How to Create Stronger Photos by Working the Subject

One way to create better compositions, and thus stronger images, is to do something called working the subject. Generally speaking, there are two ways to approach taking photos. Let’s take a look at both, and how you can learn to work the subject to improve your photography.

The first is to take as many photos as you can, in the hope that some of them turn out well. This is called machine-gunning, or spray and pray. It’s easier to do with digital cameras than it ever was with film cameras, as you are no longer limited by the number of frames on a roll of film.

Incidentally, this is one of the reasons often cited as a benefit of using film cameras. Knowing that every time you press the shutter button it adds to the cost of the shoot (processing plus film) is a good incentive to be more intentional and think carefully before you take a photo.

The second way is to take plenty of photos, but in a way that is more purposeful. The idea is to think about what you are doing and spend your time exploring the possibilities and potential of the subject. This is called working the subject.

Try new photography techniques

The dividing line between the two methods is sometimes a thin one. An example of this may be when you are trying a new technique, such as panning. Panning is a bit of a hit and miss technique. If you’ve chosen a good subject you should create some interesting photos, but you’re also going to get a lot of misses along the way.

The difference in this situation is that the photographer who is working the subject looks at the photos they have taken already, evaluates what works and what doesn’t, and adjusts their techniques and camera settings accordingly.

Another way of looking at it is that they are using the earlier photos as stepping stones to get to the more interesting images. A photographer who is machine-gunning, on the other hand, doesn’t think a lot about what they are doing and relies on serendipity rather than their own skill.

This is where the instant feedback of digital cameras is a useful tool for learning and improving.

Panning in Spain

Let me illustrate the point with some photos I made in Spain. I stood in the sea at sunset and panned with my camera as the waves came by. I took a lot of photos, and these are some of my favorites.

These images were created by working the subject. Doing so helped me figure out where to stand, what angle to use, how slowly to pan the camera, and the best shutter speed to use.

Photographing an old car

Working the subject doesn’t necessarily mean that you take lots of photos. Let me give you an example.

I bought a Fuji X-Pro 1 camera a couple of years ago and took it out one evening at dusk with the intention of shooting at high ISO in low light to see how it performed (the answer – very well). As I was walking around my local neighborhood I noticed an interesting car parked on the street. Intrigued (and wondering how a Lada ended up in New Zealand) I took this photo.

It’s nothing special, but I knew there was a better picture there. I kept looking and realized that what had really caught my eye was the way the light from the street lamp reflected off the roof of the car. So, I moved in closer and created the following images. They all contain the reflection of the street lamp and just part of the car rather than all of it.

Then I took another photo of the rear of the car.

Analysis of the shoot

I only made five photos, but I was still working the subject. When I break it down and think about what happened the process went something like this.

1. I saw something interesting and took a photo. That was just my first impression. My gut feeling told me that there was a better photo to be had.
2. I looked closely until I realized that the real subject, the thing that really interested me, was the way the street light was reflected in the car’s paintwork. So, I moved in close and made several photos that showed that.
3. Lastly, I moved away from the car and took another photo, which was okay but not as good as the others. I understood that I had gotten what I wanted and decided to move on to look for another subject.

The last point is crucial because one of the differences between working the subject and machine-gunning is that the photographer who is working the subject knows when to stop.

Working the subject in China

Here’s another set of images taken in Beijing. We were visiting a historic site called Prince Gong’s Mansion, made up of a series of interconnected buildings, courtyards, and gardens.

One of the courtyards contained some Tibetan style prayer wheels. I noticed that as people walked into the courtyard most of them passed by the prayer wheels, turning them as they went. I stood nearby and took some candid portraits of people doing so.

Of course, some of the photos are better than others, and I’m going to show you some of my favorites below. But there were also many times that I looked at the scene through the viewfinder and it wasn’t quite right, so I didn’t press the shutter.

One benefit of this method is that you don’t have as many photos to sort through and edit afterward. But it also shows discipline and an awareness of the subject. A machine-gunning photographer would take photos of everyone, without thinking about it much.

