Lost In Thought

Yesterday morning I had the opportunity to be in Salt Lake City yesterday morning to photograph for a bridal shoot with my good friend Scott Jarvie.  Afterwards, we headed over to Temple Square to take in the first session of General Conference and photograph the crowd around this great event.  Here are a few photos from the day, plus you can see my full set over on Flickr.

Thanks for stopping by.  Please see my full set over on Flickr.

You can also find me on twitter:  twitter.com/jeremyhall

Obsession - Plate 2

Ok, maybe love is a strong word. Perhaps enjoy, appreciate or really like would be more fitting. I crave feedback. Whether good, bad or ugly (no finger pointing), I like hearing what people think. Flickr is great for building a network of friends and other “like minded” people to share photos with each other and receive feedback. For the most part everyone leaves positive comments only, but if you invite critique, you can often get very helpful ideas to help improve your photos.

Of course not everyone is helpful, sometimes you will get the know-it-all geek that will point out your every fault as they see it, but really they are the minority. I have been very pleased with the interactions I get with fellow photogs.

Other social networks can also be helpful, from Twitter to FriendFeed to forums on various sites. You have to find ones that fit your personality type. Each group of people, especially when it comes to forums, can have their own distinct personality. Some I have tried out for awhile left me feeling on the outside of an inner circle or constantly feeling “not worthy” of participating at the level of those that make up the active core of a group. Not to worry, there are so man choices out there it is easy to move on to the next until you find a suitable home for your interactions.

Obsession - Original

Today’s image is a result of some simple yet helpful feedback on flickr. The original image I took had what I was looking for, so I quickly posted the image with almost no processing, happy to share what I had taken that day. Some helpful posters pointed out the framed picture in the background was a distraction, which I had overlooked because I was so excited at the overall scene. After “cloning” that out of the frame and making some color & contrast adjustments, my final portrait was much improved (and uploaded for the photo challenge).

Photo description:
I was able to slip in another quick shoot for the “environment” portrait theme this week. My buddy Lance owns an excellent motorcycle (and all powertoys) shop in American Fork, Utah. I thought it would be a great shot of hiim with some bikes in the background because this really is his passion. The shop is called Obsession Motoworx for a reason.

Lance is another of my patient and willing friends that answer my call to help out with my portrait challenge needs this month.

Strobist info: 2 580EXii’s on stands with Alzo softboxes fired with Pocket Wizards.

Day 27 (week 4 day 6) of the September Portrait Challenge. See the others in my set for this challenge and submitted in the challenge group.

Digital Photography School is a great site for regular tips and ideas, and they are always free to point out other great resourcses from around the web as well.  Their recent article 25 Great Photography Tutorials and Links From Around the Web is worth the read, or at least a bookmark now so you can go through the linked resources over time.

If you ever find great articles, especially those on post processing tips and techniques, please send ‘em my way. I love to learn new ideas and put them in my bag if tricks to improve my creative options.

With this in mind, I am starting up a new Flickr Group called “How I Did It: What I Did in Post.” I still need to finish writing up all the rules and coming up with some good examples, but that will be a evolving process in itself.

My thought with this group is not to expect people to write up lengthy tutorials with plenty of screen shots and extended examples. Though I love those kind of tutorials for their detail and ease of following each specific step, an essay like those are very involved in creating. For me I am more interested in the summary of what was done, basic steps that give me an insight into what the artist did to create their final image. Though I may need to learn more to understand what is meant by specific steps, the more wonderful examples I see with some hints as to the post-processing steps, the better I will get at having a variety of ideas in my pool of techniques I can use when bringing a photo to life.

Here is an example of what I am talking about. This is a recent photo I posted to Flickr and included in this blog:

This particular photo is one that I took a few years ago on a wonderful trip to the United Kingdom. I was astounded at the intricacy and beauty of this building, but also by the dramatic clouds looming over it. The final image I posted was much better (in my humble opinion) than the original:

I have covered previously my thoughts on whether a photo is “tainted” by the involvement of Photoshop in the development process. I strongly feel that if the final image is your artistic expression of the scene and improves on the photo, all the better.

