PictureCorrect.com: Shutter Speed Determination for Hand-held Landscape Photos

Now generally I recommend a tripod for landscape photography, however, I do shoot a fair bit of hand-held landscapes too and trust me, I have had more than my share of blurry photos in my 15 odd years of photography.

Is there anything worse than a Blurry Masterpiece?

In my opinion, there is nothing worse than zooming into the best shot of the day, the miracle shot that captured the moment perfectly, only to discover it’s blurry.

Ok, so how do we shoot hand-held in tough conditions and make sure our photos have a good chance of being sharp?

Photo by Daniel Lincoln; ISO 100, f/4.5, 1/100s, 16mm.

Shutter speed is critical when shooting without a tripod. We need to shoot fast enough so that any camera shake is not visible in our final photo.

But what shutter speed is fast enough to avoid camera shake?

Interestingly, it varies depending on the focal length of the lens you are shooting with.

Wide-angle lenses are much easier to get sharp hand-held photos than telephoto, as you will see below

The rule of thumb that I use is:

2 times the focal length you are shooting is a good minimum shutter speed as a guide. Of course, the faster – the better chance of a good result.

You may find that with modern stabilized cameras and lenses that you can go even lower, however, I feel that 2x the focal length is a good minimum to start at.

Now you might be thinking, “what on earth is he talking about”.

Hopefully, this clears it up:

• 20mm lens: 2 x 20 = 1/40th of a second as your minimum shutter speed for a 20mm lens.
• 50mm lens: 2 x 50 = 1/100th of a second as your minimum shutter speed for a 50mm lens.
• 100mm lens: 2 x 100 = 1/200th of a second as your minimum shutter speed for a 100mm lens
• 400mm lens: 2 x 400 = 1/800th of a second as your minimum shutter speed for a 400mm lens.

Of course, the faster the better, if you can.

This won’t guarantee sharp photos every time but it will get you on the right track as far as shutter speed is concerned.

Below are further tips for the perfect hand-held Landscape photo.

• Raise your ISO to achieve at least the minimum shutter speed above.
• Brace yourself against a solid object to reduce camera shake.
• Choose a lens or camera with Image Stabilization.
• Set your camera to multiple shot mode and fire 3-4 consecutive shots. Generally, camera shake is at its highest on the first photo as we press the shutter and will settle down in the 2nd-3rd-4th shots of the sequence.

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PictureCorrect.com: The Hierarchy of Compositional Elements in Photography

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As photographers, we are storytellers, using the language of visual elements to translate the three-dimensional world onto a two-dimensional plane. Understanding the art of composition is crucial to capturing compelling images that narrate our unique perspective of the world. It’s like arranging the notes of a melody to create a harmonious song.

Photo captured by Lachlan Gowen; f/9, 0.3s, ISO 100

However, the concept of an “order” to follow when considering the elements of composition isn’t carved in stone. Each scene, each subject, and each moment brings unique aspects that might prompt us to prioritize one compositional element over another. But for the sake of learning and practicing, it’s helpful to establish a guideline or a hierarchy of these elements. Let’s break down the sequence of considerations you might follow when composing a shot.

1. Vision and Intent

Before delving into the technical aspects of composition, start with the question: “What is my intent with this photograph?” Your vision is the driving force behind your composition. Do you want to highlight a certain emotion, convey a story, or just capture the beauty of the scene? Understanding your purpose will guide your use of compositional elements.

2. Framing and Placement of the Subject

Once you’re clear on your intent, consider the placement of your subject within the frame. The Rule of Thirds is a widely accepted principle to guide this step. The idea is to divide the frame into nine equal parts with two equally spaced horizontal and vertical lines, then place the key elements of your scene along these lines, or at their intersections.

3. Use of Leading Lines

Leading lines are a powerful tool to guide the viewer’s eye towards the subject or a point of interest. These lines can be anything – a pathway, a stream, architectural elements, or even a gaze. The key is to identify these lines in your scene and align your shot to leverage them.

4. Depth and Perspective

Creating a sense of depth adds dimension and realism to your photographs. Play with elements like foreground, middle ground, and background. Use perspective and depth of field to create a three-dimensional effect in a two-dimensional medium.

5. Balance and Symmetry

Ensure that your image feels balanced, which can be achieved both symmetrically and asymmetrically. Symmetry provides a sense of harmony and proportion, while asymmetry, when balanced correctly, can make your image more dynamic and interesting.

6. Patterns and Textures

Patterns and textures can add a rich layer of depth to your photographs. They can either be the subject itself or complement the primary subject. Patterns provide a sense of rhythm, while textures can evoke tactile sensations making the image more immersive.

7. Lighting and Shadows

Lighting is not just an illuminator, but a storyteller. It can dramatically change the mood, texture, and tone of your photograph. The interplay of light and shadow is crucial for highlighting your subject, creating depth, and revealing textures.

8. Color and Contrast

Lastly, consider the color scheme and contrast. Colors can evoke emotional responses and set the mood. Contrast, on the other hand, can draw attention to your subject, guide the viewer’s eye, and add drama to your image.

Remember, while this hierarchy can be a helpful guide, it’s not a set of rigid rules. Composition is as much about intuition and personal style as it is about guidelines. The more you shoot, the more you develop an instinct for composing impactful images. So grab your camera, and let the world be your canvas!

For Further Training:

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PictureCorrect.com: Wildlife Photography: Tips for Better Composition

For a nature photographer, composition can be a daily challenge. In wildlife photography, the challenge is even greater. Not only are you trying to satisfy your own creative vision, but you also have to deal with a subject which may have no interest in having its photo taken.

