PictureCorrect.com: Why a Standard Lens is Perfect for Street and Travel Photography

Standard lenses (also called normal lenses) have a kind of mystique amongst photographers. Perhaps it’s because Henri Cartier-Bresson was famous for using one, maybe it has something to do with nostalgia for the times when most cameras came with a 50mm kit lens rather than the zooms that are common today. Regardless, if you are looking for a versatile prime lens for street or travel photography then a standard lens is an excellent choice. My 35mm prime (a standard lens on an APS-C camera) has become my favorite lens for street and travel photography.

f/1.4

Let’s start with some definitions.

A standard lens for a full-frame or 35mm film camera is a 50mm prime (one exception – Pentax makes a 43mm f/1.9 lens).

For an APS-C system a 35mm prime lens (such as the excellent 35mm f/1.4 lens made by Fujifilm) is a standard lens. Some photographers also consider a 28mm lens to be a standard.

For a Micro four-thirds camera you need a 25mm prime.

Last year I took a wide-angle lens, a standard lens and a short telephoto lens with me on a five week trip to China. I used them all for street photography, but when I analyzed the photos afterwards I realized that over 90% of them were taken with the standard lens (a 35mm f/1.4 prime). That trend continued during a later trip to Spain.

Here are some of the reasons that I used the standard lens so much more than the others, combined with some tips for making the most from them yourself.

1. Standard lenses have wide maximum apertures

Standard lenses typically have a maximum aperture somewhere between f/1.2 and f/2. This helps you take photos in low light, or use the wide aperture settings for selective focus, or both. This is really useful if you take photos in a street market or some other lively location at night, or inside a dimly lit building.

The photo above, taken in a historical building in Hangzhou, is a good example. The light was so low that I had to set the aperture to f/1.4 and ISO to 6400 to take the photo.

2. Standard lenses let you take photos in the street without getting too close to people

Standard lenses let you take candid photos of people in the street without getting too close. In China, I found that most people ignored me as I took photos with my 35mm lens. It may have helped that the Fuijfilm camera I used (an X-T1) is much smaller than a digital SLR and less intimidating. It may also have helped that the Chinese are such keen photographers that another person with a camera doesn’t draw much attention.

From a practical point of view, the standard lens lets you take photos of people without getting so close to them that you invade their personal space.

I spotted this man by the entrance of a restaurant in Hangzhou. His clothing and thoughtful pose caught my eye – I believe he was there to encourage people to come into the restaurant. It was only afterwards that I realized there was an interesting juxtaposition between him and the statue to his left.

You can take environmental portraits like this very easily with a standard lens.

Street Photography

3. You can use a standard lens to simplify the background

Street scenes are naturally chaotic, and it’s the photographer’s job to make some kind of visual order from this. The narrower field of view of standard lenses (compared to wide-angle lenses) means that you naturally include less background in your images. You can also throw the background at least slightly out of focus by selecting an aperture of f2.8 or wider. This is much harder to do with wide-angle lenses.

An image like this, taken in a street market in Xi’an, has a much tighter background than you would be able to get with a wide-angle lens. That helped me exclude other people from the scene and focus attention on the woman.

Simplify the Background

4. You can use a standard lens to capture details

Standard lenses are good for capturing details. Street photography is not just about making portraits. You can build up a feeling for a place by photographing details that capture its character and spirit.

Most standard lenses can focus quite closely to the subject, making them a very versatile lens for travel photography.

This photo of fish taken in a market in Cadiz, Spain is a good example.

Details

5. Use a standard lens to make a portrait of somebody with permission.

Standard lenses are ideal for portraits. They work well if you stop people in the street and ask if you can take their photo. While you could argue that a longer focal length will help you take portraits with a more flattering perspective, the advantage of a standard lens is that it is smaller and less intimidating to the person that you have approached. You are much more likely to get a natural response.

Earlier this year I went to Carnival in Cadiz. There were lots of people in costume, but only a few with face paint. When I saw somebody with interesting face paint I asked if I could take a photo. Every time I asked, the person said yes, and I took a couple of photos.

Here is one of them.

Portraits with Permission

6. You can capture scenes including people for scale or context

Standard lenses are good for capturing scenes which include people to give scale or context. The angle of view is wide enough that the people in your photo, if you are far away, are not bothered about being in it. They will probably think you are taking a photo of the scene behind them, especially if it is picturesque and worthy of a snapshot. If the person is positioned on a third, or at the edge of the frame, then the camera won’t be pointing directly at them. Even if they notice you they don’t feel threatened by it.

People for Scale or Context

This photo, taken in Beijing, shows a local woman amongst some of the beautiful architecture by Beihei Lake.

About the Author:
Andrew S Gibson is a professional photographer based in New Zealand. He has taken photographs in 60 countries now as a Technical Editor for EOS magazine. He produced a Mastering Lenses guide for photographers.

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PictureCorrect.com: Balance and Visual Weight in Landscape Photography

Landscape photography is all about capturing the essence of a place and evoking emotion in the viewer. One of the most effective ways to achieve this is by understanding and using the principles of balance and visual weight. These concepts help the photographer create harmonious compositions that captivate the viewer’s attention.

Photo captured by Martin Sanchez

1. Understanding Balance

Balance in a photograph refers to the distribution of visual elements, ensuring that no one part of the image overwhelms another. This creates a sense of equilibrium, where the viewer feels at ease when looking at the photograph.

There are two main types of balance:

• Symmetrical Balance: This occurs when both halves of an image mirror each other. Think of reflection shots, where a mountain is reflected perfectly in a still lake.
• Asymmetrical Balance: This is achieved when different elements on either side of an image have equal visual weight but are not identical. For instance, a large tree on one side might be balanced by a cluster of smaller trees on the other.

2. Grasping the Concept of Visual Weight

Visual weight refers to the ability of an element within an image to draw the viewer’s attention. Factors that contribute to an element’s visual weight include:

• Size: Larger objects typically have more visual weight than smaller ones.
• Contrast: An element that contrasts with its surroundings, either in color, tone, or texture, will stand out.
• Placement: Elements placed towards the center tend to feel heavier than those at the edges.
• Complexity: Detailed or complex subjects can draw more attention than simpler ones.

Photo captured by John Mark Arnold

3. Tips for Achieving Balance with Visual Weight

• Rule of Thirds: Place main subjects on the intersections of the dividing lines. This naturally achieves balance in many scenes.
• Use Leading Lines: Paths, rivers, or shadows can guide the viewer’s eyes through the frame, balancing out elements of visual weight.
• Incorporate Negative Space: The empty space can balance a prominent subject, preventing it from overwhelming the image.
• Pay Attention to Natural Symmetry: Reflections, shadows, and formations can provide natural ways to balance a photo.

