In the first of a series of follow-up articles to The Quality of Light, I have posted this article to share a series of photographs (along with the thought processes behind them) that I hope will accentuate the interplay of light, directionality, shadows, and mood in landscape photography. As previously discussed, the directionality of light is a powerful factor in defining the quality of shadows, the contrast, textures, and three-dimensionality of a scene, as well as the mood and emotion that the photograph will convey. In particular, unidirectional light qualities (e.g., side lighting and backlighting) serve this purpose well in landscape photography.
If you want to take your photos to another level, camera equipment is a natural place to look. It’s a very tangible part of photography; we work with our gear constantly. In fact, new equipment often does help you capture certain photos more easily, or it improves the technical quality of the images you take. However, it’s easy to get swept away in this marketing message and forget that there are other, better ways to improve your photos — techniques that don’t require new equipment to put into practice, and tips that are applicable to every photographer.
Even though my first camera was the digital Nikon D5100, I always have felt a sort of secondhand nostalgia for the days of film photography. The vast majority of history’s great photographs were taken on film; masters like Ansel Adams and Galen Rowell defined the medium of landscape photography in my mind, and both were entirely film photographers. Personally, by using a digital camera so early, I felt that I was missing a more hands-on appreciation for photography’s complex history. Perhaps this thought was not first on my mind while in the field, but it certainly surfaced from time to time.
In this final installment to this series, I have chosen to discuss one of my favorite topics in photography: close-ups. My goals with this article are to provide a basic understanding of light and exposure when photographing a subject at close range, the rationale for exposure loss during magnification, and guidance on how to correct for this exposure loss. To illustrate these principles, I will share my own empiric observations, review the pertinent calculations that govern magnification and exposure loss compensation, and discuss select photographs that I have made at close range. Hopefully, this article will help beginning and advanced photographers grasp the physics of light at close range and take command and control of magnification and exposure compensation. Although I crafted this article from the framework of a photographer using traditional close-up and macro equipment (i.e., bellows, extension tubes), the use of an external light meter (i.e., non-TTL metering), and continuous lighting (e.g., natural light, lamps), the tenets and technical considerations for close-up exposure compensation are still relevant to those photographers who prefer automation, TTL metering, and electronic flash. Finally, I will wrap up the discussion by sharing some thoughts on the use of film as a tool for learning the visualization process.
In this fourth installment to this series, I have selected a series of photographs that I made with long exposures on three film stocks to share in the context of a discussion of film reciprocity departure and the use of filters in color film photography. Although I had originally intended to include a discussion of exposure corrections for close-ups in Part IV, in the interest of brevity I decided to defer this topic to a final Part V to this series. Of note, reciprocity departure and filtration in color film photography are complex and interesting topics. This article is not meant to be a comprehensive treatment of both topics, but rather an introduction that I may expand upon in future articles.
Your choice of focal length will affect what you see. Would you agree with that? What if I also said that your choice of focal length will affect how you see? That’s a whole different story, now isn’t it? Instead of discussing how focal length affects your view when you look into the viewfinder, I want to talk about how focal length can affect how you look at everything around you before you ever even see it in the viewfinder.
In this third installment to this series on visualization and film photography, I have selected a sample of photographs (mostly made in the 35mm format) to share and discuss. Although I heavily focused on technical aspects in film photography in Part I and Part II of this series, my goal with this article is to provide a more aesthetic description and simplified approach to the construction of photographs. I thought it would be of interest to beginning 35mm photographers to briefly discuss some of the film choices available. Although the choices of film stocks have dwindled over the years, fortunately there remain a plethora of excellent professional and consumer 35mm films from which to choose and enjoy. Even though I have used many – but not all – of the available film stocks, I cannot possibly discuss all of them here. For one particular film stock, I am delighted to share a pair of interviews with more experienced photographers that readers might find interesting and helpful. Of note, Photography Life contributor Vaibhav Tripathi has previously shared his experiences and beautiful photographs made on 35mm with Fuji’s Velvia 50 and Kodak’s Portra stocks in his inspiring photo essays on Acadia National Park, landscape photography, and Waterfalls of New England series that may also be of interest.
In this second installment to this series on visualization and film photography, I have selected two photographs, “Gravida” and “Pyramis” (both architecture), to share and discuss. As in Part I to this series, I will provide a detailed description of the thought process behind the construction of the photographs, the choice of tools, and the technical considerations involved.
As a follow-up to my previous essays on visualization, in this article I will share select photographs made on film with a detailed description of the thought process, the choice of tools, and technical considerations that were involved. I have chosen two starkly different photographs (both landscapes) to discuss. I hope that these photos with the accompanying narrative will prove interesting and helpful to beginning film photographers and perhaps guide more experienced photographers in advanced techniques and approaches. Of note, Photography Life contributors John Bosley, Laura Murray and Vaibhav Tripathi have previously written excellent essays on film photography that may also be of interest.
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.