“A Very Cute Puffin” captured by PictureSocial member Ulka Nast

I can’t help you much with an uncooperative subject. Rest assured that with practice and experience, you will find that you become much quicker at composing and exposing a photo so that you get the shot before the critical moment passes. There are a couple of simple tips that can make things a little easier.

First, practice your photography in places where the animals are used to having people around and are less likely to become jittery at your presence. This does not have to be a zoo or other enclosure. Most national parks have campgrounds and picnic grounds where the wildlife is used to being around people and may even come closer looking for food. You have a much better chance of a shot if you can get close without frightening the subject away.

“Moment of a Monkey” captured by PictureSocial member Dietmar Chromik

Second, try to organize your exposure before you set up the shot. If the light is fairly constant, it is possible to point your camera in the right general direction and work out the best aperture and shutter speed settings for the photo. Then when you approach the subject, you can concentrate on composition without having to waste time working out your exposure.

These simple tips may help to take some of the frustration out of wildlife photography, but what about the composition itself? Many people simply don’t know where to start. If that sounds like you, don’t be discouraged. Like I said at the beginning, composition can be tough — even for a photographer with years of experience.

Let’s start by breaking it down into two categories: close-up and non-close-up photos.

In a close-up photo, the subject fills most of the frame.

“Say Hello to my Little Friend” captured by PictureSocial member Gabe Vasquez

A lot of people get in a tangle over whether to position their subject in the middle or to one side of the composition. In my experience, it is quite acceptable to have the subject right in the center, as long as you allow some head-room so it doesn’t appear too cramped within the confines of the composition. A central position is especially suitable when the subject is looking straight at the camera, but it often works just as well if the subject is facing a little to one side or the other.

“Jaguar” captured by PictureSocial member Michael Ware

The more space you have around the subject, the more you should consider putting it to one side or the other. You should be guided by the way the animal is facing. If it is looking to one side, position it a little towards the other side so it is looking toward the center of the frame. So, if your wildlife subject is looking right, position it a little to the left. Not too far — you don’t want half of your photo to feature nothing but empty space.

In a non-close-up, where the photo shows a lot more space around the animal, it becomes more critical that you use that space effectively. In situations where the animal is featured with a lot of background, it may be better to think of the picture as a landscape photograph, and compose it accordingly. Some of the tried-and-true techniques, like the Rule of Thirds, are a good way to help you position your subject within the overall frame of the picture.

“Red Bird and Berries” captured by PictureSocial member Bob Daveant

For a landscape-style photo, it may look quite unbalanced to position your subject in the center of the picture. It is usually better to position it to one side or the other, and it is even more important to have the animal facing toward the center of the picture. The eyes of an animal subject can have a strong effect on the direction in a composition; we tend to look where they are looking. So if the animal is on the left and looking left, the visual flow of the composition will lead out of the picture instead of into it. If the subject is on the left and looking right, the viewer will follow the gaze of the subject into the center of the picture.

Naturally, it helps if there is something of interest in the center or to the right to catch the viewer’s attention and add interest to the composition. If the subject is looking into the composition, it makes sense that it is looking at something, not just at empty space. Almost anything will do — a tree, a beach, an impressive sky — as long as it adds impact to the composition. If there is nothing of interest to work with, you might consider zooming in closer, so there is less emptiness in the frame.

These simple guidelines are intended to do nothing more than give you some ideas. Nature is not governed by the rules of composition, and a wildlife photographer must be flexible to get the best result out of each situation. Above all, trust your own judgment — your own sense of visual balance — to create a satisfying composition. On the other hand, if you are struggling to get started, think back to these guidelines; if you can position your subject well, the rest of the composition will fall into place.

About the Author:
Andrew Goodall writes for https://naturesimage.com.au/ and is a nature photographer based in Australia. He manages a gallery in Montville full of landscape photography from throughout Australia.

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PictureCorrect.com: Origin of the Rule of Thirds: Photography’s Golden Rule

Photography, with its perfect blend of art and science, offers myriad techniques that can be leveraged to capture stunning visuals. One of the most celebrated principles guiding photographers around the world is the ‘Rule of Thirds’. This rule, in its elegant simplicity, has helped produce some of the most powerful and balanced images in the history of the medium. To fully appreciate the impact of the Rule of Thirds, it’s beneficial to trace its roots back to its inception.

Photo captured by Will Suddreth

The Birth of the Rule

Despite its deep ties with photography, the rule of thirds was not initially a photographic concept. The origins of this rule trace back to John Thomas Smith’s 1797 book “Remarks on Rural Scenery” where Smith coined the term, discussing the balance of light and dark in a painting. This concept was deeply inspired by the theories of the golden ratio, dating back to the ancient Greeks.

The golden ratio or ‘divine proportion’ was widely used in Greek architecture and later by Renaissance artists. This ratio occurs when a line is divided into two parts such that the longer part divided by the smaller part is equal to the whole length divided by the longer part. It creates a visually pleasing balance that is thought to mirror patterns found in nature.

The Intersection with Photography

The evolution of the rule of thirds into photography is a fascinating tale of art adapting to technology. With the advent of cameras in the early 19th century, painters’ techniques were applied to the new medium to establish compositional norms.

In the 1860s, photographic societies began to formulate principles to guide the emerging field. During these discussions, the rule of thirds started gaining recognition among photographers.

The rule suggested that an image should be imagined as divided into nine equal parts by two equally spaced horizontal lines and two equally spaced vertical lines. Important compositional elements should be placed along these lines or their intersections. This technique gave images more tension, energy, and interest than simply centering the subject would.

