Photography forum image of the month February 2011

Every month on our pho­tog­ra­phy forum mem­bers nom­i­nate images that they like. Then at the end of the month I choose an excel­lent image and talk about why it rocks. The photo I choose is not nec­es­sar­ily the best one of the month. I’ve come to real­ize it’s not really log­i­cal to pit images from totally dif­fer­ent gen­res against each other. That’s why there are cat­e­gories in photo con­tests. I just choose a photo that has extremely strong ele­ments that we can learn from.

Junk Yard Cat by Barefoot

Junk Yard Cat by Barefoot

This month’s choice is Junk Yard Cat by Barefoot

I chose this image for sev­eral reasons:

Mood — Light­ing — This image has a great mood due to the won­der­ful light­ing. The light­ing is on the low key side and it’s totally work­ing for me here. Even though the light­ing is low-keyish there’s still quite a bit of deli­cious shadow detail.

Good sug­ges­tion of a story — This is also related to the mood but it looks to me like this car is in an old garage or barn. The car is also way old with loads of rust but it still serves a pur­pose, it’s not dead yet. It serves as a poten­tial favourite rest­ing spot for the cat.

Sub­tlety — Mys­tery — Sur­prise — I love the fact that my eye did NOT go straight to the cat in this shot and this is due to the fact that the bright cir­cu­lar thing on top of the head­light at right is the first thing we look at. I love that. Had the cat been brighter, the shot would have been more about the cat and our eye would have gone straight for the cat. This way, we get a bet­ter sur­prise when we notice the cat.

Com­po­si­tion — I dig the repeat­ing cir­cles and lines in this image as well as the point of view from which the image was taken.

For all these rea­sons, this is my choice for image of the month. Since we all have opin­ions, some mem­bers may dis­agree with my choice. That’s cool but THIS thread is not the place for debate over my pick, NOR is it the place to fur­ther cri­tique the image. The pur­pose here is to sug­gest strong ele­ments in the photo that we may learn from.

Con­grats again Bare­foot for see­ing and cap­tur­ing this won­der­ful scene!

94 — Turning day into night

Pho­tog­ra­phy pod­cast #94 teaches how to turn day into night or late after­noon for por­trait pur­poses. This tech­nique is often used by wed­ding, fash­ion and por­trait pho­tog­ra­phers. The goal of the tech­nique is to make the sky look darker so that the model pops against the sky. This often adds mood and/or drama to a shot. We dis­cuss 2 tech­niques; using flash and cam­era in man­ual non TTL (Through the lens) mode as well as TTL mode. We also touch on flash sync speeds.

This image looks like it was shot in the late after­noon but it was shot at 1pm. Cam­era mode was aper­ture pri­or­ity using TTL flash. Expo­sure com­pen­sa­tion was set to –3 on cam­era and +2 for the direct on cam­era flash. I would have taken the flash off cam­era for a bet­ter light­ing pat­tern but it was minus 15 C and my model only had 5 min­utes in her.

Links /resources men­tioned in this podcast:

Show us your parks is the reg­u­lar assign­ment this month on our pho­tog­ra­phy forum
Macro — closeup  is the level 2 assign­ment this month on our pho­tog­ra­phy forum
If you are inter­ested in writ­ing for our blog please con­tact me photography.ca (   A   T  ) G m ail  Dot co m (using stan­dard email formatting)

Please join the Photography.ca fan page on Facebook

If you liked this pod­cast and want to review it on Itunes, this link gets you to the main page

My Face­book pro­file — Feel free to “friend” me — please just men­tion Photography.ca
My Twit­ter page — I will fol­low you if you fol­low me — Let’s con­nect — PLEASE email me and tell me who you are in case I don’t rec­i­p­ro­cate because I think you are a spammer.

If you are still lurk­ing on our forum,
feel free to join our friendly :)  Pho­tog­ra­phy forum

Thanks to kat, Wicked Dark and Shant M who posted a blog com­ment about our last pod­cast. Thanks as always to every­one that sent com­ments by email about our last pod­cast. Although ALL com­ments are appre­ci­ated, com­ment­ing directly in this blog is pre­ferred. Thanks as well to all the new mem­bers of the bul­letin board. Most of the links to actual the prod­ucts are affil­i­ate links that help sup­port this site. Thanks in advance if you pur­chase through those links.