My idea for rules & requirements for this new group are to ask any photo invited and added to the photo pool would need to add in a general listing/description of their steps they used in to post-process their photo. As most people will likely be thinking back to what they did rather than taking notes along the way, I would expect fairly a general list of tips. That said, those general tips can be very insightful.

Here are my steps I did in developing this photo:

1. Opened two copies of the file, each initially exposed differently in Adobe Camera Raw. Often I do this in Adobe Lightroom, but with this particular image I went straight into ACR/Photoshop. The first was exposed for the sky (darker), and the second for the building (lighter).
2. In Photoshop, I duplicated the building exposure file as a layer in the sky exposure file and closed the extra file.
3. A layer mask was added to the building file, hiding the sky portion of that exposure so I ended up with a dark sky and a brighter building in the same view.
4. I used a Curves adjustment layer on the sky to add contrast
5. Another Curves adjustment layer on the building for brightness/contrast for drama and detail
6. Saturation adjustment layer on the building to adjust and amp colors for drama as well
7. An Overlay layer filled with neutral gray and then 5% large/soft brush for dodging and burning along with some slight vignetting to emphasize the building and mute the sky as it was further from the building.
8. Stamped out some distracting elements (people) in the foreground.
9. Downsized for upload, then Smart Sharpening, at roughly 60%, radius of 0.3 and threshold of 0.

That’s it (sarcasm intended). The process is really subjective along the way as I tweak to what seems to be best for the individual photo. Now that is an example of a fairly detailed list of steps. Here is a shorter version that would also be acceptable:

1. 2 exposures of same file, one for sky one for building
2. Combined in one file with masked layers
3. Curve to sky for contrast
4. Curve to building for contrast & brightness
5. Saturation adjustments to building
6. Dodged, burned & slight vignette
7. Stamped out people
8. Downsize & sharpening

Obviously a little more detail is nice, but even from this more concise version there is a lot to learn!

Most photographers I know enjoy sharing their tips on creating great photos, probably because most of us have learned this way from others as well. My hope is this group can be very informative and one that photographers will be happy to share their insights rather than shy away from revealing their “secrets.”

I would enjoy any feedback here or in the group as to if you think this idea is worthwhile and how it could be improved upon and pulled off in a beneficial way. Thanks!

I often get asked which camera to buy, and practically in the same breath now I also get asked how many megapixels in a camera do I need.  There is really no simple answer to this, but typically I try to quickly gauge the needs of the individual I am talking to and make a quick recommendation.  I enjoy researching the latest cameras available, so typically I have a decent idea of what to suggest.  It is getting harder and harder these days though as the options continue to expand and get better at all levels of cameras.

There are three general groupings or levels of cameras often referred to, consumer, pro and the ubiquitous somewhere inbetween now coined as prosumer.

Consumer cameras are what the average family can buy and be happy using.  The current crop of cameras will typically fall between 4 and 10 megapixels, and most do a fine job capturing the snapshots that most people are looking to capture. These images will print as a 4×6 and often up to an 8×0 with very good clarity and colors.  The flashes on these are average and in general the best photos are taken with outdoor or brighter lighting.

Prosumer is really a fancy way of saying these cameras cost more and give the user more features to control how the camera is capturing photos.  For those wanting to dabble in photography I general steer them in this direction as the cost is more attainable and you don’t have to worry about all the additive cost for the variety of lenses you might need on an SLR.  Prosumer cameras have a fixed lens, but typically one that yields a fairly good range from wide to telephoto to meet your creative needs.

Pro cameras are those big, bulky SLRs that photo enthusiasts are buying into today.  You can use the full range of lenses just like the high end pro does, or pick from cheaper to mid priced/quality offerings that every brand has in their line up.  The cost can be much higher with these cameras, including a wide variety of options in body types, including cropped and full frame sensors.  Many enthusiasts are entering this level of camera though with the low priced options from Canon and Nikon, along with other brands working their way into this market.