The photographer who is working the subject, and being more purposeful, is thinking about how to make each photo better than the one before. They may also be thinking about how the images are going to work together, or whether they should use a different technique, a different lens, or find a different point of view to add variety to the sequence of photos.

Conclusion

One of the key steps involved in learning to be a better and more creative photographer is knowing when to work the subject rather than machine-gun, and become more purposeful and intentional in your approach to making photos.

Can you think of any other examples of when working the subject can help you to create better images? Please let us know in the comments below.

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Mastering Composition

If you’d like to learn more about composition then please check out my ebook Mastering Composition: A Photographer’s Guide to Seeing.

The post How to Create Stronger Photos by Working the Subject by Andrew S. Gibson appeared first on Digital Photography School.

Some Tips to Help You Figure Which Camera is Best for You

As far as absolute requirements go, there aren’t many which are needed in order to make a photograph. There is, however, one certain necessity that cannot be dispensed with if you set yourself onto the maddening path of a photographer. You need a camera. Now, it doesn’t really matter which camera you have. A camera is after all just a box with an opening that allows light to pass onto some kind of receptor.

This simplistic technology is the facilitator of every photograph that has ever been made. A camera is indeed just a tool. That being said, there are virtually limitless cameras to choose from in this world. If there’s one question I receive more than any other it is this . . .

Which camera should I buy?

On its own that is an unanswerable question. You see, as it relates to cameras and photography, the camera you use is utterly dependent on you. This is not a guide for how to choose the right camera from a technical standpoint, nor is it a commentary on what gear is better than any other. This is an article to help you to understand yourself and to that end, the type of camera that will allow you to fulfill whatever needs you have right now, and maybe even beyond.

There are so many cameras to choose from (remember we’ve said this) that it can quite literally become overwhelming to make a choice. There are point and shoot cameras, cropped sensor digital SLRs, mirrorless cameras, full-frame mirrorless, and so on.

Of those cameras, there are also countless models and variations which muddy the waters even more. Each one essentially performs the same function, which is to make a photograph. Still, each type of camera offers many variables that work for a wide variety of different situations and for different people. But you have to decide which camera fits YOU best.

The biggest hurdle to conquer when choosing a camera is to understand exactly what you want and need. That is not always as easy as it sounds. However, here are some tips to assist in making your decision.

Where do you shoot?

The location where you will be doing most of your shooting takes up a big chunk of the pie when it comes to deciding on a camera.

Will you be outdoors most of the time or will you be inside in more of a studio-type setting? Do you need weather sealing? How about wireless flash capability? Having an idea of the environment in which you will most often find yourself will help you to better understand the features you may or may not need in a camera.

What will you shoot?

The “what” you will be shooting goes hand-in-hand with the “where.” While it’s not possible to completely predict every subject you will ever photograph it’s still very possible to know what kind of photography you enjoy.

If you understand what you like to shoot, then you can move forward in a more educated and deliberate fashion when deciding what camera to buy. If you love street photography then a smaller, more compact system, may be better to carry around for hours on end. Need a lot of resolution for landscapes? Ask yourself what you will use the camera for the most and the choice will become much clearer.

Where are you now in your photographic journey?

It’s a good idea to be constantly self-aware of where you stand in your journey as a photographer. The benefits of constant self-evaluation helps you to grow your skills and refine your craft. It also allows you to know when and if you have surpassed the capabilities of your equipment and need to upgrade. When it comes to finding a camera that fits your current position within the photography world, you must look at the realities of your situation and proceed accordingly.

Are you just starting out and need a learning tool? Are you a hobbyist who only shoots occasionally, or have you pushed yourself everyday and now feel like you need a more advanced camera body to facilitate your growing ability? Take stock of yourself and be honest (even brutally) so that you can find the best camera to fit your needs.

Where do you want to take your photography?

Perhaps even more important than learning where you stand in terms of your photography is knowing where you want to take your work. It goes without saying but I’ll say it anyway, that your camera is the link between you and whatever vision you want to express with your images.

This expression can be personal, commercial, or something in between. Realizing where you want to go and setting goals is paramount in your development as a photographer. Naturally, your choice of camera should reflect this.