If you are look­ing at this mate­r­ial on any other site except Photography.ca — Please hop on over to the Photography.ca blog and pod­cast and get this and other pho­tog­ra­phy info directly from the source. |Sub­scribe with iTunes |Sub­scribe via RSS feed |Sub­scribe with Google Reader|Sub­scribe for free to the Pho­tog­ra­phy pod­cast — Photography.ca and get all the posts/podcasts by Email
You can down­load this pho­tog­ra­phy pod­cast directly by click­ing the pre­ced­ing link or lis­ten to it almost imme­di­ately with the embed­ded player below.

Thanks for lis­ten­ing and keep on shooting!

Managing Photos with Picasa by Glenn Euloth

I am a geek and I have been a geek for a long time. ‚So, when I first started man­ag­ing my dig­i­tal images I never thought I could trust a piece of soft­ware to look after the files on my com­puter. ‚I would use Win­dows Explorer to copy the files off of my cam­era and into a folder on my hard drive. ‚If I wanted to edit an image I would make a copy first and then edit the copy. ‚It worked great but it was very time consuming.

I tried the Kodak soft­ware that came with my first point and shoot but it was very slow and clunky and didn‚„t come with a decent image edi­tor so I gave up on it and went back to copy­ing files in Windows.

Google bought Picasa from Ide­alab in 2004, branded it, and started giv­ing it away as a free down­load. ‚The Google fan-boy that I am I decided to give it a try and it was instant soft­ware love. ‚I don‚„t know how much of it was Ide­alab and how much of it was Google but I found Picasa to be a won­der­ful piece of soft­ware that did every­thing I needed in a slick, easy to use package.

First up was image import. ‚I no longer had to launch two explorer win­dows, cre­ate a folder and copy the files from my SD card to the new folder. ‚Instead, insert­ing the SD card into my lap­top auto­mat­i­cally launches a win­dow that asks me if I want to import the files into Picasa. ‚All I have to do is click OK. ‚Picasa looks after the copy process and deletes all the images off the SD card after con­firm­ing the copy so I‚„m ready to go shoot­ing again.

Next is the easy edit­ing tools. ‚Once the image is in Picasa I can quickly nav­i­gate to an image and per­form a num­ber of easy edits.

Picasa soft­ware — Click to enlarge

  1. Red-eye removal
  2. Sat­u­ra­tion and sharpening
  3. Con­vert to black and white or sepia
  4. Crop to any dimen­sion or aspect ratio
  5. Facial recog­ni­tion
  6. Straighten the image
  7. Tag and Geotag
  8. And much, much more…

Not only do the edit tools work eas­ily and quickly but Picasa auto­mat­i­cally cre­ates a backup copy of the image and per­forms the edits on the copy so if you make a mis­take or if you want a copy of the orig­i­nal you can always find it or revert back.

I ran into a bit of prob­lem orga­niz­ing my images ini­tially as I was not using Picasa so I had cre­ated a 2009 folder and in it I cre­ated Jan­u­ary, Feb­ru­ary, March, etc. ‚After I started using Picasa I had a very sim­ple way to upload images to Pica­s­aWeb for shar­ing with just a click of a but­ton, how­ever, it used the folder name as the album name on Pica­s­aWeb. ‚This became a prob­lem when I started upload­ing ‚“Jan­u­ary‚ images from 2010 as they got put in the same album on PicasaWeb.

To solve this prob­lem I devel­oped the fol­low­ing strat­egy: ‚At the begin­ning of the month I cre­ate a folder in Picasa with the for­mat YYYY-MM (Mon­th­name), so for exam­ple I have 2011-01 (Jan­u­ary), 2011-02 (Feb­ru­ary), etc. ‚This allows me to store and man­age the images by date with­out wor­ry­ing about dupli­cates and when I want my hol­i­day pho­tos I can eas­ily search for ‚“December‚.

If you are not sure how to man­age your pho­tos or if the soft­ware you are using is awk­ward and not work­ing well for you then I highly rec­om­mend you‚down­load and install it. ‚At the very least you should check out the‚video. ‚Come back next month and I‚„ll talk about advanced image edit­ing with­out hav­ing to spend a lot of money on expen­sive software.