Influence and Contemporary Use

In modern times, the rule of thirds has become a foundational principle of not only photography but also of visual arts such as design, painting, and even film-making. It’s extensively used in landscape photography, portraiture, and virtually any scenario where an engaging composition is required.

In landscape photography, the horizon line is often placed along one of the horizontal lines to emphasize either the sky or the land. In portraiture, the subject’s eyes are often placed on one of the intersection points to draw the viewer’s attention.

The rule of thirds has also found application in the digital space, guiding website and graphic design. Furthermore, many cameras and smartphones now offer a grid overlay function, making it easy for everyone, professionals and beginners alike, to experiment with this rule.

In Conclusion:

It’s fascinating how the rule of thirds, a principle that started its journey centuries ago in the field of painting, has remained relevant across multiple shifts in artistic mediums. It’s a testament to the enduring nature of the principle and its ability to create aesthetically pleasing and balanced compositions.

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PictureCorrect.com: Fill the Frame in Your Photography Composition

As a young photographer, I was often disappointed by my photos. There was no instant feedback as with digital images. And, as I began to learn digital photography, I realized that so many of my images had small subjects—disappointingly so. Cropping in post production with Photoshop didn’t help. What I needed to do was fill the frame.

Photo by Marina Aguiar; ISO 320, f/5.6, 1/500-second exposure.

By filling the frame you add instant impact to the image. You exclude unnecessary clutter and bring a dynamic element to the photo. There is an incorrect assumption that you have to have every part of a subject or object for the image to be complete—not so. There is no reason why you can’t chop off parts of the subject when getting in really close. When shooting a person, get in really close and shoot just part of the model’s face. This gives a dramatic effect.

So why should we fill the frame? What are the benefits to doing this?

1. Detail

The larger the subject the more detail is included in the final image. The classic photo I shot many years ago was one of my grandmother. We had lots of shots with her alone, but they were disappointingly small and we couldn’t see much of her. The one I chose to put on my wall years after her passing was one of her tightly cropped face. All the wrinkles, character, and smile lines were accentuated and the details of her face dramatically enhanced. Why is it on my wall? Because it was by these details we remembered her character. This is why macro and close-up photography are so interesting—we see details we are not usually aware of.

Photo by Steve Evans; ISO 800, f/6.3, 1/320-second exposure.

2. Mood

It is not easy to capture the mood of a subject when it is small in relationship to its environment or surroundings. A dominant subject is more dramatic and imposing when it overshadows all other elements of the image. This is especially true of people. The speaker in a crowd is not as imposing in relation to the crowd, but, when they dominate the image above a sea of heads the mood changes. The emotion of the speaker is emphasized when zooming in closer and aspects of the person are revealed that can’t be seen when lost in the crowd.

3. Background

The easiest and most simple way to rid your image of a busy, dominant, or cluttered background is to get in closer to your subject and fill the frame until the background can no longer be seen. By including dominant, irrelevant or distracting detail in a background you detract from the memory you are trying to create. In 20 years time, when the person has passed away or the subject has been demolished, what memory are you left with? Are the objects in the background that important anymore, or do you want to see more of the loved one? I think you can answer that question yourself.

4. Scale of Reproduction

The smaller the final image is going to be displayed, the larger the subject in the image needs to be. A small subject on a large billboard is still dramatically large, but the same photo displayed in a digital photo frame on a sideboard in the lounge will have no effect on the viewer. When shooting a photo, always have in mind the final use of the image.

photo by JD Hancock

Filling the frame completely is not always appropriate, so think carefully when creating the image. If you aren’t going to fill the frame, make sure that you use the space around the subject constructively or creatively. Nothing should be in the image that will detract from the main subject or focal point. By filling your frame you will dramatically improve your images as you learn photography. Happy shooting!

About the Author:
Wayne Turner has been teaching photography for 25 years and has written three books on photography. He has produced 21 Steps to Perfect Photos; a program of learner-based training using outcomes based education.

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PictureCorrect.com: What Lenses Work Best for Beautiful Background Blur?

This article is based on concepts from Creating Beautiful Background Blur if you want to dig deeper for further training.

Here is a portrait that uses background blur to make the model pop from the background.

Photo by Dan Tyler; 50mm at f/1.8

Background blur is an excellent composition tool to set your subject apart from their surrounding areas. It’s another way of saying “minimum depth of field”.

Newer photographers, with entry-level equipment, often find the idea of background blur difficult, because no matter what they do they cannot create the effect.

Photo by Matthew Hamilton

Blurring a background requires several elements of photography to be successful. First and foremost is the lens.

For that reason, in this article, we will concentrate on lens selection to create optimal background blur.

Quick Tip

Photo by CHUTTERSNAP

Your first consideration when blurring a background is the focal length of the lens.

The longer the focal length, the more blur will be created at a given f-stop.

For example, at f/2.8, a 200mm lens will create more background blur than a 50mm lens.

Wide-angle lenses will not create a noticeable background blur effect at any f-stop.

Any lens wider than a “normal” field-of-view lens will create a negligible background blur, even when you have set the f-stop to the widest opening.

A normal field of view is between 50 and 55mm for a full-frame sensor and 28-34mm on a camera with an APS-c sensor.

A “normal” lens is one that closely mimics the field of vision for the human eye.

Photo by Vicky Sim

The lens in the image above is most definitely not a “normal” lens. A very long telephoto lens like this would create background blur even at smaller apertures!

What about the relationship between aperture and background blur?

The photographic term “fast lens” refers to the largest aperture available on the lens. A lens with a very wide maximum aperture is a faster lens than a similar lens with a smaller maximum aperture.

This fact of optics is why creating background blur with kit lenses is difficult to impossible. They generally have a smaller maximum aperture.

