly, don’t bring it just for the trip. I did not use a flash once while traveling the world. Capturing adventure and travel photography is about the beauty of nature and the diversity of cultures around the world. Using natural light and becoming intimate with your your scenes and subjects is the best way to create realistic and artistic images.

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Traveling really is the best teacher. Being a traveling photographer challenges you to stay in the moment and capture it at the same time. Make this easier on yourself by packing light and taking risks. Pack your camera bag like a professional traveler and your adventures will become the best memories of your life.

I am on an endless journey to experience the world, and share it through my lens. As technology advances and more people take off on big adventures, there will always be new amazing things to consider adding (or removing) from your camera bag.

Do you have any other awesome tips for being a traveling photographer? I’d love to hear them! Share your thoughts in the comment section below.

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[Photography] How to do Landscape Panoramic Photography

Have you ever been somewhere with a great view and taken a picture with your widest lens, but wished you had an even wider one that could capture the whole scene?

That is how panoramic photography was born in the 1840s when the pioneer photographers started using Daguerreotype plates pieced together to form very wide-angle scenes.

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This panoramic image showing San Francisco from Rincon Hill was photographed by Martin Behrmanx in 1851. It is believed that the panorama initially had 11 plates, but the original daguerreotypes no longer exists.

An image showing a field of view greater than that of the human eye, about 160° by 75° or an aspect ratio of 2:1, or larger may be considered panoramic.

Even thou there is specialized equipment for panoramic imaging, we still find ourselves using the same simple techniques of merging images together more than 150 years later, but now using digital cameras and photo merging software to achieve similar results.

This is a simple and beginner’s approach on how to create a panoramic image like this one:

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This amazing view of The Dom Luís I Bridge in my hometown Oporto, Portugal, was created by merging four vertical images into a high-resolution panorama.

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Shooting your panorama

To make sure you get good results in you panorama merging, it’s important to use Manual settings in you camera and try to have similar exposure, focus and white balance in all your images.

In this particular case, the images were photographed with a 20mm lens in a full frame camera body at f/16, 1/125th and ISO100. The focus was set to infinity and the white balance was set at 5500K.

It’s also really important to have at least 30% overlapping between images so that the software can have enough pixels to merge and make the blending seamless.

The more rigorous you are during the image exposure step, the more likely you are to have better results in your final image. The use of a tripod and a bubble level are recommended tools, but on a day with good light you might get away with handheld camera images, as long as you try to follow the horizon line or some reference points for the image overlapping.

The number of images you need depends on the field of view you want to cover, but always try to photograph more area than you need so you can crop after the merging process. Portrait or vertical images are usually a better option because they give a better height and therefore higher resolution to the final image.

Stitching your panorama

As for the stitching process, here are the basic beginner steps in Adobe Photoshop, but keep in mind that there is a lot of software options for this kind of editing that can be taken further with vertical, 360º or multi-row stitching which are a lot more complicated.

  1. Open Photoshop
  2. File > Automate > Photomerge
  3. Browse and select the images for the panorama
  4. Click the “Auto” option in the Layout area
  5. Click the “Blend Images Together” option
  6. Click OK to start the stitching process

You will end up with a final stitched image like this:

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The layer masks are really helpful if you have moving objects, or difficult areas in your image that look weird after stitching and can be edited to enhance the blending.

Now you can flatten the image and just choose the best crop area for your panorama.

So, just add this technique to your bag of tricks and give it a try next time you spot a panoramic view.

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Sep 27, 2015

[Photography] Next Level Techniques for Advanced Beginners

You’ve been bitten by the photography bug – it’s not an actual insect, but you know what I mean.

Andreas.

By Andreas.

After the salesman pried that hard-earned money from your hands, you brought home that tantalizing-looking DSLR and your friends looked at it like it was a dangerous alien device, inquiring what all of those buttons, dials, and switches actually do.

At the time you didn’t really even know what they did, but you did know that once you figured it out, some cryptic combination of clicking knobs, pushing buttons and twisting rings on that lens, you were going to produce some knock-out photos.

Since then, you have spent eons of your life that you will never get back reading and researching on Digital Photography School, and highlighting juicy passages in your camera’s user manual (that last part might not be true). And guess what? It’s paid off!