Liv­ing in Hal­i­fax, Nova Sco­tia, Glenn Euloth enjoys trav­el­ling on the pho­to­graphic jour­ney. ‚Visit‚www.euloth.com to join him on the trip or find him on our pho­tog­ra­phy forum under the nick­name of Iguanasan.

Vintage photo of the day Feb. 15, 2011

The vin­tage photo of the day is Side­long Glance by French‚photographer‚Robert Dois­neau and was taken in 1948. Dois­neau is one of France’s most famous pho­tog­ra­phers and many of his images like Kiss by the Hotel de Ville are con­sid­ered iconic.

Sidelong Glance by Robert Doisneau - 1948

Side­long Glance by Robert Dois­neau — 1948

What makes this pho­to­graph so appeal­ing is the sense of story and sense of humour. The woman is look­ing at the art in the‚foreground painting‚but the man sees ‘art’ in a dif­fer­ent paint­ing off to the side. The model’s bare bot­tom in the paint­ing is the bright­est ele­ment in the image so our eye (as well as the man’s rov­ing eye) goes right to it. The point of view of the image, the fab­u­lous tim­ing, as well as the fact that the sub­jects seem unaware that they are being pho­tographed all add to this image’s appeal.

Three Basic Rules of Close-Up Photography by Kristen Smith

So you want to get close, huh? ‚Close-up pho­tog­ra­phy is mag­i­cal and can be done with almost any lens, even your nor­mal zoom lens (all of these shots were taken with the Zuiko Dig­i­tal 12-60mm zoom, not a macro lens). ‚Sure, seri­ous macro pho­tog­ra­phy requires spe­cial­ized equip­ment, but you can get good results right away using what you have if you remem­ber a few guidelines.

First ‚œ get close! ‚So many times I see ‚Ëœclose-up‚„ pic­tures that include way too much in the frame. ‚Like a flower image that shows other flow­ers, leaves, a fence, the dirt etc. ‚That‚„s not a close-up. ‚The rea­son good close-up and macro pho­tos are so mag­i­cal is that they show us a world we might not ordi­nar­ily notice. ‚Here‚„s what to do, find out how close your lens will focus and then try and stick to that as much as pos­si­ble. ‚My ZD 12-60mm lets me get a cou­ple inches from my sub­ject and does a good enough job that I can some­times leave my macro lens at home.


Ice Crys­tals by Kris­ten Smith

Sec­ond ‚œ iso­late! ‚Close-up pho­tographs are much more effec­tive when the sub­ject is clearly sep­a­rated from the rest of the scene. ‚You can do this in two ways, first by choos­ing a sub­ject that doesn‚„t have any­thing near enough to be in the frame with it. ‚So pick that flower or mush­room that doesn‚„t have any friends. The sec­ond way you can iso­late your sub­ject is by open­ing your lens to a large aper­ture. ‚Doing this lim­its your depth of field and cre­ates an out of focus back­ground also known as bokeh. ‚Of course sharp focus on your main sub­ject is crit­i­cal, so be care­ful. ‚Watch the shut­ter speeds and use a tri­pod if necessary.

Chicory Blos­som by Kris­ten Smith

Third ‚œ sur­prise! ‚Show me some­thing dif­fer­ent. ‚Oh gee, another flower pic­ture. ‚Yay. ‚How about a bug? ‚Yawn. ‚A leaf? ‚Zzzzz. ‚Sorry, I‚„m not really dump­ing on any of these things, but haven‚„t we all seen a mil­lion of them? ‚I‚„m just as guilty of it. ‚After a while they‚„re all the same and it takes an effort to bring some­thing dif­fer­ent to the world of close-up pho­tog­ra­phy. ‚Find it. ‚What­ever it takes, find some­thing unusual about an every­day object or some­thing you hardly ever see pho­tographed. ‚Try new angles, per­spec­tives, jux­ta­po­si­tions, play with depth of field, back­ground, color com­bi­na­tions; any­thing to help your image break free of sameness.