4. The Intentional Imbalance

There are moments when an intentional imbalance can be powerful. By making one element overwhelmingly dominant, photographers can evoke feelings of loneliness, awe, or vulnerability. However, it’s essential to use this technique judiciously to avoid confusing the viewer.

Conclusion

Understanding balance and visual weight is crucial for creating compelling landscape photographs. By mastering these concepts, you’ll be better equipped to guide your viewer’s eye through your image, telling a more engaging story about the scene you’ve captured. Like all rules in art, once you understand them thoroughly, don’t be afraid to break them creatively to achieve the mood or message you’re aiming for in your work.

For Further Training:

Currently on sale until the end of the month, August 31, this course titled “Simply Stunning Landscapes” by Joshua Dunlop, founder of ExpertPhotography, offers a comprehensive guide on mastering the intricacies of landscape photography.

Simply Stunning Landscapes (see what’s covered)

What sets “Simply Stunning Landscapes” apart is its hands-on approach. Instead of confining lessons to theoretical discussions, the course offers practical insights by being shot in various European locations.

Deal ending soon: Simply Stunning Landscapes at $200 Off

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PictureCorrect.com: The Atmospheric Recipe for Breathtaking Sunsets

Every evening, as the sun dips below the horizon, we are often treated to a display of vibrant colors splashed across the sky. These sunsets, with their varying hues and intensities, never fail to mesmerize us. But have you ever wondered what kind of weather produces the most awe-inspiring sunsets? Let’s dive in!

Photo captured by Marc Kleen

1. Cloud Cover and Type

Firstly, the presence and type of clouds play a significant role in creating those picturesque sunset scenes. Here’s why:

• Scattered Clouds: A sky with scattered clouds allows the sunlight to be refracted and reflected in multiple ways, leading to a dynamic display of colors.
• High Cirrus Clouds: These thin, wispy clouds located at higher altitudes can catch the last rays of the setting sun, creating brilliant shades of pink and red.

However, a completely overcast sky can dampen the sunset as there’s not enough light to create the hues.

2. Atmospheric Particles

The atmosphere is filled with tiny particles, such as dust, smoke, and pollutants. The presence of these particles can enhance the depth and range of sunset colors.

• Volcanic Eruptions: Large volcanic eruptions can release particles high into the atmosphere, leading to some of the most vivid sunsets. Historically, major eruptions have produced sunsets that have been documented in paintings and literature.
• Pollution: Urban areas often have increased pollutants, which scatter the sunlight in various directions, producing deeper oranges and reds during sunset.

3. Clear Skies

While clouds and particles enhance sunsets, sometimes, the most serene sunsets are observed with clear skies. These sunsets might not have the dramatic flair, but they offer a gradient of pastel colors, transitioning smoothly from one hue to another.

4. Angle of the Sun

During different seasons, the angle at which sunlight enters the atmosphere changes. Around the equinoxes, when the sun sets almost directly in the west, the light has to pass through more of the Earth’s atmosphere, increasing the scattering of blue and green light, and enhancing the reds and oranges.

5. Humidity and Temperature

Higher humidity levels can amplify sunset colors, especially if combined with the right cloud cover. Warm air holds more water molecules which scatter the shorter blue and green wavelengths of light, allowing the longer red wavelengths to dominate.

6. Geographic Location

While not directly related to weather, the geographic location can influence the quality of sunsets. Coastal areas, for instance, tend to have cleaner air, which often leads to sharper and more vibrant sunsets. Mountains can offer a unique play of shadow and light, adding depth to the sunset landscape.

The artistry of sunsets lies in the intricate interplay between light, atmosphere, and the Earth itself. While there is no singular recipe for the “perfect” sunset, various weather conditions can combine to produce a wide array of breathtaking visuals. Whether it’s the fiery reds after a storm or the calm pastels on a clear day, every sunset tells a unique story about our dynamic atmosphere.

For Further Training:

Currently on sale, this course titled “Simply Stunning Landscapes” by Joshua Dunlop, founder of ExpertPhotography, offers a comprehensive guide on mastering the intricacies of landscape photography.

Simply Stunning Landscapes (see what’s covered)

What sets “Simply Stunning Landscapes” apart is its hands-on approach. Instead of confining lessons to theoretical discussions, the course offers practical insights by being shot in various European locations.

Deal ending soon: Simply Stunning Landscapes at $200 Off

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PictureCorrect.com: Why Aperture Priority Is the Best Mode for Wedding Photography

“Real pros shoot manual.”

If I had a penny for every time I had heard this in a photography forum, I could have given up wedding photography years ago and bought my own island. The sad fact is that photography forums are not really a great place to learn about photography. More often than not, one or two “strong characters” will voice an opinion, and then their acolytes will repeat it until all opposition is crushed. Forums are more about clashes of egos than real photography advice, with one or two notable exceptions.

Often, the best real-world choice is worked out by photographers in the field, not armchair enthusiasts with an axe to grind. I have shot in manual mode for prolonged stretches, and I do still use it if that’s the best option, but for wedding photography or anything where things can unfold quickly, I find aperture priority the best choice.

Photo by Vladimir Pustovit; ISO 400, f/2.0, 1/1250-second exposure.

My Journey Away from Manual Mode

Like most young photographers who started shooting film, I was taught to shoot in manual mode and use a separate light meter. I used black-and-white film and slide film. Slide film has a very low tolerance for exposure error, so measuring light with an incident meter was a must. If you don’t know, an incident light meter measures the light falling on a subject and disregards its tone, so the reading is always accurate. In an ideal world, this is the best choice; the trouble is, this isn’t an ideal world!

I have always loved street photography, and it’s something I’ve done for pleasure for many years, but more often than not, the lighting conditions are not ideal. In many ways, this was my training for becoming a wedding photographer. For years, I shot in manual—mainly because I used a rangefinder (a Voightlander Bessa R), and it only had a manual mode. This was fine when the light was consistent, but a total pain if it wasn’t. I would meter and set my camera up for sunlight only to miss shots in the shade or vice versa. On days with broken sunshine, the light would be a constant frustration, and I would have to constantly refer back to my meter. In the end, I spent more time checking my light meter than I did shooting pictures, and I knew something had to change.

When I switched to digital for my 35mm work, I started to play around with my technique to suit the new equipment I was using. I found that the in-camera metering was good enough. Most of the time, I could let it do its own thing, and the exposures would be dead on. I had enough experience to know when they wouldn’t be, and in those situations I would override the camera. I found that using aperture priority mode meant I spent more time looking for pictures and less time worrying about camera settings.