Now you know how aperture affects depth of field, how to use shutter speed to freeze or blur movement and that once mysterious acronym, ISO, finally means something to you. Looking back you now understand what it is like to be a beginner, and that realization alone has raised you to a new level.

JD Hancock

By JD Hancock

What now? You are getting some shots you are proud of, have a pretty firm grasp of the fundamentals and are ready to take it to the next level. You are ready to learn some new techniques, emerge from survival mode and get out there and photograph with intention.

Let’s take a look at some techniques that just might get you over that hump and give you the skills, knowledge and power to capture great photos consistently.

Understanding and Using Aperture and Shutter Priority Modes

These are features that the vast majority of DSLRs have, and even many point-and-shoot cameras on the market as well. Some purists may balk at the thought of using one of these “automatic” settings, but pro shooters have long ago learned the versatility and usefulness of these controls.

Aperture priority settings

Aperture priority gives you full control of aperture while your camera takes care of the rest.

Although the various options for these settings may vary between manufacturers and camera models, the basic premise remains the same.

As the name suggests, these settings are pseudo-automatic. However, unlike the Program (P) setting, which does allow a minute amount of influence from the shooter, Aperture and Shutter Priority modes let you set certain parameters that change automatically to compensate for other adjustments that you remain in control of.

For instance, if your camera is set to Aperture Priority you retain the ability to adjust the Aperture to alter the depth of field as you see fit, and in conjunction with ISO, the camera will automatically choose the corresponding shutter speed for correct exposure. Many cameras give you the option to control ISO manually or let the camera adjust it for you.

The Shutter Priority setting does what you would expect, allowing you to control the shutter speed while the camera does the heavy lifting of setting the appropriate aperture.

Thomas Hawk

By Thomas Hawk

Some cameras offer the option to set limits on the extent of certain settings. For example, if you are shooting in aperture priority, you can set the camera so the shutter speed won’t drop below a predetermined speed or the ISO won’t exceed a maximum level.

My camera is set to Aperture Priority more often than not – this is personal preference. I know my camera like the back of my hand, and can anticipate how all the settings correspond to one another, so I feel comfortable using this setting under most conditions. It is certainly important to be comfortable using your camera in Manual Mode, however, you are likely to find that once you become accustomed to Aperture or Shutter Priority modes, you will have enough control without having to spin dials as much. Priority modes also help prevent accidental changes which can result in improper exposure.

Exposure Metering, Exposure Lock, and Exposure Compensation

A*J*P

Vintage exposure meter – By A*J*P

While we’re on the subject let’s look at some other ways that you can work with your camera to get proper exposures in all sorts of conditions.

DSLRs give you a few different options as to how they meter and determine exposure for a given scene. The most common are spot, center-weighted and evaluative or matrix metering. Take a look at this handy cheat sheet that should help you wrap your mind around the concept.

Fancy technicalities aside, what are the practical applications of these different settings?

Spot metering

Since spot metering bases exposure on the reading from a very small area of the image, it is a great choice if the subject of your composition is small and significantly lighter or darker than the rest of the image, so you can hone in on the correct exposure. This metering mode can be useful for small backlit subjects, as the light source shining directly at the camera will most often result in an underexposed subject. Keep in mind that regardless of the type of focus points you are using, spot metering will read only about a 4mm radius (depending on the camera) from the very center of the focus point.

Center-weighted metering

Center-weighted metering takes the whole frame into consideration, but puts more value towards the center of the focus points (somewhere in the 12mm range). This setting works great when your subject takes up a larger part of the frame, or the lighting is more even. Consider a close-up portrait where spot metering might be too specific if it reads a shadowed or highlighted area, but center-weighted would give you more of an average.

Evaluative or Matrix metering

The last of three main metering types, evaluative (Canon) or matrix (Nikon) metering, determines exposure in a more complex way by taking into account composition, tones, color and some cameras can even factor in the distance objects are from the camera to estimate what the main subject is. This system of metering works great for landscapes and wide angle shots.

Many cameras are equipped with a dedicated exposure lock button or have customizable settings in order to delegate one. This is used when you want to take an exposure reading and hold it. If your subject fills a large part of the frame, the camera may do a good job at setting exposure. If the subject takes up only a small part of the frame, you can move in close to get an exposure reading, lock exposure and recompose the image.

Exposure/focus lock button

Once you familiarize yourself with the exposure/focus lock button, you will be surprised how often you use it.