The lens above has a maximum aperture of f/1.4. This lens would be considered very fast, and it would be extremely efficient at creating background blur.

Photo by Dimitri Houtteman

This Canon 24-105mm zoom lens has a maximum aperture of f/4. This lens is not as fast a lens as compared to the previous example, where the maximum aperture was f/1.4.

Some lenses display the aperture scale outside the lens (such as the Nikon 85mm).

Other lenses only display the aperture scale inside the viewfinder, such as Canon 24-105mm zoom lens.

Most lenses have variable apertures. The one exception is mirror lenses. They have a fixed aperture, usually around f/8.

Quick Tip

With a zoom lens (variable focal length), such as the Canon example, the lens will create more background blur at a longer focal length setting versus a shorter focal length setting.

For example, this Canon lens set at the maximum aperture of f/4 will create more background blur at the 105mm focal length setting versus the 24mm focal length setting (where it would create little to no background blur).

Conclusion: When selecting a lens for background blur…

• A lens with a longer focal length works better than a shorter one.
• A lens with a wider maximum aperture works better than a lens with a smaller one.
• A “fast lens” is one that has a large maximum aperture (f/2.8 or larger).
• Kit lenses, as a general rule, are not very fast and therefore do a poor job of creating background blur.
• Wide-angle lenses are also a poor choice for creating background blur.
• A lens focal length starting at a “normal” field of view (matching the human eye) and escalating toward longer focal lengths (telephoto) creates the best background blur.
• When using a zoom lens (variable focal length), the longest focal length will create a better background blur than the shorter focal lengths at the maximum aperture.

Photo by Martin Castro; 50mm at f/1.4

Note: Some zoom lenses have a “variable” maximum aperture. You would want to consider this when choosing a focal length for background blur with a zoom lens.

About the Author:
Kent DuFault is an author and photographer with over 35 years of experience. He’s currently the director of content at the online photography school, Photzy.com.

For Further Training:

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Designed to be the only depth-of-field guide you’ll ever need and the initial reviews have been great. When you finish studying this premium guide, you won’t have a haphazard understanding of lenses, optics, depth of field, and bokeh. The author wrote it so his readers would have an “expert level” understanding on these subjects. P.S. try the coupon code picturecorrect at checkout for even more of a discount which ends soon.

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PictureCorrect.com: Light Painting Photography Techniques: 7 Useful Tips

Light painting is a fun photography technique where photographers use camera flashes, flashlights, and spotlights to paint light in a scene. It can easily qualify as the best/most fun night photography technique. Although many photographers have attempted it before, only a few have mastered the technique. Below are some very useful tips to consider when you want to perfect your light painting skills.

1. Try out different light sources

This is very important You shouldn’t try painting everything using the same light. To avoid odd and flat pictures, consider using different light sources, otherwise your work will defy the sole purpose of light painting, which is to create unique light impressions on different landscape parts at night.

Photo by David Russo; ISO 400, f/4.5, 30-second exposure.

2. Use dimmable light sources

For the best results, you need to choose dimmable light sources, because light painting relies heavily on light intensity. To get the best results, you must be able to alter light intensity whichever way you like to ensure every part of a photo gets the right amount of light.

3. Take care of the noise

It is important to note that long exposures create more noise. Because of this, take time painting in light, but don’t forget to factor in this small detail; it can be the difference between good and bad lighting photography.

4. Take multiple shots

To get the best light painting photos, you need to take as many shots as possible. Multiple shots help you treat different parts of a photo separately which should be the case in light painting.

5. Use flashlights that don’t have hot spots

Moving your flashlight beam randomly when taking light photos doesn’t make a big difference even if your flashlight has a hot spot (a bright circle located at the center of the beam). The hotspot does, however, make a big difference when you are considering fine details in scenes. If you don’t have money to buy the perfect flashlight, consider taping tissue paper or wax paper over your flashlight lens to eliminate hot spots.

Photo by Stephen Poff; ISO 100, f/11.0, 67-second exposure.

6. Include night photography techniques

Just because you are light painting shouldn’t mean you forget typical night photography techniques. You must consider techniques like mirror lockup, cable release, long exposure noise reduction, etc., to ensure you get the best outcome.

7. Mix ambient light

You should also remember to incorporate ambient light—like street lights or moon light—to add mood to your photos. Using flashlights shouldn’t mean you ignore all other light sources.

Photo by Dave Edens; ISO 1600, f/25.0, 15-second exposure.

Keep these tips in mind next time you head out for a light painting shoot.

About the Author:
Swee Shiong Chong writes for SG East Photography, a photography blog on techniques and equipment that is used in creating all types of photography from around the world.

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PictureCorrect.com: Diagonal Leading Lines in Photography

Of all the lines used in photography, diagonals are the most dynamic. You can use them to create a strong impression of movement or you can use them to create a tremendous sense of depth. All images are created with lines—some vertical, horizontal and others converging—but knowing how to place them affects the mood and composition of the final image.

“Prinsenmolen Sunset” captured by Vincent van der Pas

A sense of order is created with vertical and horizontal lines, implying stability and strength. Diagonals are unbalanced and appear to be unstable. What they communicate is dynamic, yet precarious. They always appear to be falling over or not quite secure. This is what lends itself to a dramatic image.

The easiest way to create diagonals is simply by tilting your camera. Slanted views of horizontals and verticals and can easily be created by the photographer. I find that a bit of tilt to my camera adds a little slant to the image and creates a perfect diagonal line.