The Speed of Auto, The Control of Manual

When I started shooting weddings, I found that my aperture setting was one of the main weapons in helping me turn the chaos of a wedding into beautiful images. Aperture choice is one of the main determining factors towards the look of a photograph. You can use it to blur out the busy backgrounds that can ruin wedding shots. Weddings move fast—too fast for fiddling around with your camera if the light changes, so a degree of automation is a real necessity.

Photo by Kim Leutwyler; ISO 320, f/2.8, 1/1000-second exposure.

Reasons I Prefer Aperture Priority

Here are the reasons I prefer Aperture Priority over Manual mode in a wedding environment:

1. Most of the time it’s just not possible to use a separate meter.

If you’re positioned at the back of the church during the ceremony and the light changes, you can hardly walk up the aisle, take a quick incident reading off the bride’s face, and retire back to your station. If you are using the camera’s built-in meter, there is very little point in setting the camera manually when the camera would set itself to the same way automatically. If I feel that the camera has got it wrong, I use exposure compensation. That way, if the light levels drop, the exposure will still be correct.

2. Aperture priority gives me control over the look of an image.

Depth of field can have a decisive effect on the look of an image. An aperture of f/2.8 will look very different to f/11. Once the shutter is fast enough to freeze motion, you can’t tell the difference between 1/500 and 1/2000 of a second, so Shutter Priority mode does not offer the same aesthetic control, especially as your aperture will change in variable light and change the look of the images.

Photo by Jay Weenig; ISO 100, f/8.0, 1/160-second exposure.

3. Modern camera meters are good enough (most of the time).

Modern camera meters will get exposure right 95 percent of the time, so not using it can almost feel like an affectation. Weddings are hard work, and it makes sense to let technology help you where appropriate.

4. I can concentrate on image making, not technicalities.

The less I have to worry about technical concerns, the more I concentrate on creativity. Ultimately, creativity is what people are hiring me for, so I make sure I’m not getting too bogged down in the technical side of things. I’ve come up with a simple way of working that I can rely on, and I stick to that.

5. Events move quickly, and I need to capture them.

I’m not a fan of making the bride and groom repeat anything. I think you can tell when something is fake, so I treat every event at a wedding as a one-shot deal. That means I have to think fast, be flexible, and react to things as they happen. I don’t have time to keep fiddling with my camera, so aperture priority gives me the perfect balance of control and automation.

Photo by Azchael; ISO 125, f/3.2, 1/640-second exposure.

6. It’s better in low light.

I can often find myself at the ragged edge of low-light capability at weddings. If things are getting tricky, I use aperture priority to decide what needs to be in focus in the frame and then adjust ISO to get a usable shutter speed. This way I’m always at the best ISO I can get away with.

Photo by Armistead Booker; ISO 640, f/2.8, 1/80-second exposure.

Conclusion (And Some Caveats)

I’ve stopped using manual mode for fast-paced situations, but one of the reasons I can use aperture priority successfully is that I have enough experience to know when the camera is likely to be caught out. If you’re a beginner or intermediate photographer who wants to take his or her photography more seriously, I still recommend a prolonged length of time learning to use manual mode on your camera.

Too often today, workshops and online tutorials try to persuade you that photography is easy, and you don’t have to know the technical stuff. Well, unfortunately, there is no such thing as a free lunch, and understanding photography at its most basic is still a necessary grounding in the craft of image making. Aperture priority is a great tool, but it’s not a replacement for a good photographic brain. The real skill in photography is learning what to do in a myriad of circumstances, and choosing the best compromise to suit the situation.

Happy Shooting!

About the Author:
Toby Key is a wedding and portrait photographer based in West Sussex, UK.

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PictureCorrect.com: Using Manual Focus for Landscape Photography

In the fast-paced digital age, where cameras are equipped with advanced autofocus systems, the ancient art of manual focus might seem obsolete. However, for some landscape photographers, this traditional technique remains not only relevant but preferred. Let’s delve into the reasons why manual focus can be a valuable tool for landscape photography.

Photo captured by Renan Brun

1. Precision Control:

While modern autofocus systems are impressive, they’re not always perfect. In landscape photography, the desired point of focus might be subtle — perhaps a delicate dewdrop on a leaf or a specific rock in a river. Manual focus allows photographers to select and refine their focus point with surgical precision, ensuring that the intended subject is razor-sharp.

2. Creative Freedom:

Landscape photography isn’t always about getting everything in focus. Sometimes, a little selective blur is what you need to draw attention to a specific subject or create a sense of depth. By using manual focus, photographers can make artistic decisions on what elements should be in focus and which should not, adding depth and interest to their compositions.

3. Unpredictable Subjects:

Although not unique to landscapes, scenes with elements like mist, rain, or moving foliage can confuse autofocus systems. By manually focusing, photographers can bypass these distractions and focus on what truly matters.

4. Low Light Mastery:

In the soft light of dawn or the deep shadows of dusk, even the best autofocus systems might hunt or fail to lock focus. During these magical moments of light, manual focus allows photographers to ensure they get the shot without struggling against the limitations of their gear.

5. Hyperlocal Distance:

One common practice in landscape photography is using the hyperfocal distance to ensure maximum sharpness from the foreground to the background. Calculating and setting the hyperfocal distance is more straightforward with manual focus, giving seasoned photographers an edge in capturing sprawling vistas.

6. Avoiding Autofocus “Hunting”:

In scenes with less contrast or in challenging light conditions, autofocus can “hunt” – constantly adjusting without settling on a focus point. This not only wastes battery but also might cause you to miss a fleeting moment. Manual focus eliminates this problem.

7. Connection to the Craft:

There’s a unique satisfaction derived from manually focusing a lens. It connects the photographer to the act of capturing the image on a deeper level. This deliberate, tactile process can slow photographers down, encouraging them to be more thoughtful about composition, framing, and the story they’re trying to tell.

8. Equipment Longevity:

Autofocus motors, especially in older lenses, might wear out or become less accurate over time. By mastering manual focus, a photographer can extend the life of their equipment, ensuring they can still capture stunning images even if the autofocus fails.

In Conclusion:

While there’s no denying the advancements and conveniences of modern autofocus systems, manual focus offers a combination of precision, control, and artistic freedom that can be invaluable in landscape photography. For those willing to practice and perfect the technique, manual focus is more than just a nod to tradition; it’s a tool that can elevate your photographic vision to new heights.

For Further Training:

Currently on sale, this course titled “Simply Stunning Landscapes” by Joshua Dunlop, founder of ExpertPhotography, offers a comprehensive guide on mastering the intricacies of landscape photography.