Bro­ken Cork by Kris­ten Smith

So that should get you started. ‚Get close, iso­late and sur­prise me! ‚Feel free to post com­ments with links to your best close-up pho­tos or share them on the‚forum.

My Web­site = www.wickeddarkphotography.com and I’m based in New Hamp­shire, USA

Photography forum image of the month January 2011

Every month on our pho­tog­ra­phy forum mem­bers nom­i­nate images that they like. Then at the end of the month I choose an excel­lent image and talk about why it rocks. The photo I choose is not nec­es­sar­ily the best one of the month. I’ve come to real­ize it’s not really log­i­cal to pit images from totally dif­fer­ent gen­res against each other. That’s why there are cat­e­gories in photo con­tests. I just choose a photo that has extremely strong ele­ments that we can learn from.

A snowy morning by Bambi

A snowy morn­ing by Bambi

This month’s choice is‚A snowy morn­ing by Bambi

I chose this image for sev­eral reasons:

Mood — This image has a won­der­ful mood and this mood is cre­ated by the falling snow, the snow cov­ered branches in the fore­ground against the darker toned trees in the midground and of course the fig­ure in the back­ground. A shal­lower depth of field with the sharpest ele­ments in the fore­ground might not have been the obvi­ous choice for many pho­tog­ra­phers, but it is rock­ing this image big-time! The shut­ter speed catch­ing the sus­pended snow is also help­ing the mood. The Black and white con­ver­sion is very well done, and it suits and enhances the other ele­ments con­tribut­ing to the over­all mood.

Com­po­si­tion — Very well done here! There are ‘lay­ers’ of inter­est­ing things for our eyes to look at start­ing from the fore­ground and con­tin­u­ing to the back­ground where the focal point (the per­son) is. Our eye is well guided through this win­tery ‘tunnel’.

Exposure/shutter speed — Both are well han­dled here. The shut­ter speed ‘freezes‚ ’ the falling snow here. A good expo­sure keeps the whites in check and offers up won­der­ful tonal­ity with a good range of tones. If I have 1 teeny nig­gle I might burn in the light­est branches at top right by maybe 5%.

For all these rea­sons, this is my choice for image of the month. Since we all have opin­ions, some mem­bers may dis­agree with my choice. That’s cool but THIS post is not the place for debate over my pick, NOR is it the place to fur­ther cri­tique the image. The pur­pose here is to sug­gest strong ele­ments in the photo that we may learn from.

Con­grats again Bambi for cap­tur­ing this gor­geous scene!

Photographing Cityscapes — A City Mouse Perspective by Jacqueline A. Sheen

I am a city mouse; there is no get­ting around it. Not for me get­ting up in the predawn hours to drive for hours out to coun­try vis­tas wait­ing for the per­fect sun­rise. No. My milieu is the city. I live uptown and love it here. I walk just about every­where I go. I encounter inter­est­ing char­ac­ters almost daily and the bus­tle of rush hour makes my heart flut­ter just a lit­tle. When I leave the city, upon return­ing, the moment I see the city sky­line in the dis­tance my heart races just a lit­tle with the feel­ing one gets when they know they will soon see an old love once again.

Calgary Cityscape by Jacqueline A. Sheen

Cal­gary Cityscape by Jacque­line A. Sheen

Cal­gary is not a big city although it suf­fers a bit from urban sprawl. It sits nicely on the prairies, where the Bow River runs through it. The CPR rail­way also runs through the down­town core. This is a vibrant, wealthy city, that was built on a ‚“can do‚ pio­neer spirit.

Calgary‚„s many sky­scrap­ers afford some won­der­ful sky­line pho­tog­ra­phy. Because the city core runs east to west along the core, some really won­der­ful late day pho­tos can be had from the west­ern side of down­town fac­ing east. The glass tow­ers lit­er­ally glow pink and gold. The down­town core itself is located near the riverbed in a bit of a val­ley, which makes for some awe­some van­tage points both at river level and from higher van­tage points.