Try capturing a simple image like a car or skyscraper by tilting the camera forty five degrees and see the effect you create. What happens to the image? The car looks as if it is going fast while skyscraper appears to be reaching for the sky. This effect is created simply by simply turning your camera

When shooting from high up from a bird’s eye view, you can really create some stunning images. Look for lines then tilt the camera. The bird’s eye vantage allows you great leeway, as there is no right way, no up or down; everything is two dimensional. Experiment with patterns and color, and you will arrive at some dramatic compositions.

Don’t be afraid to use crazy angles and change your viewpoint when shooting with diagonals. They will help give you a sense of depth and perspective. They tend to lead the eye to whatever focal point you decide, to a place where they end or disappear into nothing. Diagonals encourage the eye of the viewer to follow, almost like the Judas goat at the abattoir that leads the livestock to the slaughter. A set of footprints, a curved hedge, or river can be used to guide the viewers to the point of focus. But you must lead them to something that has a strong interest otherwise the viewer is left feeling that the image is incomplete.

Then there is the zigzag effect when using diagonals in patterns. The repeated pattern can also be used to drag the eye into the image over a larger area of the frame. These patterns are dynamic and, when used with horizontals and verticals, become even more dramatic.

Photo by ShinyPhotoScotland

I have always chosen diagonals as my favorite lines because they are so dynamic and add something to my images. Bottom line though, as you learn digital photography, you need to experiment and practice what you learn in order to master it. Happy shooting!

About the Author:
Wayne Turner has been teaching photography for 25 years and has written three books on photography. He has produced 21 Steps to Perfect Photos; a program of learner-based training using outcomes based education.

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PictureCorrect.com: The Photographer’s Palette: The Role of Color in Composition

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Colors are the silent narrators of the stories that unfold through photography. They can evoke emotions, guide the viewer’s eye, and create a compelling composition. Photographers, both amateurs and professionals, should consider color as an essential tool in their creative arsenal to enhance the visual storytelling experience. In this blog post, we delve into the importance of color in photography composition and how you can use it effectively.

Photo captured by Richard Schneider; 35mm, f/13, 1/125s, ISO 125

The Role of Color in Photography Composition

Photography is a visual medium that relies heavily on composition, the arrangement of visual elements within a scene. A well-composed photo has a balance of elements that guide the viewer’s eye through the image, creating a visually pleasing and engaging experience.

One of these elements, often overlooked, is color. Colors can have different psychological effects on the viewer. They can stimulate emotions, highlight subjects, create depth, and even convey concepts and ideas. Understanding the role of color in photography can, therefore, elevate your compositions, taking your photos from merely “good” to “outstanding.”

Color Theory and The Color Wheel

Before diving into the practical aspects, understanding some basics of color theory can be beneficial. Central to color theory is the color wheel, which includes primary colors (red, blue, yellow), secondary colors (green, orange, purple), and tertiary colors – the result of mixing a primary and a secondary color.

Colors opposite each other on the color wheel are complementary colors, and when used together, they create a vibrant contrast. Analogous colors, those close together on the wheel, can establish a sense of harmony and cohesion.

Photo captured by Irham Setyaki

Using Color in Photography Composition

1. Complementary Colors: Complementary colors can make your subject pop, making the viewer’s eye immediately drawn to it. The stark contrast created by these color pairings can add a dramatic effect to your photographs.
2. Analogous Colors: Using analogous colors can create a sense of harmony and consistency. These colors work well together and create a calming, peaceful effect. They are excellent for capturing serene landscapes, quiet street scenes, or intimate portraits.
3. Monochrome: A monochrome color palette doesn’t mean just black and white. It involves using different shades, tints, and tones of a single color. This approach can produce a striking, impactful image by playing with light and shadows.
4. Color and Mood: Colors can evoke a specific mood. Warm colors (red, orange, yellow) typically stir up feelings of warmth and comfort, while cool colors (blue, green, purple) elicit feelings of calm and relaxation. Use color to enhance the atmosphere or emotion you want to convey in your photograph.
5. Color as a Leading Line: Color can be used as a leading line to guide the viewer’s eye towards your subject or a specific area in your image. Bright, saturated colors tend to draw attention, so use them strategically.
6. Color for Depth and Dimension: You can use color to add depth and dimension to your photos. Warm colors appear closer to the viewer, while cool colors seem to recede into the background.

Photo captured by Amit Gaur; 35mm, f/1.8, 1/60s, ISO 100

Understanding Color Balance and Post-Processing

In digital photography, understanding color balance is crucial. Cameras interpret colors differently than the human eye, so adjusting the color balance, usually through White Balance settings, can significantly influence the overall mood of your photograph.

In post-processing, tools like Photoshop or Lightroom can help correct color balance, adjust saturation and vibrancy, or apply color grading to further emphasize the mood or narrative you want to express.

Final Thoughts

In the world of photography composition, color is a powerful tool waiting to be fully exploited. Mastering the use of color takes practice and experience, but once you grasp its potential, your photos will never be the same. So, the next time you’re framing a shot, consider not just the subjects and shapes, but the colors and the story they can tell. After all, every hue in your palette is another word in your photographic vocabulary.

For Further Training:

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Composition Cheat Sheets (see all the elements covered)

The perfect companion for any photographer. Print one out whenever you need it. These cheat sheets consolidate crucial composition-related information, allowing you to concentrate on what truly matters – composing striking photographs.

