Have you ever wondered why you are instantly drawn to some photographs, but not to others? Or why some of your images lack that wow factor that you see in other’s. It may be related to how you compose your pictures. How a photograph is composed has a huge impact on how long we look at it. The longer our brain is allowed to wander through an image, the more likely we are to like it. Photographs that are not composed well do not have staying power, and are quickly discarded by our brain. In this article I want to discuss four very basic compositional tips. I won’t be talking about the “rule of thirds” or “leading lines”, but rather four pointers you should consider before you take a picture. These tips will save you a lot of post processing time, and will allow you to create much stronger images.
As a photographer, it is easy to feel excited about the newest images that you take. After returning from an amazing shoot, there is nothing more fun than loading your photos and sorting through them for the first time. This initial thrill, though, doesn’t always last. If you took hundreds – or even thousands – of photos at a time, sorting through your work can become a tedious task. Sometimes, too, you just aren’t in the right frame of mind to be looking through photos; perhaps you are distracted or simply tired. Whatever the reason, it is deceptively easy to overlook a high-quality photograph if you aren’t paying enough attention – I speak from experience! The only way to fix the problem is to look through the old photos that you have taken. In this article, I will discuss some of the important reasons to revisit your archives from time to time. Along the way, you may find beautiful shots that you never noticed before.
Recently, as part of a photography class at my university, I had an assignment to shoot two rolls of film with the theme “Point of View.” This topic was open to interpretation, but I was encouraged to try something out of my comfort zone. I puzzled over the assignment for a few days – and I almost decided to shoot a roll of typical abstract photographs – but one other possibility began to interest me: With enough effort, could I take realistic landscape photographs from my kitchen table?
When the world saw the very first photographs, the idea of being able to capture the world as we see it took off rapidly. In a relatively short period of time, film photography evolved from black and white to color photography. From there, it made motion pictures possible, allowing us to see the world from our couches at home. When the first digital camera was invented, little did the inventors know that it would later revolutionize the world of photography and media in general. Today, billions of images are captured and shared between people and the number of image recording devices is growing at a rapid, unstoppable rate. There are cameras literally everywhere – in our mobile phones, homes, computers, cars and even in wearables like eyeglasses and watches. We trust these devices to give us a glimpse of reality, documented moments of time that we can go back to and review. And yet with the fast growth, ease of access and use of image and video manipulation tools, we have been seeing more footage that can twist reality: whether we are looking at popular magazine covers, Internet sites or news media, the imagery we see is getting harder and harder to trust, since it is being altered, faked or staged. Media turned out to be a powerful tool to influence and manipulate people, which brings up the question and the importance of ethics in photography. Should photography only be allowed to display reality, or is it acceptable to alter images for presentation purposes? And if manipulation is acceptable, what are its limits, if any? These are very hard questions to answer, but with some common sense, we can create a set of ethical rules and guidelines that should help photographers in determining what’s acceptable and what’s not.
This article is the answer to my “How was this picture made?” post from a couple weeks ago. First, an apology – I intended to have this article published several days ago, but my winter classes already have taken their toll on my spare time (and sleep). That said, I hope the answer is worth the wait!
In my photography classes I often get asked, “What is a long exposure?” Many beginning photographers want me to give them a definitive shutter speed with my explanation. However, long exposures are not only subject driven, they are largely based on the artistic vision you have for your photograph. Panning, light painting and night photography all make use of long exposures. However, these techniques are subjects of a future article. Today I would like to discuss “really” long exposures, exposures in excess of several minutes. These types of exposures create surreal, dreamlike images. They use neutral density filters (think sunglasses for your lens) to extend exposure times far in excess of what could be achieved by simply decreasing ISO and stopping down your aperture.
I am currently in Death Valley NP, shooting with a bunch of new gear including the Nikon 24-70mm f/2.8E VR, so I wanted to provide my early thoughts on this lens. Some of our readers sent me concerned emails, asking what I think about the 24-70mm f/2.8E VR, since apparently some others were quite unimpressed with this lens, even putting it into the category of “one of the worst lens releases of 2015”. I am not sure where these statements come from (sadly, my Internet connection here is really bad), but based on two samples of the Nikkor 24-70mm f/2.8E VR that I currently have access to, the new updated version seems to be an absolute gem. Based on my limited time pixel-peeping some of the images I have captured so far, it seems like Nikon has optimized the new 24-70mm differently when compared to its predecessor.
To continue our “How was this picture taken?” series, I would like to invite our readers to analyze this photograph and try to figure out how it was made. It may not seem out-of-the-ordinary at first glance, but this was one of the most technically-difficult photographs I have ever taken. In fact, my post-processing was particularly interesting for this image, and I employed a technique that I have used only three or four other times in my life.
Drones – often called unmanned aerial vehicles – have become vastly more common over the past few years. In the United States alone, the Federal Aviation Administration (FAA) predicts that more than one million drones will be sold over this holiday season; many more will be sold in other countries across the world. Whether you love or hate the growing prevalence of drones, their popularity has never been greater. In this tutorial, I will share some tips that I have learned over the past few months of using a drone for taking pictures. My focus is on still images, but many of these tips apply to drone video and cinematography as well – particularly for people in the midst of buying their first drone.
Jack Dykinga can punch you in the gut with a photo, like he did with his 1971 Pulitzer-winning portfolio, or he can seduce you with his understated yet thoroughly evocative landscape images. He’s one of the rare photographers who has excelled in multiple genres, has adjusted to multiple technological revolutions, and has successfully weathered the ups and downs of the photo industry. After over five decades in the business, Jack Dykinga’s photos remain relevant. Jack Dykinga’s photos endure.