Simply Stunning Landscapes (see what’s covered)

What sets “Simply Stunning Landscapes” apart is its hands-on approach. Instead of confining lessons to theoretical discussions, the course offers practical insights by being shot in various European locations.

Deal ending soon: Simply Stunning Landscapes at 67% Off

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PictureCorrect.com: How to Create Stunning Portraits of Your Dog

Photographing your dog can be a terrific way to not only get amazing photos of a beloved family member, it’s also good practice and will sharpen your over all photography skills.

photo by m01229

Like any other portrait session, the first step is to mentally pre-visualize what you want the end result to be. Please don’t skip this step. Hit or miss, shooting tons of pictures, hoping one will “turn out good” just doesn’t cut it. It is SO much easier to get a good portrait if you have a clearly defined idea of what you want.

What type of dog is it? Is it a large “working dog” type? Or a frilly lap dog? These questions will help determine the best backdrop. An Irish Setter posed at sunset in a field of wild grasses would be stunning. Stick your Chihuahua in there and you may never find it again! Conversely, a Chihuahua sitting on the brim of a large Mexican hat would be adorable. The Irish Setter sitting there would be ludicrous. (And crush the hat!)

photo by m.maddo

Will your dog stay on command? It can be frustrating to get your dog positioned just right, and then every time you back up to take the shot, the dog (lovingly) follows you. If you’re alone, you may have to take the dog back and reposition him several times before the idea sinks in. Don’t get mad, they don’t really understand what’s going on. Yelling at your dog won’t help; it will just make them feel bad and the hurt expression will ruin any shots you finally DO get.

By the way, don’t give the dog treats as a way to make them stay in place. They will be looking down at and chewing on the food, and you won’t be able to get a good shot. Then, as soon as the treat is gone, they’ll come over to you, hoping for more.

If you can, get someone to help pose the dog. That way, you’re in position and ready to snap the shutter the instant you see a good shot. Use a long lens so the field of view is very narrow. This will allow your helper to stay near the dog, and they can grab it every time it starts to move. Sooner or later, the dog will get the idea and just sit there posing for you.

photo by Daniel Stockman

Speaking of long lenses, not only do they allow your posing helper to stay near the dog, but they allow you to fill the frame with your subject!

This is Vital!

The number one thing that ruins pet portraits is making your pet too small in the frame. We see this beautiful scene, shoot it and when we look at the final print, our dog is nothing but a tiny blob, somewhere down in the corner. Fill the frame! If you end up totally eliminating the background, that’s better than not being able to see your subject. (Same with people.)

Shoot at the dog’s level. Unless you are VERY short and your dog is VERY tall, I can’t imagine a session where you aren’t down on one knee, or both, or prone on the ground.

photo by greg westfall

Focus on the eyes. Sharp eyes are vital and can save many otherwise not so hot photos. Get back far enough so that the eyes can be sharp without blurring or distorting the nose. Be sure to get a catch light in the eyes. You may as well just toss any shots that don’t have catch lights, they aren’t worth keeping.

The dog has to look alert and attentive. This is accomplished by making sure the ears are UP. Here’s how. Without the dog knowing, have a squeaking dog toy. When the dog is positioned properly, squeak it. The dog will whip its head around to you; its ears will be at attention and it will have a fantastic, attentive expression.

Be Ready and Focused

The instant the dog looks, snap the shot! Auto focus is best so the shutter button is already halfway depressed. You have to be fast! Reading the last sentence takes longer than the photo should take. A lot longer!

Take bunches of shots of each pose. It’s amazing how fast a dog can lap its tongue over its nose.

Poses

You’ll want to get at least one shot of them lying down at a 45 degree angle to the camera (both from the right side and from the left) and one straight on to the camera. Sitting, the same sequence. Then zoom in and get a full frame head shot, then back off a little for a head and shoulders view or if lying down get head and front paws—like the Sphinx. Have your posing helper get the dog’s attention by gently talking to her while you get a few 3/4 and full profiles.

photo by Tim Johnson

Try these ideas. I think you will be amazed. I know the people viewing your photos will be amazed.

About the Author:
Dan Eitreim writes for OnTargetPhotoTraining. He has been a professional photographer in Southern California for over 20 years. His philosophy is that learning photography is easy if you know a few tried and true strategies.

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PictureCorrect.com: How to Photograph the Northern Lights

Of all the phenomena you can view in the night sky, the northern lights may be the most spectacular. These lights, which are also known as the aurora borealis, are created by charged particles from the sun interacting with gaseous particles in our atmosphere. They also appear in the southern hemisphere, where they are known as the southern lights or aurora australis.

Brooks Range, Alaska, 14mm, f/2.8, 10 seconds, ISO 6400. (Photo by Grant Collier)

Finding the Northern Lights

You can view a forecast for the northern lights at the University of Alaska’s website. This website gives you a general idea of where the northern lights will be visible on any given night. For example, if you are in the northern continental United States, you might be able to see the northern lights if the forecast is rated five or higher. However, to get the best chance of viewing the northern lights, you’ll need to travel even farther north. To discover the best locations, try to find a day when the University of Alaska predicts a forecast of one or two.

Looking at their map, know that anywhere within the bright green circle is a prime viewing spot for the northern lights. Some places that are somewhat easier to access in prime viewing areas are Dawson City and Yellowknife in Canada; Wiseman, Alaska; Iceland and northern Norway.

Jokulsarlon Lagoon, Iceland, Nikon D800e, 18mm, f/2.8, 20 seconds, ISO 3200. (Photo by Grant Collier)

What Lens to Use

When shooting the northern lights, it is very helpful to use a fast, ultra-wide-angle lens that has an aperture of f/2.8 or wider. These lenses can let more light into the camera, which will yield higher quality images at night. Perhaps the best lens for shooting the northern lights is the Sigma 14mm f/1.8 Art. This lens has the widest aperture of any 14mm lens, and the Sigma Art lenses are always of very high quality. However, it is quite expensive, with a retail price of around $1,400. A lower-cost option is the Rokinon 14mm f/2.8, which costs around $300. If you prefer a zoom lens, the Tamron 15-30 f/2.8 and Sigma 14-24mm f/2.8 are both very good options.

Wiseman, Alaska, 14mm, f/2.8, 15 seconds, ISO 6400. (Photo by Grant Collier)

Camera Settings

You’ll typically need to use the widest aperture on your lens, and I recommend a shutter speed between 10 and 15 seconds. If the lights are moving rapidly in the sky, they can start to blur too much with longer exposures. If the northern lights aren’t moving rapidly, you can get away with exposures of 20 to 30 seconds with a wide-angle lens.