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PictureCorrect.com: Rain, Reflections, and the City: Urban Photography on Wet Days

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Often seen as an inconvenience, rainy days can in fact be a goldmine for photography enthusiasts, particularly those who love to capture urban landscapes. With the right techniques, what could be a gloomy, wet day transforms into a playground of vibrant reflections, textures, and strikingly beautiful scenes. Here are some essential tips to make the most of your rainy day urban photography:

Photo captured by Guillaume Flandre; 23mm, f/1.4, 1/500s, ISO 800

1. Gear Up

First and foremost, protecting your camera gear is a priority. There are many weather-sealed camera bodies and lenses available on the market, but if you don’t own one, don’t worry. A rain cover for your camera will do just fine and is usually quite affordable. For a makeshift solution, even a plastic bag can be useful, provided you handle your equipment carefully. Don’t forget an umbrella or a waterproof jacket to keep yourself dry and comfortable.

2. Embrace Reflections

One of the most spectacular things about photography on a rainy day is the appearance of reflections. Wet surfaces, puddles, and glass panes become mirrors reflecting the city’s life in a different perspective. Reflections can bring a surreal and artistic touch to your photos. Look for those perfect puddles and use them to create a dramatic impact by including city structures, lights, and even pedestrians.

3. Look for Details

Rain transforms the ordinary into the extraordinary. Raindrops on a railing, wet footprints on the pavement, beads of water on a café window – these details may seem mundane but can add depth to your photography. Focusing on these minute details can give your viewers a fresh perspective on the familiar urban environment.

Photo captured by Alexei Maridashvili

4. Play With Light

Rainy days might seem dark and gloomy, but they are filled with unique lighting opportunities. The overcast sky acts as a giant diffuser, providing a soft, even light that’s perfect for capturing the city’s character. The vibrant city lights become even more pronounced in the rain, especially at dusk or night. The contrasting lights and the dark environment create high drama and ambiance in your images.

5. Capture Movement

The hustle-bustle of the city is amplified on rainy days. People dashing with umbrellas, vehicles splashing water, raindrops trickling down window panes – these movements can add a dynamic touch to your photos. Using a slow shutter speed will let you play around with motion blur, conveying a sense of speed and urgency that aligns with the mood of a rainy day.

6. Experiment with Black and White

Black and white photography and rainy days make for a potent combination. It brings out the mood, contrasts, and textures in a more pronounced manner. Particularly in an urban setting, black and white can amplify the timeless character of the cityscape, making your photographs dramatic and intense.

Photo captured by masahiro miyagi

7. Post-Processing

Finally, don’t forget the power of post-processing. You can enhance the moodiness of your rainy day pictures by adjusting the contrast, sharpness, and saturation. Experimenting with various filters can also highlight the different elements you’ve captured.

Rainy days offer a unique canvas for your urban photography. While the rest retreat indoors, it’s your chance to step out and explore the city from a refreshed and renewed perspective. Happy shooting!

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PictureCorrect.com: Tips for Using Patterns in Photography

Patterns are basically just repeated shapes, objects or colors either ordered in precise formations or just random designs scattered across a scene. The important thing about patterns is that they create images that are very pleasing to the eye and add a new dimension to your photos.

Photo by Sharafat Khan; ISO 100, f/4.0, 1/200-second exposure.

Patterns can be found everywhere in our world, from natural forms to our urban and industrial environments. Use them effectively in an image and you’ll create a photo that is dynamic and attracts the eye to the main subject or focal point. It will help you learn digital photography in interesting ways.

There are two ways to look at patterns. Take a bird’s eye view and look down on say a car park where you’ll see predictable rows of vehicles. Then the other way is to get in closer and look for not so obvious patterns like tire treads and grill patterns. If you really want to be successful in shooting a pattern make sure that you fill the whole frame so that the pattern extends form edge to edge.

So what are the most effective ways to use patterns in your photography? Here are a few ways.

1. Regular patterns

These are easily identifiable and make really outstanding images especially when there is a lot of color involved. Rows and rows of soldiers in red jackets make up a really great pattern formation. Be sure to try different angles and viewpoints to get more interesting shots. Regular patterns are made up of ordered rows of geometric designs or other objects of the same shape and size. Office blocks made up of rows of windows, rows of trees in an orchard or even a honeycomb.

Photo by _namtaf_; ISO 100, f/7.1, 1/800-second exposure.

2. Irregular patterns

These form an interesting image just by the irregular nature of the pattern. Objects that are randomly placed in a scene but fairly close together still reveal a sense of repetition. For example, a sky full of parachutists with colored parachutes above them or the leaves on a tree or even a forest floor with a carpet of leaves or acorns. None of these have regular patterns but they are still identified as patterns. Again by filling the frame edge to edge you will emphasize the actual pattern and contain it with great effect.

3. Multiple patterns

This is an interesting one and you’ll often see it in a wall of say an ancient building where different additions have been made. The regular pattern goes in one direction and changes as a new addition of bricks or tiles has been added hundreds of years later.

Photo by Sven Hoffmann; ISO 800, f/8.0, 1/170-second exposure.

Brick paving leading up to a tiled wall will reveal a contrast between two types of patterns. Sometimes you’ll see this with the old and new as in a stone wall with a corrugated metal structure behind it.

4. Breaking the pattern

Picture this. A tray of thirty eggs all uniform in color and size with just one egg that has been broken revealing the bright yellow yolk. The uniformity of pattern is interrupted by the single broken egg. This doesn’t weaken the patterned effect as you would think but strengthens the overall image quite dramatically. These are created pattern breaks, but, by looking for them occurring natural is the challenge. For example, the field of red tulips in a Dutch field with just one yellow flower growing in the middle, or, a row of cars at factory storage facility with one color breaking the pattern. A fun experiment is creating your own pattern breaks with shells on the beach or acorns in a forest. You don’t have to have an object that is different to the rest. I shot a great image of a tiny shoot of a baby pine tree pushing its way through a carpet of brown pine needles. The green shoot contrasted against the brown needles and made an outstanding image.