I remember when I was starting out on my own journey making photos. I realized that this was something I wanted to pursue seriously. So I invested in a camera that not only fit my needs at the time, but would also grow with me as I moved towards making photography a career. I still have that camera (Canon 7D Mk1) and it still sees a fair amount of use today. It was quite an investment for a lowly college student at the time but it has paid for itself time and time again, not just from a monetary standpoint.

Conclusion

The internet is chock full of more reviews and tech write-ups than I can count. So I hope you didn’t come here looking for advice on the latest and greatest advancements in the camera industry. Instead, hopefully you got something much more meaningful from this article; the understanding of how important it is to truly know yourself and what you intend to do with your photography.

Are you a beginner? Are you a hobbyist set on taking your passion to the next level? Or are you still trying to decide if that shiny new dSLR is worth the money just to take pictures of your pet?

Whatever your current situation may be, before you buy a camera be sure you know why, how, and to what end you intend to use it. Take it from me, you can save yourself a lot of regret by simply understanding your own intentions on the front end before making the jump.

The post Some Tips to Help You Figure Which Camera is Best for You by Adam Welch appeared first on Digital Photography School.

Top 6 Considerations to Help You Decide on Color or Black and White for Your Image

As soon as humans discovered that it was possible to capture black and white tones in a photographic image, a practical means of color photography was sought by those who dreamed of harnessing the full spectrum of visible light. Some of the very first photographic color experiments began in the mid-19th century with scientists trying to discover a material that could capture the color properties of the light that fell upon it.

In 1886, physicist and inventor Gabriel Lippmann created what was to be the first color photograph without the aid of any pigments or dyes. By 1906, Lippmann exhibited his process along with color images of a parrot, a bowl of oranges, a group of flags, and a stained glass window. His discovery earned him the Nobel Prize in Physics.

But Lippmann was onto something else in his experiments. Selecting subjects for his photographs that are not only inherently colorful but are also strongly associated with color within the human brain. Perhaps without realizing it, Lippmann was one of the first photographers to draw a line between color and black and white photography. Deliberately selecting subject matter that was exemplified by radiant colors to reproduce in a color medium.

Nowadays, digital photography grants photographers with both the blessing and the burden of being able to choose between color or black and white in post-production. It can often be a painstaking process deciding between the two. Although making a deliberate decision between a color or a black and white image is a skill that requires practice and trial-and-error, ultimately the choice is down to you, the individual.

However, there are a few points to consider if you find yourself stuck between the two. Here are the top six tips for deciding whether to go with color or black and white.

#1 Color Relationships

The first thing to consider when choosing between color or black and white is in fact, color itself! Ask yourself; what is it that draws you to the image? If you find that the relationship between distinct hues in your image are important, color is your best bet. Color doesn’t always translate to a black and white image successfully. An image with contrasting hues such as red and green often appears similar in tone in a black and white conversion, making for a less striking or muddy image.

#2 Mood

Just as artists have used color in paintings to denote mood for centuries, the colors in a photograph can also create the emotional atmosphere of an image. Color is a powerful messenger. It can impact a viewer’s emotions, draw associations between ideas, and guide the eye around an image.

While black and white images generally evoke a sense of sensuality or seriousness due to its association with documentary photography, color can emphasize a feeling of joy or sadness depending on the color scheme. Just as we associate warm colors like red and orange with comfort and warmth, so do we relate to the colors in a photograph, giving the viewer clues about the image and creating a more immersive experience.

The tone or color balance of a photograph can point to a time of day or season which conveys a particular emotion or experience within the image. Black and white photographs appear to be more timeless than color images because they are free from color schemes associated with particular types of film, processes, or trends in digital processing. Black and white photojournalism is often hard to date with a cursory glance, so the subject matter remains relevant to the present day.

See how the color version has a completely different mood?

