Balance is one of the least-discussed principles of good composition, but it is perhaps the most important. Photographers, consciously or not, make an important decision for every image: should the composition be balanced or imbalanced? To some degree, every photograph in existence has elements of both balance and imbalance, which makes this topic crucial for photographers looking to improve the strength of their images at the most fundamental level.
This article is the second part of a weekly critique section at Photography Life, where one or more of us will provide feedback and tips for reader-submitted photos. All of the images we feature come from the photo critique forum, and each one stands out to us in its own right. This week, I will be sharing my thoughts on two recent submissions to the photo critique forum: “As the Day Ends” by Jani Dharmesh, and “European Green Woodpecker” by Dusan Vainer.
In my recent essay on visualization, I discussed the historical and modern day significance of this concept in photography as well as the role that a composition card serves in bridging the vision in the mind to its tangible realization into an image. In this follow-up essay, I will discuss the interplay of other critical aspects of visualization that accompany, if not transcend, the tangible aspects.
I’ll admit it — I was a bit late to the party. While everyone else has been enjoying the brand new D750 and D810, I have been happily stuck with my aging D7000.
Being a student, I am on a student budget. This means that I buy used technology, and I buy old technology. I have nothing against this, though, since older DSLRs are truly dependable machines, and they still are capable of producing wonderful images. Over the course of two years, I have taken 50,000 photos with my D7000, and it doesn’t look a click over 10,000.
Long exposure photography can produce stunning photos. Nighttime shots can bring out unexpected detail and create amazing light effects. Daytime long exposure can create images with haunting moods and ethereal imagery. None of this is actually hard to achieve, but it does take a little thought and preparation. Here are some tips to ease you into long exposure photography.
Sometimes we can get so caught up in the technical aspects of our gear that we forget that the most important things are the images we capture regardless of the gear we are using. Those images help to enshrine memories. They could be of family and friends, pets, events, or places that we have visited.
A Panasonic FZ28 super-zoom would never be considered as anything much more than a point-and-shoot camera by most folks. After all, its 10Mp sensor is a miniscule 1/2.33″ (6.08×4.56mm), with uninspiring dynamic range and colour depth, and very poor low light performance. But in my mind it will always be one of my favourite cameras because of the memories that it allowed me to capture. Like a sightseeing trip to Arizona and southeastern Utah.
Antarctica…. a place I never thought I would visit. A place on the bottom side of Earth where few people go. Most of my friends, when they learned I would be taking this trip, asked: “why Antarctica? What’s to see besides penguins, seals and ice?” For me and most photography friends of mine, Antarctica is on our bucket list. Not just for the photographic opportunities, but for the natural beauty all around that cannot be described by any word other than awesome. My partner in this adventure was my 34 year old, world traveler daughter. We are both amateur photographers, me more amateur than her. This was an extraordinary father-daughter bonding trip.
When one thinks of landscape photography, one more often than not imagines dramatic, sweeping grand landscape scenes, which are almost exclusively taken with ultra wide-angle lenses. While these scenes can be quite stunning (and beautiful… and a lot of fun to shoot!), it is nice to make use of the drastically different perspective afforded by a telephoto lens. A telephoto lens, as you may know, is used to capture frame-filling images of faraway subject matter. This is because it has a much narrower angle of view than a wide-angle lens. While a wide-angle lens exaggerates differences in both the size of and the distance between near and far objects, a telephoto lens effectively reduces those differences. This means that a telephoto lens causes a close object to appear more similar in size relative to a further away object, even if the closer object would actually appear larger in person, and it means that a telephoto lens can cause the apparent distance between near and far objects to appear smaller, which creates a nice compression effect.
About a week ago, my inbox started filling up with new forum topic notifications. A day later, Nasim contacted me stating the exact same thing with a hint of fear in his voice – that, our dear readers, was how we experienced your reaction to the introduction of a new mini-project here on Photography Life. That slight shock me and my friend felt after seeing how enthusiastically the idea was received is of the good sort. All the work that’s been submitted is a compliment to us, and also an emphasis on just how much of a commitment Weekly Critique really is. What have we gotten ourselves into!
It was no easy task, choosing the images for this week’s article. As I said, though, these decisions were very subjective and in no way showcase what we believe to be “good” or “bad” work. With that in mind, let’s take a closer look at photographs submitted by Rick Keller, Levi Obarr and Betty.
When I submitted my photos of Acadia National Park as a guest submission on Photography Life, I was amazed at the response, especially on the fact that the majority of photos were shot using a Nikon F100 with Fuji Velvia 50. Nasim contacted me to do an article on film considerations for landscape photography as a follow up. So this is my stab at it.