Photo by Matthias Weinberger; f/9.0, 1/1000-second exposure.

As you learn digital photography, the idea of using patterns creates an opportunity for seeing with your photographic eye. Look for patterns within patterns as with the car park I mentioned earlier. Taking the time to see is vital when trying to create a great image. You will often find that in getting closer and looking for detail you’ll often spot a unique pattern opportunity.

About the Author:
Wayne Turner has been teaching photography for 25 years and has written three books on photography. He has produced 21 Steps to Perfect Photos; a program of learner-based training using outcomes based education.

For Further Training:

Are you ever tired of your photos looking dull or boring? These new Composition Cheat Sheets have you covered. With clear, concise information on all the essential elements of composition, you’ll never be unprepared again. They are currently 81% off for the launch sale which ends soon if you want to check them out.

Composition Cheat Sheets (see all the elements covered)

The perfect companion for any photographer. Print one out whenever you need it. These cheat sheets consolidate crucial composition-related information, allowing you to concentrate on what truly matters – composing striking photographs.

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PictureCorrect.com: Lighthouse Photography Tips

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Lighthouses are a favorite subject for photographers, because they are romantic. However, some realities can make creating an excellent lighthouse photo challenging.

This article will provide you with some valuable insight into improving your lighthouse pictures, and we will discuss these skill points:

• Composition with a limited point of view
• Spotting problems: crooked horizon, trash cans
• Balancing exposure between the sky and foreground
• Creating sharp photos in a windy environment
• Preparing for variable light conditions and weather

“Lighthouses are not just stone, brick, metal and glass. There’s a human story at every lighthouse; that’s the story I want to tell.” ― Elinor DeWire

Elinore DeWire is an American author that specializes in writing about lighthouses, and her quote is good advice for us photographers.

Photo by Pixabay

If you want to create romantic imagery of lighthouses, think about the human connection.

Showcase the sense of isolation and consider the impact a lighthouse would have upon a lonely sailor coming home.

Camera POV—Point of View

Some lighthouses are short and stout. However, the vast majority of lighthouses are tall and imposing structures.

Photo by Vidar Nordli-Mathisen

Pro Tip: The height of the structure will play a critical role in helping you select your POV and lens. If the horizon line is visible, make sure that it is straight and not angled one way or the other.

Tall lighthouses are large and imposing structures. If you get close to the tower, you will likely be limited to a POV that looks upward with a wide-angle lens or a moderate telephoto for close-ups.

Clockwise from top left: Photos by Daniel Reyes, Louis Reed, Louis Renaudineau and Eric Muhr

While there is nothing wrong with the upward view, it doesn’t lend itself to a romantic lighthouse picture. But by all means, take a few of these shots as well—if you have access.

Critical Point: The romantic POV for a lighthouse will often come from some distance away, rather than close to the site itself. A lighthouse will usually be placed out upon a point of land, and there can be other points of land to either side of it. Look to these areas on either side for a camera position that can include the lighthouse’s surrounding environment, which will create a romantic visual story. A lighthouse is often best captured from an elevated point of view with the water stretching out behind it.

Photo by Raphael Rychetsky

Access to lighthouses can range from complete access, where you can go inside and climb the stairs to the prism, to limited access where you might not even be allowed on the grounds.

Pro Tip: If you live near your subject lighthouse, you can visit it many times and explore different points of view and access moments. If you’re on vacation, and your opportunity is a one-shot deal, it will be worth your time to do some research online. You want to know the access limitations, weather conditions and sunrise and sunset times during your visit.

Top photos by Kent DuFault; bottom by Mike

Equipment:

• Camera: Any camera, including a smartphone camera
• Lens: Any lens, but typically, you want a moderate wide-angle to medium telephoto
• Lens Hood: Highly suggested to prevent lens flare
• Filters: Graduated ND and/or a polarizing filter can be convenient and helpful
• Tripod: Best to get one with a sturdy head and a wired or wireless remote shutter release, if you want to give some long-exposure shots a try or plan to shoot in low light
• Flashlight: A great tool if you arrive or leave in the dark, especially if you are walking along cliffs
• App software: Photo Pills (this software, while optional, locates the sunrise and sunset on a map and can help you determine the best shooting location before you arrive)
• Notepad: Take notes and be sure to record location metadata on your camera

Photo by Keith Luke

Think About This:

Romanticizing a lighthouse picture means adding drama. There are several ways to do this. Including a ship in the background is fabulous addition if you’re lucky enough to see one. You can also include working personnel like the lighthouse keeper, as I did in a previous example photo. Explore all the possibilities.

Photo by Kent DuFault

I visited this lighthouse at sunset. The lighting was perfect. However, I wasn’t lucky enough to catch a vessel going in or out of the harbor. Then a couple walked past me and out toward the structure. It was the perfect human element that I needed to create my romanticized lighthouse story.

We’ve all heard the virtues of photographing during the golden hour. With romantic lighthouse photography, the time of day plays a critical role.

From left: photos by Adam Bixby, James Peacock and Cam Bradford

In the example photos above, the leftmost picture was taken under midday light. The scene is quite extraordinary. However, it lacks romantic drama due to the lighting.

The center photo represents what you might expect around sunrise or sunset, while the rightmost picture results from shooting the lighthouse after sunset in the twilight hour.

Pro Tips!