Exposure compensation

Exposure compensation allows you to over or underexpose the image manually. This is most useful while using automatic or semi-automatic settings like Aperture or Shutter Priority. In the example of a backlit portrait, many photographers prefer to overexpose the camera’s suggested exposure, knowing that the reading will be wrong because of the lighting. You could certainly change your exposure metering to try and secure a more accurate reading, but with experience you can easily predict how the camera’s exposure meter will react ,and use exposure lock or exposure compensation as a more direct, and one-off, route to proper exposure.

Just keep in mind that the most challenging conditions for your camera’s exposure meter are high contrast situations, and with enough experience you will learn to “see” like your camera and easily be able to anticipate necessary compensations.

Selecting Different Focus Settings

To start with, there are two main categories of autofocus settings: Single and Continuous.

Single (One Shot on Canon) is intended for stationary subjects. When the camera finds focus in single servo mode, it holds that focus point until the shutter is released or the autofocus is released and re-activated.

However, single servo focusing can be very useful for action in certain applications. For example, one technique when shooting a moving, yet predictable subject, is to compose the image and lock focus on the spot where you know your subject will be, and wait for it to enter the frame (think panning).

In continuous focus mode, your camera will continually refocus while the autofocus is engaged. This is the setting to use if your subject, or you and your camera, are on the move. In continuous mode, many cameras allow you to choose how many focus points are live. Say you are shooting a sporting event and there are a lot of players, you may want to use fewer focus points in order to single out your subject.

Continuous servo autofocus

Continuous servo focusing is best used to maintain focus on moving subjects – especially if they are moving towards or away from you.

It’s also worth mentioning that just in case you haven’t figured it out already, you can move the focus points around the frame in the viewfinder with the multi-selector. This is key while trying to maintain a certain composition with a moving subject. Consider some basic compositional conventions such as the rule of thirds when setting your focus points for a shot.

Confirm Focus by Previewing Images at 100%, In-camera

As a digital photographer you are extremely fortunate to have access to a feature like this –film shooters didn’t/don’t have this luxury.

The concept is simple: if you are unsure whether you nailed a sharp image, due to camera shake or shallow depth of field, zoom in to 100% and do a little pixel peeping for confirmation. Make a habit of doing this instead of ending up in front of your computer in disappointment at a great shot that’s not sharp.

Zoomed to 100% in camera

Zooming to 100% is a quick way to confirm you have a sharp image.

Some cameras (check your user’s manual to see if your camera supports this feature) allow you to customize a button which zooms directly to 100% for this purpose.

Many cameras have a setting (sometimes called shutter release priority) which won’t allow a picture to be taken unless it recognizes that your focus point is actually in focus. Personally, I loathe this setting. I think it is better to take your chances and at least try to get the shot. Although the focus may not be spot on, you still may get a usable image.

Conclusion

These are just a few of the major technical considerations to keep in mind as you bravely forge ahead in your photographic pursuits.

Every situation requires its own approach, and the more tricks you have up your sleeve, the more prepared you will be to nail the best shots. Keep your nose to the grindstone and embrace the challenge!

Do you have any other tips for the advanced beginner? Please share in the comments below.

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[Photography] Tips for Creating Original Images

Years ago I shot an image for a competition that I was sure was a highly original piece of genius. Only to find out when looking at other entries, there seemed to be rather a lot of other highly original geniuses with exactly the same idea.

To get further in competitions I realized I had to start thinking outside the box. So I developed a strategy for getting a bit more original with my photography. Here are some tips you may find helpful for coming up with unique ideas and for creating original images.

Coming up with an idea

If you don’t already have an idea to work from, you can pick one right now – be it the first item you see after reading this sentence, or google your town and see what comes up. For example, the first link might be to a local hairdresser, so your theme could be hair. Try this with some other keywords like; photography or art, or go completely random and google both hair plus the first item to your left.

Send in the clowns

A quote from musician Nick Cave explaining his song writing process:

“Do you want to know how to write a song? Song writing is about counterpoint. Counterpoint is the key. Putting two disparate images beside each other and seeing which way the sparks fly. Like letting a small child in the same room as, I don’t know, a Mongolian psychopath or something, and just sitting back and seeing what happens. Then you send in a clown, say, on a tricycle and again you wait and you watch. And if that doesn’t do it, you shoot the clown.”