With that summary aside, not all megapixels are created equal; the digital camera industry is just like any and subject to the spin of the of the marketing department.  Marketers know that most consumers think that a bigger must be better, so an 8 megapixel camera is better than a 6, right?  Yes and no.  Having more megapixels can be a good thing, but what the camera does to achieve that resolution can greatly impact the quality of the photo in the end.  Without getting too technical, if a camera is using the same size of sensor to give you a larger number of megapixels, it is squeezing in the photo receptors into a smaller space, often resulting in more “noise” within your image.  As technology continues to improve, this problem is improved upon, but take care in researching the output quality of the photos produced by a camera along with the resolution.

A great site for seeing in-depth reviews that I use is dpreview.com. You can see all the details, including sample photos produced by a camera and even compare the details of different models side by side.

Now down to what got me started on this topic today.  I read an article posted recently at Digital Pro Talk about how many megapixels are enough.  This is one of the best, real life analysis discussions I have read about why having a few more megapixels can matter depending on the type of photography you do.  Set in the context of wedding photography, the question posed is how many pixels does it take to produce a clear image of a face when capturing a group photo.

Up close portraits lend themselves to working just fine with fewer megapixels because the face is filling the frame and utilizing most of the pixels available.  In the case of group photos, there are far fewer pixels dedicated to the details and making up the face of each individual.

This holds true of any situation where you subject is further away from camera and only a portion of the overall photo.  Think of this in terms of concert photography, which is a frequent part of my camera use.  If you are able to get in close or zoom to your subject, then your sensor capacity is dedicated to getting all the details of the face and person you are capturing.  If you are either further back or choosing to capture the overall scene of the stage, far fewer details are captured if the individual entertainer(s), and having a lower megapixel camera will mean far less detail will be displayed in your final image.

Give it a read and see if this helps you when you consider your next camera purchase, which we all know will be sooner than you think!

Canon 20D, EF-S 18-55, 1/40 at  f/4 and 800 ISO
see the large version on flickr

Using a technique I read about online recently, I took my 50mm prime and held it backwards in front of my 24-105 lens to get this macro. This was done just in my office with natural light, but it didn’t turn out half bad. I would like to experiment with this technique a little more to see if I can get better at it. Of course in the long run I would like a 100mm macro like everyone else, but that is one of many goodies on my “want” list.

A Little More Detail

So did what I said not explain it well enough? It was a bit confusing to me at first as well. Obviously this only works if you have a separate lens you can hold in front of an already decent zoom lens. It also requires a bit of experimentation and patience, along with a dose of dexterity. I found myself moving around a bit until I could get things in focus. I think I may be able to get better at this with a little practice, so I am sure you can too.

The easiest way I found this to work, especially lining up with subject, was to first just look at the subject through the reversed lens in a way that allows you to rest your hand on a solid surface. It works just like a magnifying glass, which is both cool and tells me this same process should be possible with a high quality actual magnifying glass just that your lens is exactly that when turned around.

Once you have your subject framed in as you want, move your camera in until the lenses (lightly) touch. Obtain your focus and adjust framing as needed. Your main lens will need to be manually focused to the shortest macro setting as you will be manually moving in and out to get your focal point. I recommend taking many photos and try different focal points as once you get it on screen it is going to show a very shallow DOF on your details. A tripod would be very helpful had I taken the time to set this up with more precision.

Obviously with this much going on your subject needs to be inanimate, which this fly I am showing had already expired and was found on my office chair of all places. I guess you could say today’s post practically landed in my lap, or would have had I been sitting in my chair when this little guy kicked the bucket. Sorry, that was really bad.

Here is a closer (100% blow up) of another shot taken in the same sequence.

Canon 40D, 50mm 1.4 (reversed) and 24-105L, 1/25 at f/4 and 640 ISO
see on flickr

This last weekend I was out taking some family photos, which I tend to do more of this time of the year for obvious reasons.  I enjoy taking family photos, even with those kids that can be tough impossible to capture all looking at the camera and smiling at the same time.  Thank goodness for Photoshop!