#3 Attention

We see it all around us in marketing, architecture, and print. Color is used to grab a viewer’s eye and draw them in. But it is a fine balance and can often become complicated or convoluted if too much is happening with the picture. Look for a dominant color or color combination in your work. The most visual impact is often created by either isolating a particular color or having two colors from

The most visual impact is often created by either isolating a particular color or having two colors from well-separated areas of the color spectrum included in the one image. Colors such as red and green, or orange and purple (complementary colors) play off each other when they reach the human eye and create a sense of movement and action.

If your image has these combinations it might be better to stay with color and spend time emphasizing the colorful components of the image rather than converting it to black and white. A lack of color accentuates the light and shadows rather than eye-catching color combinations. Emphasis on particular colors can also be useful in forming a cohesive body of work, using color to contrast different imagery in a series, or uniting each piece with harmonious trends in color schemes.

#4 Viewing time

Many photographers prefer black and white images for their tendency to distance the subject matter from reality. In documentary photography, the reverse is also true as humans see the world in color, and a rendition of the world in monochrome gives us pause to investigate. In both cases, removing color from a picture helps the viewer to focus on what is happening in an image. Due to the lack of cues that we naturally look for in color imagery, the viewer tends to look at a photograph more closely to ‘read’ what is happening in the image. A slower viewing time means that there is more time for the image to communicate with the viewer, impart emotion to a greater extent and perhaps stay with the viewer even after they have stopped looking at the work physically.

Due to the lack of cues that we naturally look for in color imagery, the viewer tends to look at a photograph more closely to read what is happening in the image. A slower viewing means that there is more time for the image to communicate with the viewer, impart emotion to a greater extent, and perhaps stay with the viewer even after they have stopped looking at the work physically.

#5 Content

To put it simply, black and white images create an emphasis on light, form, or texture. If the content of the photograph is more important than the color of the subject, or you feel that the color in a photo serves only as a distraction from the message you want the image to convey – then black and white is probably a good choice.

The focus shifts from colors to tones in black and white. So subjects like smoke, shadows, subtle changes in light and dust become more obvious in a black and white image. Because of our associations with these subjects and their otherworldly appearance, a sense of drama can become more apparent in a black and white image than that of a color image.

#6 Simplicity

Often a color photograph looks too busy or convoluted if it has too many colors going on at once. Sometimes converting the image to black and white is a way of separating those tones out into an image that is easier on the eye. Images with a wide range of tonal values tend to work well for black and white imagery. As well, most black and white images work best when there is a definite range from the blackest black through to the whitest white, with varying gray tones in between.

A few words of advice…

Beware the quick fix! Inexperienced photographers can sometimes fall into the trap of converting a sub-par image to black and white in order to quote, “save it”. Photographs that are out of focus, blurry, or poorly exposed may or may not be saved with a black and white conversion. But they do look suspiciously obvious when they are presented within a series of images that is mainly in color.

The problem with relying on black and white as a crutch is that you aren’t investigating what you did wrong in the first place. While a black and white conversion may or may not save a photograph, relying on converting images will not help you develop your own technical practice.

Digital photography is amazing, in that we have the option of shooting in color and switching to black and white in post-production. With film, this was at least a pain in the neck and at most, impossible. If you are unsure about an image, play around with it in Photoshop! Tools in Photoshop like the premade settings for black and white conversion are designed to give you a good set of variations to experiment with. If an image looks busy and over saturated, but you don’t want a full black and white conversion, try desaturating the image with the Vibrance adjustment layer or the Curves tool which are located in the Adjustment Layers panel.

Conclusion

Experimenting with color and black and white is fun, but no matter what option you do go with, be certain that you know why you chose that particular color scheme and make sure it adds to the sum of the image rather than detracting from it!

The post Top 6 Considerations to Help You Decide on Color or Black and White for Your Image by Megan Kennedy appeared first on Digital Photography School.

Review: Neat Image 8 Noise Reduction Software

In the early days of digital cameras, noise was a much bigger problem than it is these days. DSLRs routinely top out at high ISO ratings that film shooters and early DSLR users could only dream of. In those early days (the early 2000s), when ISO 800 was typically the upper usable limit of high ISO, noise reduction software became a must-have for those of us who were post-processing our files and wanted them to look less like sandpaper and more like something we’d be willing to display. Neat Image was one of the first noise reduction applications I used at that time.