Apply this to your photography. Your theme, that’s your small child. Add to that a certain style of photography, macro , high speed , light painting, that’s your Mongolian psychopath. Now send in the clown, perhaps this could be, as above, the first thing you see to your left, or something available to you that might not be available to other photographers like an awesome local location, unique props, or skills. In my case some mad crafty skills and a friend, with a lot of red hair, to model for me.

An unusual prop is a good place to start when aiming for an original image.

Combining other skills or hobbies (in this case my crafty skills) with your photography can help to create unique images. I made a crown out of coat hangers and wrapped the model’s hair around it. The jewels in the crown were some old chandelier parts I found at a market. Markets and thrift stores can be a good source for unusual items to inspire an original photograph.

Think about what is available to you

It’s all well and good to want to do a high-speed Kung Fu fighter action shot in low light, when all that is available to use is your mobile phone camera and your dog as the actor, and he has no Kung Fu training whatsoever. Not that it can’t be done, just saying, know your limits – then ignore them, or try to work around them.

Go for a walk

Even if you have a good idea, it’s a good idea to go for a walk.

When you get home, write or sketch further ideas. They don’t have to be good, or fully thought through, just get them down on paper or computer. Make notes of anything that comes to mind, you can sort out what works later. Even if you think your first idea is the one, still try to stretch yourself to come up with at least five to 10 more. This may sound like a lot, but sometimes that is what it takes to get yourself thinking outside the box.

If by then you don’t come up with anything original that you are excited about, go for another walk.

Let it rest

Creativity requires leisure, as they say. I am all for striking while the iron is hot, as they also say, but there is a lot to be said for allowing yourself to just mull over ideas for a while. Send in or shoot a few more clowns, see if you can improve the concept, or add a new element to really make it original.

Research

Google your idea or theme in an image search. This may not only inspire further ideas, but also allow you to check that any you’ve come up, with haven’t already been done a million times before.

Be prepared to re-shoot

Sometimes we can get caught up in an idea. I once went to great length with costume, setup and a bizarre concept, for a competition brief. After a lengthy photo session and editing, I realized the idea didn’t actually make any sense because the concept was too complicated. So I simplified the whole thing back down to basics, shot the clown as Mr. Cave advised, and the second attempt worked a treat. Going that extra mile to keep thinking and photographing, plus a willingness to let go of an idea you have worked hours on, will help you get to that truly original image in the end.

Shoot a series

This works on the same principle as coming up with 10 ideas in the sketching stage before you settle on one. Getting past your first inclinations, and pushing an idea, will get you outside your initial box. Photographing a series, forces you to take that a step further. When you are thinking about an idea over an extended period of time, over several shoots, you really give your creativity a work out. You may surprise yourself with what you come up with by your seventh photo shoot, based on your first concept.

Collaborate

Aristotle said; “The whole is greater than the sum of its parts”. Not all collaborations create equally, but when they work, something wonderful happens. The combination of two or more collaborators can create concepts and ideas that take you far beyond what you would have done on your own.

Even something as simple as asking a portrait subject to bring in some props or personal items of their own, can change a photo shoot from ordinary to original.

Go beyond the sunset

This applies to any form of photography but I’ll use the ubiquitous sunset shot as an example.

Basically what I am saying here is get out of your comfort zone, and take a different approach. Instead of the cliché sunset, try something new with it, be it learning different photographic method such as infrared photography, multiple or long exposures, light painting, or add a new element, some random item. Hair + sunset = a challenge, but it’s going to take you beyond the ordinary sunset photograph.

An exercise to stretch your imagination

Choose one of each from the two lists below, then try a few of the tips above, especially coming up with 10 possible photograph ideas. Then go have a hoot photographing the one you like best!

Items:

  • Something from your refrigerator
  • A bottle
  • A piece of fabric
  • An item from your bathroom

Camera method:

An image from that list could be a low light shot (sunset) and a message in a bottle on the beach, not exactly an original concept. However, just because something has been done before, doesn’t mean you shouldn’t run with it, put your own mark on it, find an original way to show that story.

Should you try the exercise, or any of the above tips, share your results in the comments, let’s have some fun with this!

The post Tips for Creating Original Images by Lea Hawkins appeared first on Digital Photography School.



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