I was able to capture a number of good group shots as well as couples and individual portraits of kids as I usually do with each sitting, but what I really enjoy doing is trying to capture the “in between” moments that often take place.  This grandchild loves is grandpa, that was obvious from the moment they got out of the car.  So, between settings he was tossing him up in the air and doing various fun things to keep the kid smiling in the cold weather.  So I jumped in and took a few shots of him tossing the boy, but the one I loved best is above capturing the connection between the two.  It is these moments and pictures I am always most happy about.

So, next time you have an opportunity to photograph groups of people, don’t forget to keep the camera rolling and your eyes open between settings for the more natural photos you may get.

Being that I enjoy photography, my kids have obviously taken an interest in dad’s hobby.  I try to show them things to learn early how to take some better photos, but at times it is difficult to figure out what you can convey to their young minds that will make a difference while also not squashing their interest and creativity.

This topic came to mind as I read an article over at the Digital Photography School Blog titled 13 Lessons to Teach Your Child About Digital Photography.  They bring up some great points and ideas for helping those young ones begin to learn some ideas and skill to go along with their enthusiasm.

What I find, more than anything, is I like to feed my child’s interests with opportunity to experiment and enjoy themselves.  Too often I want to help them take things “right” when I really need to step back and let them explore.  If they are not going to break anything, what is the harm?  This is especially true with digital photography.  So what if they take 100 photos and you throw away 99 of them.  You may get that 1 gem that you can print up and put on the fridge for them to be proud of.

Canon 40D, 17-55 EF-S, 1/125 at f/2.8 and 1000 ISO

It’s that time of year again, when everyone starts thinking about getting their family photo taken.  Whether they are doing this in anticipation of including a photo with Christmas cards, for a new framed photo on the wall, or simply to have a new photo to add to the scrapbook, this gets to be a busy time of year.

Fall colors are beautiful, but it depends greatly on the available lighting, a great location and a quickly passing time of year as the colors change.  If you wait too long, bright orange turns to rusty brown and you have missed your chance.  If you are too early you get too much green with only a smattering of color.

This year I tried a new location and was generally happy with the results.  Lighting was very difficult as our family was in a shadow in the foreground with a bright background.  To accomplish a more even shot I combined two exposures, one with the background exposed properly and one with my family exposed evenly in front.  I combined the two in Photoshop for a well balanced photo.

With family photos, rarely does everything go perfectly.  As with this photo, not every smile is perfect.  I may end up transferring some expressions from another exposure onto this one to try and improve upon it, but perhaps not.  Sometimes leaving things closer to reality feels better and gives us something to laugh about years later.

When picking a location, keep in mind a few things:

• What is in the foreground that may add or distract on your photo
• Same for the background – do you have a clear shot or is their a road or building that may ruin an otherwise pleasant shot
• Can you choose a different angle to solve any distractions
• What time of day will provide the best lighting for the location; keep in mind the time of year for how early it gets dark if going for an evening shoot
• Is the ground going to be wet or dirty; if so, bring something to sit on such as a blanket that can be tucked out of view of the camera (note that in this shot there was duck poop everywhere!)
•  Does the location require permission for photography use
• Suggest color ideas to your subject for clothes that will compliment the location

When actually taking the photo, here are a few things to think about:

• Look for balance in your arrangement.  This is one of my weakest points I continue to try and improve on.
•  Be quick about it, especially if kids are involved.  You may only have a matter of minutes before the youngest ones lose interest and start getting fussy
• When working with kids, you can’t be bashful.  If you need to make crazy sounds or goofy faces to get the shot, it is a small price to pay!  Consider bringing noisy squeeze toys or similar if you will have very young children in the photo.
• Shoot the same shot from different angles.  You may not realize one angle was better than the other until you look at them later.
• Look for bright spots on faces that can foul up an otherwise good shot.
• Use a tripod – you may be the master at holding the camera still, but you will never be more steady than a camera mounted on a tripod.
• Consider using a trigger release.  Once you have framed the photo you can stand to the side of the camera and be as goofy as you need to capture kids attention.  When everything is just right you can hit the trigger without going back behind the camera.
• If you are taking your own photo, with a tripod you can use the timer function. That is how this particular photo was taken.