• Avoid shooting during midday light. If that’s the only opportunity to photograph, consider using some glass filters on your lens. (More on that in a minute.)
• Sunrise and sunset are great options for light. Arrive early. You want to set up and be ready when the magic happens. Bring a flashlight so you can see in the dark. A headlamp also works well.
• Sunrise and sunset can be great for capturing your lighthouse in silhouette. Make sure you select a point of view that places the lighthouse structure against the bright sky.

Post-sunset is a superb time for romantic lighthouse photography. The best shots will occur when there is still some light left in the sky—up to 45 minutes after the sun drops below the horizon.

Photo by Everaldo Coelho

Gear Hack!

Let’s say you don’t have an option but to visit your lighthouse subject at midday. This scenario is one of those moments where a colored glass filter on the lens can save the day. You can also accomplish a color wash in post-production.

Pro Tip: If you’re going with a color filter on the lens, keep it light in hue and density. Colors that work well are pink, violet, blue and very light shades of red.

Original photo by Atharva Tulsi; editing by Kent DuFault

The original photo was taken in midday light. It lacked any sense of romance in the lighting.

You can add a color wash to your lighthouse image in Photoshop using the layer style option in the layers palette. Make sure you duplicate the background layer and then highlight it before clicking on layer styles. You cannot use layer styles on the background layer.

You can also add a color wash to a bland lighthouse picture in Lightroom.

Color wash

Pro Tip: When creating a color wash in post-production, using a minimalist approach is often more appealing than going with deep shades of color.

In Lightroom, the tools you will use to create a romantic hue of color are curves, color, and the color mixer or HSL (depending upon your version of Lightroom).

Beware of fakes!

Be careful with your post-production!

In this lighthouse picture, the sun was behind the photographer and to the right of the camera. You can tell by the shadows on the buildings.

Photo by Pixabay

There must have been a bland sky, and the photographer decided to drop in a sunset.

The problem is that the lighting doesn’t match up—backlighting and front lighting in the same picture?

It is obviously fake.

Become a student of light, and don’t create fake lighting!

Let’s cover a few final critical features to creating romantic lighthouse photos.

Photo by Cayetano Gil

The weather is a definite dramatic factor in lighthouse photography.

In fact, the worse the weather is, the better.

After all, the very function of the lighthouse is to guide when inclement weather prevents visual contact.

Your chances of the lighthouse lamp being turned on are much higher!

Pro Tip: Inclement weather often brings the wind. You must stabilize your camera, especially if you will try and capture some long exposures (such as in the example photo above.) Having an excellent steady tripod with a decent sized head is crucial. Look for a vantage point that is protected from the wind. Bring some sandbags and bungee tie them to hang down from the tripod between the three legs. There are commercially available sandbags for photography purposes, or you can make your own.

Photo by George Desipris

If a pleasing and storytelling environment surrounds your lighthouse, take some shots that include it.

These are the four lenses that I carry for my lighthouse photography.

• Canon EF 16-35mm f/2.8L III USM
• Canon EF 24-70mm f/2.8L II USM
• Canon EF 70-200mm f/2.8L IS III USM
• Canon EF 300mm f/4L IS USM

If your POV is distant, try to include some meaningful foreground objects to add depth perception.

Photo by Mitch McKee

Pro Tip: Keep your eyes sharpened and look for garbage cans, cars, power lines or any object that can interfere with your photo’s romanticized intent.

If you’re down near the water, look for tidepools to catch a reflection for added impact.

Photo by Pixabay

In Conclusion

• Lighthouses can be tall or short and stout; choose your POV accordingly
• An elevated POV often best portrays the romantic aspect of a lighthouse
• Keep your horizon line straight
• Access can be limited, and you may find your best camera angle from some distance away from the tower
• When possible, include a human element
• You can create dramatic and romantic lighthouse images with any camera—more equipment just gives you more options
• Be aware of the environment—bring a flashlight and watch your footing
• It’s best to shoot a lighthouse at sunrise or sunset; dusk can also create dramatic effects, especially if the lighthouse lamp is on
• You could add color with glass filters or post-production techniques if the lighting is lackluster
• Don’t create a fake-looking picture!
• Inclement weather is your friend
• Include the surrounding landscape if it romanticizes the story of your image
• Including foreground objects adds depth perception
• Reflections can add a neat effect if you’re near the water

Photo by Joshua Hibbert

Now You Should Give It a Try!

Pick your subject lighthouse.

Do pre-location research online. Try to determine the best time of day and angle. Depending upon the location, plan to shoot at sunrise or sunset.

Use the following camera settings:

• Manual mode or aperture priority mode
• Drive mode to single shot
• Mount the camera to a tripod and use a remote shutter release
• Start at ISO 200 (adjust as necessary)
• Maintain a shutter speed of 1/15th or faster for wide-angle lenses, and 1/60th or faster for longer telephoto lenses
• Use all the focusing points
• Set the metering mode to matrix/evaluative/pattern
• Use single shot focus mode
• Set the white balance to auto
• Shoot in camera raw (additional .jpeg optional)
• Adjust aperture from f/2.8 to f/11 depending upon the depth of field
• Use a foreground object if possible

How did you do?

• Did you correctly place the focus for the intended depth of field window?
• Is the lighthouse sharp and free of camera shake?
• Did you compose the image using the sample pictures for ideas?
• Is your image free of unwanted humanmade objects (garbage cans, etc.)?
• Did you frame the shot tight enough or wide enough?
• Does your photo convey the romance of the location?
• Is the color pleasing? (It doesn’t need to be accurate)
• Is your exposure balanced between the sky and foreground?
• Did you experiment with motion blur in the water while keeping the lighthouse sharp?

About the Author:
Kent DuFault is an author and photographer with over 35 years of experience. He’s currently the director of content at the online photography school, Photzy.com

For Further Training:

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