While it did a nice job, at that time, all noise reduction software was problematic in that it tended to give images an overly smooth, almost plastic or painted look that did a lot of damage in the fine details of an image. Neat Image was no exception in this regard, so I used it sparingly. Over the years, I found myself gravitating to other noise reduction plugins and applications, such as Nik DFine, Topaz DeNoise, and more recently, Macphun’s Noiseless. When I saw that Neat Image had recently been updated to version 8, I was excited to give it a try and see how it stacked up against the others. While Neat Image 8 is available as a standalone app or a Photoshop and Lightroom plugin, I will be focusing on the plugin version, as that suits my workflow better.

Overview of Neat Image 8

Upon opening Neat Image 8, the Device Noise Profile screen is the first thing you see.

Neat Image 8 is a fairly simple software to use, although upon first opening the plugin it can appear a bit confusing. You will be presented with multiple views of the image you are working on; a full-color preview, and the R, G, and B components of the image. There are four buttons at the top left of the screen; Auto Profile, Load Profile, Auto Match, and Auto Fine Tune. In the center are two tabs, Device Noise Profile, which is the tab the plugin starts in, and Noise Filter Settings.

Analyze image

Once the plugin is open, you’ll see the four different versions of your image. The easiest way to get started is to simply click “Auto Profile” and let Neat Image analyze the image. Once complete, a box will highlight the area that Neat Image has selected to use for noise analysis. Neat Image looks for an area with minimal detail for best results. If you select your own area to analyze, make sure it’s an area that contains minimal detail.

These sliders allow you to tweak the noise reduction to your liking after Neat Image has applied the noise profile to the image.

Filter settings in Neat Image

Now that you’ve analyzed the noise levels in the image, you’ll want to click on the Noise Filter Settings Tab. The preview will switch to the full-color image in the center and the R, G, and B channels will disappear. At the bottom left is a zoom toggle to zoom in or out of the image as desired. You’ll also have the ability to change the preview to various other options, including the RGB preview, a Luminance and Chrominance preview, as well as individual channels. Neat Image will then apply the noise filter settings based on the analysis as done above.

You can tweak the settings using the sliders at the right side of the app window. You’ll have the ability to adjust quality, the noise reduction amount, recover detail, smooth edges, sharpen, and fine tune the filter itself. In addition to the sliders, Neat Image comes with some presets, such as Recover Fine Details, Apply Less Noise Reduction, Apply More Noise Reduction, Reduce Noise and Sharpen, and more. You can also create your own presets for future use. These settings put Neat Image among the most customizable noise reduction applications I’ve used.

Pros

For me, noise reduction has always been a love-hate relationship, always battling with a balance between preserving detail and reducing unsightly noise. One of my favorite things about Neat Image is the software’s auto profiling ability, customizing the noise reduction to each image as needed. While Nik Collection’s Dfine 2 also does its own image analysis, it doesn’t offer the customizability that Neat Image does. And Neither Topaz’s Denoise 5, nor Macphun’s Noiseless offer any kind of image profiling, with both requiring you to simply select a preset on your own and go from there.

Neat Image 8 does an excellent job of maintaining detail while reducing noise in an area with little or no fine detail, such as skies.

Cons

With all the customizability, of course, comes a bit of a learning curve in terms of use. Neat Image does offer tutorial videos on their website to help get you started, but for those of us who are less patient and just want to dive in, it can be frustrating. I had one or two false starts when I first downloaded Neat Image 8, before finally going to their video tutorial to give me a jumpstart.

Side by side comparison of an image shot at ISO 2500, before and after Neat Image 8.

Conclusion

Ultimately, the ability to auto profile an image, adjust settings to personal taste, and use presets for repeatability of noise reduction, makes Neat Image an excellent choice for photographers who battle noisy images for any reason, including shooting long exposures, low light photography, or high iso photography such as indoor sports, events, or weddings. Neat Image is available starting at $39.90 per license.

The post Review: Neat Image 8 Noise Reduction Software by Rick Berk appeared first on Digital Photography School.