When pho­tograph­ing the city, I walk every­where. It is not really much dif­fer­ent than land­scape pho­tog­ra­phy in that respect. To see, really see what you are look­ing at, you have to slow down. I try to pho­to­graph the city in a way that shows off its beauty but at the same time, shows it in a way that the com­mon com­muter may not notice in their race to get down­town. Look up. Did you notice the clas­sic art deco styling on that old build­ing? ‚Did you see those gar­goyles way high up on another?

Cal­gary is blessed in that the down­town core is vibrant and alive. There is an active arts com­mu­nity and there is much pub­lic and pri­vate funded art. The photo above shows a por­tion of a large sculp­ture that graces the side­walk in front of one of the ‚“Oil Tow­ers‚ down­town. It looks like a styl­ized dinosaur skele­ton, which makes sense as all the oil reserves come from ‚“dinosaur bones‚ so to speak. Although the own­ers of the sculp­ture may not like my use of it to frame a sky­scraper other than their own, when I saw the photo, the title came imme­di­ately to mind. ‚“This City was Built On Dinosaur Bones.‚

Jacque­line A. Sheen is a pho­tog­ra­pher liv­ing in Cal­gary Alberta, Canada. You can check out more of her work at www.jasphoto.ca and she also goes by the han­dle JAS_Photo on our pho­tog­ra­phy forum.

Photographing Architectural Abstracts by Lisa Couldwell

Liv­ing in the down­town core of a large city with some inter­est­ing glass tow­ers makes for great oppor­tu­ni­ties to shoot urban archi­tec­tural abstracts. The beauty of this type of pho­tog­ra­phy is that some­times unco­op­er­a­tive weather or light can make for some great oppor­tu­ni­ties to catch build­ing reflec­tions. So any day I feel the need to get out for a walk, I take my cam­era and head down­town to see what the tow­ers will offer up for opportunities.

I guess the most impor­tant aspect of shoot­ing these types of sub­jects is the abil­ity to look up, ver­ti­cal, side­ways, basi­cally any way that gives one a dif­fer­ent per­spec­tive. When shoot­ing, look for inter­est­ing shapes and reflec­tions off the glass win­dows of the tow­ers. This can be any­thing from the reflec­tions of the other parts of the build­ings them­selves, to reflec­tions of the sky or clouds, sun­light or other build­ings in the area.

Energy Plaza - Calgary, Alberta by Lisa Couldwell

Energy Plaza — Cal­gary, Alberta by Lisa Couldwell

If you see some­thing that catches your eye, try turn­ing your head, body in a way that might per­haps give you a dif­fer­ent per­spec­tive and if you see some­thing, get the cam­era ready. I usu­ally set my Pen­tax into auto-bracket mode because I like to have the option of an HDR shot to play around with when I get home. Put the cam­era to the eye and again turn the cam­era, side­ways, on an angle or basi­cally any way that inten­si­fies the abstract­ness of what you see through the lens. Take your time and don’t be afraid to take sev­eral ver­sions of the shot while mov­ing the cam­era and your body into dif­fer­ent angles as you never know what may work and what may not. When com­pos­ing the image in cam­era, I often com­pose lines to move on the diag­o­nal as this moves the eye through the photo and cre­ates a pleas­ing per­spec­tive. I look for sym­met­ri­cal and geo­met­ric shapes when I move and pho­to­graph. I will go across the street and try from a dif­fer­ent street cor­ner as well. The beauty of this kind of pho­tog­ra­phy is any­thing goes and you never know what you may end up with just by mov­ing either a few cen­time­ters or sev­eral feet. (Just as an FYI, some­times you may get has­sled from secu­rity peo­ple but in Canada as long as you are on a pub­lic side­walk and not on pri­vate prop­erty you have the right to con­tinue to photograph.)

In this image, I really was attracted to the V shaped angle of the build­ing, van­ish­ing per­spec­tive, sym­me­try, and the reflec­tions of the other win­dows and the clouds. I pointed the cam­era straight up and tried to angle it so it was per­fectly sym­met­ri­cal. I then auto­brack­eted 3 shots at expo­sures of +.5/0/-.5 stops, com­bined them into an HDR image in Pho­tomatix, con­verted to BW in Sil­ver Efex and minor touch ups in Light­room to really bring out the cloud detail.