Generally, an ISO of 1600 will work well for shooting the northern lights. I recommend underexposing the images a little so that you won’t risk blowing out the highlights if the lights suddenly brighten. You’ll want to frequently check your histogram to make sure you’re not coming close to clipping the highlights. If you are, you’ll need to lower the ISO or exposure length.

Wooden Pier near Yellowknife, Canada, 15mm, f/2.8, 30 seconds, ISO 1600. (Photo by Grant Collier)

Stitching Images

The northern lights can fill up most of the sky, and even ultra-wide-angle lenses may only capture a portion of the display. To overcome this problem, you can create stitched images to capture more of the scene. A stitched image is one where you take multiple shots, each comprising a small part of the scene you want to photograph. You later use computer software, like Lightroom or Image Composite Editor (Windows only), to stitch these images together. The great thing about stitched images is that they will also produce larger images with more detail and less noise.

If the aurora is bright and moving fast, you’ll typically want to use a very wide lens, like 14mm, to create a single-row stitched panorama. You’ll have to take all of the images pretty quickly. Otherwise, the aurora can move so much that the images won’t stitch together seamlessly. If the aurora is relatively dim, it doesn’t tend to move as fast. In this situation, it’s possible to do multi-row stitched panoramas with up to 20 images. These large stitched images can help minimize noise, which is more noticeable when the aurora is fainter. I recommend a 24mm lens to capture such images.

Stacking Images

Another way to get more detail in an image of the northern lights is to stack multiple images. This is especially useful for getting more detail in the land if you shoot under no moon or a thin, crescent moon. I discuss stacking and stitching images in much more detail in the new, second edition of Collier’s Guide to Night Photography.

Vestrahorn Mountain, Iceland, 14mm, f/2.8, 10 seconds, ISO 1600. (Photo by Grant Collier)

When to Shoot the Aurora

The best time of the year to photograph the northern lights is near the spring and autumn equinoxes, in March and September. The northern lights tend to be somewhat more active during those months than others. Never plan a trip to photograph the northern lights between late April and early August. During this time, it isn’t dark for very long, if at all, at the far northern latitudes. If you plan a trip in December or January, it will be dark much of the day, if not all of the day. However, it can be bitterly cold during this time, so spring and autumn are still preferable for all but the most adventurous photographers.

Moon Phase

You can shoot the northern lights under almost any moon phase. The aurora will be brighter under no moon, but any foreground in your shot will likely be rendered as a dark silhouette. Under a full moon, the foreground will be well-illuminated and the aurora will be fainter, but this may not matter. The northern lights are often so bright that they will be easily visible under a full moon. My favorite time to shoot the northern lights is under a moon that is 20 to 50 percent illuminated. It will be dark enough to see the stars and aurora a little better than under a full moon, and you’ll still be able to render a lot of detail in the foreground. In order to be able to shoot under a variety of conditions, I recommend planning a trip so that you arrive near a new moon and leave near a full moon.

Avoid Lens Fog

Since it can be so cold when shooting the northern lights, your lens may fog up during the night. Lenses fog up much faster when they are taken from a warm location to a cold one. One way to prevent this is to keep your camera equipment cold by storing it in the trunk of your vehicle rather than in a warm room. You will, however, want to store your batteries in a warm location, as cold batteries will die faster. Another option to prevent a lens from fogging up is to attach hand warmers to the side of it using rubber bands to help keep it warm.

Lake near Yellowknife, Canada, 14mm, f/2.8, 15 seconds, ISO 2500. (Photo by Grant Collier)

Practice Near Home First

While there are ways to avoid lens fog, it is more difficult to avoid brain fog when shooting in frigid temperatures. Before paying for an expensive trip to see the northern lights, I recommend becoming proficient in night photography at locations closer to home. Photographing the northern lights is more difficult than photographing most other night scenes. The lights can move fast and may not appear for very long, so you need to be able to make the most of your time when the lights are out. If you practice with easier subjects beforehand, you should be able to come away with some great images.

For Further Training on Night Photography:

In this fully-updated 2nd edition, Grant Collier sheds light on how to capture these otherworldly images by sharing secrets he has learned over the past 17 years. He explains how to take photos of the Milky Way, northern lights, meteors, eclipses, lightning, and much more.

New: Night Photography Guide 2nd Edition

Our readers can get a discount by using the promo code picturecorrect at checkout which ends soon.

Found here: Night Photography Guide 2nd Edition

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PictureCorrect.com: Location Scouting Tips for Landscape Photographers

Landscape photography is an art form that captures the vast beauty of nature in all its splendor. But behind every breathtaking shot, there’s often a lot of behind-the-scenes work. One of the crucial steps in this process is location scouting. Finding the perfect spot to set up your tripod can make the difference between a good photo and a masterpiece. This guide aims to provide budding landscape photographers with a comprehensive understanding of how to scout locations effectively.

Photo captured by Chris Czermak

1. Research, Research, Research!

Before you even step out of your door, the internet can be your most potent tool.

• Google Earth & Google Maps: These tools offer a satellite view, street view, and user-uploaded images, giving you an almost first-hand experience of a place.
• Photography Websites & Social Media: Websites like 500px or Instagram can be a goldmine for location ideas. Photographers often tag their locations, giving you a head start.
• Local Tourism Websites: They often list popular scenic spots, and even if these are frequented by many, knowing them can help you discover less-known locations around them.

2. Time it Right

• Golden Hours: Sunrise and sunset provide soft, diffused light. Apps like PhotoPills or The Photographer’s Ephemeris can predict the sun’s trajectory, helping you time your shots.
• Seasonal Changes: Different seasons can bring different moods to a location. Autumn might bring fall colors, while winter might offer a snow-clad wonderland.

3. Reconnaissance Trip

Sometimes, you just have to be there. If possible, visit your chosen location ahead of your main shoot.

• Check Accessibility: Is it easy to reach? Do you need any permissions?
• Safety First: Ensure that the location is safe, both in terms of terrain and local conditions.

4. Talk to Locals

Locals often know secret spots that are off the beaten path. A conversation with them might lead you to a gem of a location that isn’t widely photographed.

5. Consider Different Perspectives

Don’t just scout with your eyes at standing level.

• Elevated Points: Hills, towers, or even drones can offer a unique bird’s-eye view.
• Ground Level: Sometimes, getting low can present a fresh perspective, especially if there are interesting foreground elements.

6. Take Test Shots

Always carry a camera during your scouting trips, even if it’s just your smartphone. Take test shots to review later. This will give you a better idea of the composition and what focal lengths or gear you might need.

7. Take Notes

Whether it’s a dedicated notebook, a smartphone app, or voice memos, take notes about:

• Lighting Conditions
• Best Times to Visit
• Potential Challenges

8. Be Respectful & Environmentally Conscious

Remember, nature is a privilege to capture. Leave no trace, respect local guidelines, and always prioritize the environment and its inhabitants over getting a shot.