There are plenty more ideas that can apply to the family portrait, but hopefully this will get you started.  Most of all, just get out and take some photos.  I typically will get out with the family several times over a few weeks to be sure we get the best shot we all love.  Kids have bad days, weather and lighting may not cooperate, etc.  When you get that perfect shot in the end, it is all worth it.

Canon 40D, 17-55, 1/125 at f/8.0 and 400 ISO

Out of all photography, I consider concert photography to be one of the hardest forms.  It’s challenging, typically unrewarding, frustrating and exciting all rolled up into one.  Lighting changes from show to show and venue to venue.  Blast it those entertainers are either moving all over the stage and blurring up your photos or sitting still and boring as can be.  Creating something beautiful out of a show can be a tough nut to crack, but that is why I love it.

How do you get that practice to hone your skills before the big show that you really care about?  My recommendation is to start with local bands and venues where the stakes are not as high and you can take your time experimenting and learning along the way.

Challenges of Small Venues

What makes working with small bands and venues even better than your not having any pressure on the results you create is that they can be really hard.  Small venues will have a lot less invested in their lighting, and lighting is what really makes the difference in ok photos or great photos.  Why is this is a good thing?  If you can master the more difficult situation, the bigger concert with better lighting will be much easier.

Small venues will often have spotlights or simple white lights and nothing else.  This makes color photos not that interesting.  Don’t be afraid to take photos with the idea of turning them black and white for an artistic view of a normally boring situation.  Even in poor lighting you can practice holding your camea very still, anticipating artists move and composing your shots in interesting manners.  Any practice you get is going to make you more prepared with better skills and ideas in your bag of possibilities.

Getting In To Shows to Practice

One big advantage of a small show is that you often don’t have the camera restrictions of a bigger outfit.  Small bands, like Finally Friday shown above are thrilled to have you taking photos, especially if you offer them copies if you get anything good.  Typically you can wander wherever you need to, even going on stage (out of view) if you get permission.  Good luck getting that kind of access at a big show.

If you want to step up beyond the local high school bands it make take a bit more work, but still very possible.  Check local postings for shows and see what you are interested in.  Contact the venue and see if they will allow you access.  If that doesn’t work, and the band is local, try contacting them.  Small local papers often will let you shoot for them on a trial basis if they are not already sending someone to the show.  Contact the paper and get their interest, then you can contact the band or venue and let them know you are shooting for <local rag name> and you might get much further.

If you are seeking media type access, keep in mind there are some restrictions.  Expect some standard rules:

• No flash photography
• First three songs only
• Have respect for paying concert goers and don’t obstruct their view
• Do whatever security tells you to

Equipment

Now keep in mind if you start making commitments to share your photos, the pressure does increase a bit.  Save that step for when you feel more confident that you will get some shots worth sharing afterwards.  Plus, if you are going to play at this level, don’t expect to pull it off with a point and shoot camera.  If you get a media pass and show up with your 3 megapixel point and shoot, don’t expect to get invited back again.  To get the shots you need, and the respect you desire, you will need to be shooting with some sort of SLR camera.

Once you are in the SLR playing field, invest in a lens or two that make getting great shots more possible.  Look for lenses that offer the reach you need with the lowest possible f-stop you can afford.  f/2.8 is what you are gunning for.  Still, if you need to keep the budget down, get what you can and work with it.  Make sure you have an option to get the zoom, 70-200mm is idea, and then also the wide views, 17-55mm is a great wider option. Have a way to carry your spare lens with you in a waist bag of sorts, and learn how to swap lenses quickly in the dark.

Have Fun

Regardless of the level you are hoping to be at, whether pseudo media type or just getting better with the camera you have, learn to relax and have fun.  By practicing when the pressure if off you can learn what kind of shots you like to take and how to do them with ease.  Once you have mastered the settings for your camera that work for you, then you can go into the concerts you really care about and shoot great photos without a second though…and actually enjoy the concert too!