Lisa Could­well is a pho­tog­ra­pher liv­ing in Cal­gary Alberta, Canada. You can check out more of her work in the Pen­tax Gallery, on flu­idr,‚and on Smug­mug. She also goes by the han­dle casil403 on our pho­tog­ra­phy forum.

93 — Black and white photography — qualities that make good bw images

Pho­tog­ra­phy pod­cast #93 is based on a thread in our pho­tog­ra­phy forum by mem­ber asnow where he asks about the qual­i­ties make a good black and white photo. A num­ber of other forum mem­bers help answer the ques­tion and I offer up some per­sonal opin­ions as well. One‚piece‚of good advice involves learn­ing to see in black and white using a dig­i­tal cam­era. Most dig­i­tal cam­eras can cap­ture the image in colour but SHOW it to you on your camera’s screen in black and white. This allows you to learn how coloured tones under a given light look in black and white. (Look up the word mono­chrome in your camera’s instruc­tion man­ual for instruc­tions on how to do this). Live view is also fan­tas­tic as it shows you how the scene will look in BW even before you click the shut­ter. (Many thanks to asnow, raven4ns, Wicked Dark and Andrew for their con­tri­bu­tions to the thread and podcast.)

Snow Tracks - Marko Kulik

Snow Tracks — Marko Kulik

Links /resources men­tioned in this podcast:

The Zone Sys­tem — Wikipedia | The Zone sys­tem on Lumin­ious land­scape
Wicked Dark’s arti­cle Black and White 101

Emo­tion is the reg­u­lar assign­ment this month on our pho­tog­ra­phy forum

Back­light­ing is the level 2 assign­ment this month on our pho­tog­ra­phy forum
If you are inter­ested in writ­ing for our blog please con­tact me photography.ca ( ‚ A ‚ T ‚) G m ail ‚Dot co m (using stan­dard email formatting)

Please join the Photography.ca fan page on Facebook

If you liked this pod­cast and want to review it on Itunes, this link gets you to the main page

My Face­book pro­file — Feel free to “friend” me — please just men­tion Photography.ca
My Twit­ter page — I will fol­low you if you fol­low me — Let’s con­nect — PLEASE email me and tell me who you are in case I don’t rec­i­p­ro­cate because I think you are a spammer.

If you are still lurk­ing on our forum,
feel free to join our friendly :)Pho­tog­ra­phy forum

Thanks to kawarthabob, and kat‚who posted a blog com­ment about our last pod­cast. Thanks as always to every­one that sent com­ments by email about our last pod­cast. Although ALL com­ments are appre­ci­ated, com­ment­ing directly in this blog is pre­ferred. Thanks as well to all the new mem­bers of the bul­letin board. Most of the links to actual the prod­ucts are affil­i­ate links that help sup­port this site. Thanks in advance if you pur­chase through those links.

If you are look­ing at this mate­r­ial on any other site except Photography.ca — Please hop on over to the‚Photography.ca blog and pod­cast and get this and other pho­tog­ra­phy info directly from the source. |Sub­scribe with iTunes |Sub­scribe via RSS feed |Sub­scribe with Google Reader |Sub­scribe for free to the Pho­tog­ra­phy pod­cast — Photography.ca and get all the posts/podcasts by Email
You can down­load this pho­tog­ra­phy pod­cast directly by click­ing the pre­ced­ing link or lis­ten to it almost imme­di­ately with the embed­ded player below.

Thanks for lis­ten­ing and keep on shooting!

Vintage photo of the day Jan. 25, 2011

The Vin­tage photo of the day is Rayo­g­ra­phy [Kiss] and was taken by Man Ray in 1922. Man Ray is well known for his pho­to­graphic exper­i­men­ta­tion and for being an “avant-garde” pho­tog­ra­pher in Paris in the Twen­ties and Thir­ties. He also exper­i­mented in sev­eral other dis­ci­plines includ­ing paint­ing an sculpture.

Rayography [Kiss] - Man Ray 1922

Rayo­g­ra­phy — [Kiss] by Man Ray 1922

The image above is a pho­togram which means it was taken with­out a cam­era. Faces and hands were placed over pho­to­graphic paper and exposed to light. Man Ray pre­ferred to call the pho­tograms he cre­ated Rayo­graphs (after himself).