Conclusion

While there’s an element of unpredictability in nature, location scouting equips a landscape photographer with the best chances of capturing that magical moment. With thorough research, patience, and respect for the environment, you can find those hidden spots that resonate with your artistic vision. Happy shooting!

For Further Training:

Currently on sale today, this course titled “Simply Stunning Landscapes” by Joshua Dunlop, founder of ExpertPhotography, offers a comprehensive guide on mastering the intricacies of landscape photography.

Simply Stunning Landscapes (see what’s covered)

What sets “Simply Stunning Landscapes” apart is its hands-on approach. Instead of confining lessons to theoretical discussions, the course offers practical insights by being shot in various European locations.

Deal ending soon: Simply Stunning Landscapes at 67% Off

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PictureCorrect.com: Simply Stunning Landscape Photography

Landscape photography can often be a pursuit of passion, filled with moments of triumph and sometimes, disappointment. There is currently a course on sale that seeks to aid photographers in their journey of capturing the essence of a landscape. The course, titled “Simply Stunning Landscapes” by Joshua Dunlop, founder of ExpertPhotography, offers a comprehensive guide on mastering the intricacies of landscape photography.

Simply Stunning Landscapes (see what’s covered)

The Landscape Photographer’s Challenge

A picturesque scene in front of your eyes doesn’t always translate into a stunning photograph. A vivid sunset, the intricate interplay of light and shadow, or the sheer vastness of a scene can lose its magic when captured improperly. Most photographers have faced this issue: landscapes that looked awe-inspiring in person but appeared lackluster in photos.

Joshua Dunlop, the mind behind this course, resonates with this sentiment and has tailored his lessons around bridging the gap between vision and execution.

A Simplified Approach

While many may believe that the key to excellent landscape photography lies in high-end gear or exotic locations, Dunlop’s methodology is refreshingly straightforward. He emphasizes three core aspects:

1. Detailed trip planning
2. Mastering composition
3. Choosing the right camera settings for a scene

His five-step process focuses on:

1. Location Scouting – Finding the best spot to capture the landscape.
2. Weather – Embracing different weather conditions to bring drama to the images.
3. Time of Day – Recognizing the importance of light and its transformation during different times.
4. Composition – Implementing a variety of composition rules for a well-framed shot.
5. Settings – Honing in on essential camera settings to enhance image quality.

Learning From Real-world Scenarios

What sets “Simply Stunning Landscapes” apart is its hands-on approach. Instead of confining lessons to theoretical discussions, the course offers practical insights by being shot in various European locations. This ensures that students can see techniques being applied in real-time, from Slovenia’s enchanting landscapes to the breathtaking vistas of Italy and Austria.

Additional Resources

To provide a holistic learning experience, the course comes with a slew of bonuses. These range from an exhaustive guide on panorama photography, detailed case studies for understanding the thought process behind each shot, to even tips on monetizing your art. Notably, the Landscape Photography Checklist is a useful tool for photographers to ensure they’re prepared for every shoot.

Final Thoughts

While the course promises a transformation in the way you approach and execute landscape photography, like any other skill, the outcome heavily depends on the dedication of the learner. However, for those willing to commit, “Simply Stunning Landscapes” seems to provide a solid foundation and valuable insights into the world of landscape photography.

How to Get the Course for a Discount Today (Plus Bonuses):

Simply Stunning Landscape Photography is currently 67% off which ends soon (normally $299, currently $99). They have also thrown in bonuses for the first 500 customers. It all comes with an impressive 90 day happiness guarantee so there’s no risk in trying it.

Deal ending soon: Simply Stunning Landscapes at 67% Off

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PictureCorrect.com: Camera Stability Hacks When a Tripod Isn’t an Option

In the world of photography, capturing the perfect shot often depends on the stability of your camera. While tripods are the go-to solution for most, there are occasions when they might not be at hand, or they may be impractical due to location or circumstance. Fortunately, a few techniques can help you ensure a steady shot, even without the trusty tripod. Here are some handy camera stabilization tricks for those tripod-less moments:

Photo captured by James Fitzgerald

Body Brace:

• Use your own body as a stabilizer. Lean against a wall or tree, ensuring as many points of your body (shoulders, hips, and feet) are making contact.
• Hold your breath just before you press the shutter to reduce movement further.

Elbow Anchor:

• Tuck your elbows into your body, using your chest as a makeshift tripod. This provides three points of contact (both elbows and your hands) for maximum stability.

The Ground Technique:

• Lay down flat on the ground and use your arms to stabilize the camera. This provides more surface area for stability and can be especially useful for capturing low angle shots.

Use A Bean Bag:

• A small bean bag can be a handy alternative to a tripod. Rest your camera on it, and it can mold to the shape of the camera, providing a stable base. It’s also lightweight and easily portable.

Camera Straps:

• Extend your camera strap fully and pull it tight against the back of your neck while holding the camera. The tension can act as a stabilizer, reducing shake.

Steady Surfaces:

• Use any available steady surface such as tables, ledges, or railings. If your camera has a timer, you can also set it on these surfaces, start the timer, and step back to avoid introducing shake.

The String Tripod:

• Cut a piece of string about twice the height of yourself.
• Tie each end of the string to the two sides of a flat washer.
• Step on the washer with the string taut and bring the camera up to eye level, adjusting tension in the string to stabilize the camera.

Increase Shutter Speed:

• If you’re shooting in manual mode, increase your shutter speed. Faster shutter speeds reduce the chance of motion blur. Just be mindful of the exposure triangle – you might need to adjust ISO or aperture accordingly.

Optical & Digital Stabilization:

• Many modern cameras and lenses come with built-in stabilization systems. If yours has this feature, make sure it’s activated.

Continuous Shooting:

• Use the burst or continuous shooting mode. Taking multiple shots in quick succession increases the chance that at least one of them will be sharp.

Lens Choice:

• Wider lenses are generally easier to hold steady compared to telephoto lenses. If possible, choose a lens with a shorter focal length for hand-held shots.

Post-Processing:

• While it’s always best to get the shot right in-camera, software like Adobe Lightroom or Photoshop offers shake reduction tools that can help sharpen slightly blurry images.

In the end, the essence of photography lies in the balance between equipment, skill, and creativity. While tripods are incredibly useful, there are numerous ways to ensure your camera is stable for that perfect shot. Embrace the challenges and think outside the box; sometimes, the limitations can lead to the most inventive solutions.

For More Tips & Tricks, Summer Sale Ending Soon:

This #1 bestseller is the most in-depth eBook on how to capture amazing photography anywhere. Over 250 pages of photography tips & tricks from industry insiders. Currently 83% off which ends soon for a Summer Sale if you want to check it out.

How to do Star Trail Photography

It is the product of over a DECADE of research as an insider in the photography industry, assembled to help you learn quickly and avoid the mistakes that I made along the way.

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PictureCorrect.com: How to Use the Masking Select Sky Tool in Lightroom Mobile

Masking in Lightroom Mobile is a powerful technique that can transform the way you edit photos. Drawing insights from Clifford Pickett’s video tutorial, we delve into the art of isolating and enhancing specific parts of an image using Lightroom Mobile’s masking tools:

Before diving into adjustments, it’s essential to understand the purpose of masking. Masking allows you to apply specific changes to isolated parts of an image, making certain components stand out.

The “Select Sky” Feature:

1. Locate the Masking Icon: With your photo open in Lightroom Mobile, look for the masking icon (usually at the bottom left).
2. Choose Your Masking Tool: Upon clicking the masking icon, a blue circle with a plus sign will appear. Tapping this will reveal various masking options.
3. Opt for ‘Select Sky’: For this guide, we focus on the “Select Sky” option. This feature intelligently detects and isolates the sky portion of your image, allowing for specific adjustments to that area alone.

Enhancing the Sky:

• Color Adjustments: Once you’ve selected the sky, a color option typically found at the bottom grants you access to color temperature adjustment sliders. Dragging the temperature slider left introduces cooler tones, amplifying contrast between the warm foreground and the cool sky.
• Boosting Clarity: To bring out cloud details and texture, head to effects and increase the clarity. Even a small shift, say 10 points, can significantly enhance sky details.

Inverting the Mask for Ground Adjustments:

• Accessing Your Masks: On the right side of the screen, a small vertical line next to your masks can be slid open to reveal detailed information about the masks applied.
• Duplicating and Inverting: To edit everything except the sky, tap the three dots next to the sky mask. From the drop-down menu, choose “Duplicate and Invert.” This creates an inverted mask that isolates everything but the sky.

Editing the Rest of the Image:

• Tackling Highlights: Within the newly inverted mask, head to “Lights.” Here, you can drag down the highlights slider to counteract any overexposed areas.
• Color Cast Correction: To address any unwanted color tones (like the green hue on buildings Clifford mentioned), open the color panel and adjust the tint slider. Move towards magenta to offset green tints.
• Enhancing Details: Navigate to the effects panel to enhance image texture and clarity. By adjusting these sliders, the image’s details, especially on the ground and structures, will pop more.

Masking for Sharpening:

Post-adjustments, you might want to sharpen specific parts of your image. After boosting the sharpening:

Isolate Sharpened Areas: Use the masking slider under the sharpening tools. Dragging to the right while holding down will show which areas are being sharpened. By setting it to around 60, as Clifford suggests, you ensure that only the desired details (like the skyline) are sharpened, excluding softer areas like the sky.

Conclusion:

Masking in Lightroom Mobile offers precise control over image editing. Through selective adjustments, you can craft an image that resonates, balancing foreground and background, and showcasing the photo’s full potential. Whether you’re a seasoned photographer or a hobbyist, mastering masking will significantly elevate your editing prowess.

For Further Training on Lightroom Mobile:

This is where the new iPhone Editing Academy, a course designed by professional photographer and photo editor, Clifford Pickett, steps in to bridge the gap. Pickett, who has edited over 10,000 photos using nothing but his iPhone and sold many to major corporate clients, has crafted this platform as an accessible way to master photo editing.

New: iPhone Photo Editing Academy (see preview videos)

During its launch, the course is on sale at a deeply discounted price. It also includes a full happiness guarantee, if you are not satisfied with the course for any reason simply let them know for a full refund – so there is no risk in trying it.

Launch sale ending soon: iPhone Photo Editing Academy at 80% Off

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PictureCorrect.com: Cruising With Your Camera

Cruising is back, and in a big way. The cruise lines are reporting excellent business as cruising passengers make up for time lost during the shut down. Many first-time cruisers are joining the rush as they realize the wonderful value one can get from a cruise holiday.

As photographers, we want to make the most of the unique opportunities offered on a cruise. Both during the cruise and afterwards when we can re-visit the cruise time and time again with our photographs.

Here are a few thoughts and a bit of advice to help with your planning. It really is better to plan what we would like to do in advance rather than to end up with a big collection of random images.

Why do we take images when we are on holiday or, perhaps on a cruise? We do it because we would like beautiful, memorable takeaways that we can look at time and time again and relive the fun we had.

It doesn’t matter what type of camera or mobile phone we have – we just need to make certain that we have something with which to take photographs. We are actually setting out on a Photographic Adventure – a voyage with wonderful travel and outdoor photo opportunities.

It all starts with the ship, and it is a good idea to take some shots while boarding to set the scene as it were. We then get to the fun of photography on board a ship – there are special challenges as everything can be moving!

One can find any number of suggestions about onboard photography but here are a few basics to keep in mind – it does also depend on the type of camera so just use the ideas that apply to you. To counteract movement Shutter Speed should be as high as possible…1/1000 second and up?

• Use ‘Shutter Priority’ of ‘Sports Mode’ = ‘Running Man’ icon
• Make sure ‘Image Stabilization’ is turned on.
• ISO Settings: Depending on your camera start at ISO400
• Experiment going higher – check noise

Also – if the engines are running there will be vibration – there is less with newer ships, but it will still be present. Resting your camera on any part of the ship is not a good idea!

On board ship, you are your own best tripod. Using a tripod that rests on the deck may give you vibration blur. The human body is an excellent shock absorber. Brace your hips – upper body is free. Legs apart with knees slightly bent. Try to feel the ships movement. Be flexible – sort of moving with the ship.

If your camera/phone has a continuous or burst setting – try this – one of the series may well be perfect. Dump the rest!

If there are big swells it is worth being at the bow of the ship – as it reaches the top of the pitch, there is a brief stationary pause before it heads down again.

Once you are on your cruise ship there is a plethora of interesting details that you can look for and capture and use as photographic props

Using this approach, you can capture a whole range of images that say ‘I am on a cruise’ without having to actually say so.

Portholes are Great

There are just so many opportunities to have photographic fun on board a cruise ship that we will have to cover more of these in the next chapter of Cruising with my Camera.

About the Author:
Roger Lee is a Johannesburg based photographer who runs a one day course based on “we don’t want to drown in detail, we just want to know how to use our cameras and enjoy ourselves!” He also does an ebook version of his course.

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PictureCorrect.com: Juxtaposition: Exercises to Develop Your Photographic Sense of Irony

This article is based on concepts from The Photography Action Cards if you want to dig deeper for further training.

Juxtaposition is a term that applies to many different mediums, including photography.

It is often alternately described as “contrast”. I tend to think of it more as contrast with a sprinkle of irony.

Here is a formal description: juxtaposition is when a photographer puts two objects close to each other, intending to attract a viewer’s attention toward their differences. When the (hopefully ironic) contrast between the two objects is the first thing that attracts a viewer’s eye, juxtaposition is achieved.

Photo by Kent DuFault

My first example photo, above, was of my big fat Siamese cat sitting in a tiny, undersized delivery box. (That’s a favorite activity for my cat, by the way.)

It’s a classic technique to juxtapose big and small things. If you’re just starting with juxtaposition, this is a great theme to explore. It is also a bit easier to spot in the wild and to compose for beginners.

Challenge #1: Spend a day shooting juxtaposition images that rely on the big-versus-small comparison. Try to make some of your pictures blatant and obvious, while making others more thought-provoking.

The small box in the cat photo above didn’t stop my cat’s need to sit in it—that’s ironic. This example is known as situational irony, and the theme plays well with the photography medium.

Photographing the large cat and the tiny box together interacting together—that is a juxtaposition.

Key Point: Juxtaposition often contains some level of irony. It is the irony that creates a storytelling element for the photo.

(Photo by Andreas Gücklhorn)

When two elements within your juxtaposed photo are physical objects, they must each have enough visual strength so that a viewer can make the connection between the two and examine the contrast. The image above is a juxtaposition of color, shape and texture.

Suppose a juxtaposition is meant to create a concept, mood or statement. In that case, this is more difficult, as a viewer must identify the juxtaposition and also process where the contrast occurs.

The juxtaposition does not have to be complicated. The technique lends itself well to minimalism. The opposition captured in a juxtaposition can be as simple as land and water.

Critical Thought: The photograph of water and land (above) creates a juxtaposition of nature. There is no irony in this photo, and that’s fine. Irony adds another level to juxtaposition. Without irony, it can be a bit more difficult for a broad audience of viewers to connect the dots in your juxtaposed photographic composition. However, that’s not bad, as it forces viewers to think about what they’re viewing.

Challenge #2: Spend a day out in nature. Concentrate on the juxtaposed objects that nature creates. (Believe me, there many more than you probably realize!) Specifically, look for color contrast, shape and texture to make your images. Try using minimalism to even further challenge yourself.

Photo by Kent DuFault

The juxtaposition above occurred at my local gym. I noticed the subject relaxing and looking at her smartphone. There was gym equipment lying unused all around her. That situation created an ironic contrast in my mind.

Remember! Irony and humor are often used with juxtaposition in photography. The difficulty is that not all individuals will see irony and humor in the same way, just as we all don’t find the same things funny. Develop your satirical style and run with it.

Photo by Shea Rouda

Another fantastic theme to explore when learning about taking juxtaposed photos is “old vs. new”.

From left: Photos by Patrick Tomasso, Roman Fox, Viktor Talashuk and Viktor Forgacs

Above are four examples of old versus new using architecture as the juxtaposed subject matter.

Challenge #3: Start exploring the old-versus-new juxtaposition using architecture as your subject. Look for interesting angles and lighting that help show the contrast and also help tell a story.

Photo by Tom Gordon

This juxtaposed street shot relies on clothing and props to create the contrast: a man of God and a man of war positioned together, within the same frame, creates a strong juxtaposition.

Juxtaposition is a vital tool for street photography and photojournalism. It can be used to make strong social and political statements. When trying to photograph in this genre, look for two sides of a story within a single composition.

Challenge #4: Not everyone is comfortable with street photography. If you are willing to give it a try, look for ironic contrast among people. The differences can be literally anything that catches your eye. The wider the distinction, the more extensive your audience will become, as more people will comprehend your story. If street photos aren’t your thing—give it a try with children playing or at a family gathering.

Equipment: Here is the ultimate beauty of juxtaposition. You need no special equipment. You can pursue this technique with nothing more than a smartphone. All that is required is a keen eye and a nice dose of irony.

Juxtaposition Examples

Let me close by giving you some hints for juxtaposed photos, and then follow that up with a final challenge and a few case studies. Here are some examples of juxtaposition:

• Male vs. Female
• Many vs. Few
• Wealthy vs. Poor
• Healthy vs. Unhealthy
• Light vs. Dark
• Old vs. Young
• Active vs. Inactive
• Valuable vs. Trash
• Power vs. Weakness
• Stereotype vs. Broken Stereotype (a personal favorite)
• Signage vs. Opposing Background
• Modern Attire vs. Older Styles
• Near vs. Far
• Selfie with Opposing Background (I also like this as an exercise as it is introspective)
• Happy vs. Sad
• Shapes: Circles vs. Triangles or Squares vs. Lines (or any other variation)

Your Ultimate Challenge: Create as many of these suggested juxtapositions as you can. For at least some of them, compose the shot using a mirror for a more challenging assignment!

Case Studies

Photo by Ronny Sison

Technically, one could classify the above image as a juxtaposition. However, it falls short of an essential element for juxtaposed photos—it lacks a story element.

When thinking about your juxtaposed photos, make sure to look past the obvious for more cerebral contrasts. Look for stories!

The portrait of the model with the mirror does represent a contrast, as the image captured two sightlines. But the difference is weak, as it bears no significant story element or insight about the subject.

Photo by Massimiliano Morosinotto

This photo is a perfect example of a juxtaposition between a human-made object and nature.

Composition is the key to successful photography. Juxtaposition is a composition tool that doubles as a storytelling tool.

The image above uses juxtaposition. It also uses symmetry and color contrast to hammer home viewer interest.

Photo by Michael Blomberg

There are several exciting juxtapositions within this shot. How many can you count?

Here are the juxtapositions I see:

• Near versus far (that’s an obvious one)
• Dangerous activity (sliding) versus safe activity (watching)
• Masked versus unmasked (current health concerns)
• Coming versus going
• Up versus down

Photo by Kourosh Qaffari

I think this is a very successful juxtaposition. The technique adds a sense of mystery and a story element to the rather mundane activity of herding sheep.

This last example is juxtaposition at its finest, and it used a mirror just for fun!

How did you do with the challenges?

1. Did you give all the challenges a try?
2. Were you able to successfully incorporate a mirror?
3. Did you share your photos with others, and were they able to discern your juxtaposed meaning?
4. Now that you’ve practiced, how can you improve your next attempt?

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.

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The post Juxtaposition: Exercises to Develop Your Photographic Sense of Irony appeared first on PictureCorrect.

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