This is a
reproduction of an article of simple photography tips
written for the British Mensa magazine (copyright Derek
Trillo 2010)
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Are digital cameras foolproof? Of course not. They can show
you the image you have just taken, but if the picture
doesn't meet your expectations, they won't tell you how to
correct what is wrong with it. No camera has been
manufactured that can emulate the most important link in
the chain - the brain behind the eye. What follows are a
series of tips that I hope will give you an insight into
different ways of looking at aspects of photography.
1.
Light
The
term photography
is derived from the
Greek 'To write with light' and it is the essential element
to consider. The way a subject is lit can make a world of
difference to how it appears. Light from behind and to one
side of the camera generally shows off objects best. If a
scene is in the shade take it, if possible, at a different
time of day. Shooting directly towards the light can make a
good image if the subject has a strong silhouette and with
careful exposure, otherwise it's probably best to avoid it.
In summer, photographing in the middle of the day, when the
sun is high, is unflattering as the light is very
contrasty. The most pleasing light for buildings,
landscapes etc. is early or late in the
day.
2.
Compose yourself
Try to
capture the essence of a place rather than a grand vista.
High vantage points are impressive for the vertiginous
sensation and the amount that can be seen. Neither of these
translate well into photographs, so sometimes 'less is
more'. Decide on one element in your frame to make the main
point of focus – something of interest that will be sharp
and placed carefully within the frame. Composing for a
balanced and harmonious design was pioneered by renaissance
artists, often placing the main subject a third of the way
into the frame (horizontally and vertically). Subjects
positioned at one of these four points on the 'thirds'
appear more naturally placed. John Constable's 'Romantic'
landscape style was composed such that its content led the
eye through the picture; from the foreground, on into the
middle ground and off into the distance. This design is as
visually satisfying today as it was
then.
3.
Focus on the subject
After
choosing your main subject keep an eye on the background
too. The photo with a lamp-post, exit sign etc. growing out
of somebody’s head is a trap we’ve all fallen into. Ask
yourself how relevant the background is. It may be usefully
included to show context and help to tell a story. Or you
may decide that the subject alone is of interest. Could
part of the background be dispensed with by stepping back
and zooming in? This would include less of the background
and help to throw it out of focus. Other tactics to remove
unwanted clutter are to move your camera to a better
position, move the subject(s) or isolate the subject(s)
against the sky or ground. Unwanted distractions may be
concealed by placing another object between it and the
camera.
4. Breaking the 'rules'
The
‘thirds’ rule makes a photo look harmonious and tranquil,
but tranquillity may not always be the message you want to
convey. Pictures with impact often have a jarring,
thought-provoking quality that is aided by an unusual
composition. Symmetrical views could be composed
dead-centre for maximum impact. Most photographs are taken
with the camera horizontal at around 5 feet off the ground,
not many of us think of using a vertical (portrait)
orientation, even for a portrait. Try filling the frame
diagonally, or point straight up or straight down to add
variety. Look for shots from different heights - shoot from
ground level, or get up as high as you can.
5.
People pictures
Most
of us take shots of friends and family but plonk them in
front of a camera when we see a great view…”This is my
partner/child/cat, blocking out the best part of the view”.
Positioning them a little further away, engaged in an
activity, or at least looking at something would be better:
Remember, off to one side, on the 'thirds’ generally looks
'right'. Smiling at the camera is relatively modern
phenomenon. In painting it is customary for sitters not to
smile and it was only possible to capture 'fleeting'
expressions with the advent of faster films in the early
20th
Century.
When
photographing groups take control by placing them in a
setting and with an arrangement that suits your photograph.
Keep talking to your subject(s), holding their attention
and making them feel at ease. Pictures of people on sunny
days will usually look better with the light coming over
their shoulder. Sun across the face will leave one half
light, the other dark; sunlight straight into the face will
give a wonderfully lit picture... of someone squinting into
the sun.
6.
Flashing
It may
sound ridiculous to use flash in broad daylight, but the
sunlit parts of your photos won’t be affected. It’ll put
some detail and colour back into those areas which would
otherwise be rendered black and a sparkle in the eyes of
portraits. Most cameras can be forced to fire the flash
whatever the ambient light level. If in doubt, consult the
camera's instruction booklet. Using on-camera flash in a
dimly lit scene can create unflattering shadows. However,
it may be the only option in low light. In the dark, flash
on the camera can cause ‘red-eye’. Cameras with ‘red-eye
reduction’ can help by using several flashes before
exposure to close down the eye’s iris. However, raising the
overall light-levels or separating the flash from the
camera (if possible) is more effective. Take care when
windows, mirrors or other reflective objects are in the
frame, as the flash may reflect back to you and fool the
camera's metering into under-exposure.
7.
Get support
Hold
your camera securely with both hands, with your feet apart.
Release the shutter button slowly, pressing the camera
against a supporting hand. Taking pictures in low light,
such as at dusk or in dark interiors, is best done with a
tripod, but there are alternatives. You could brace the
camera against a solid object, preferably with the camera
strap or a tissue between the camera and the support to
protect the camera from scratches. Then press the camera
against the support with your non-shooting hand (taking
care to keep it out of the shot) to steady it. Sitting the
camera on a firm support such as a bin, wall or fence works
well when the camera is horizontal. A soft 'cushion' helps
with positioning - beanbags are a traditional accessory,
but a bag, jacket, hat etc. will often suffice. Using the
camera's self-timer will ensure a sharper shot than
pressing the shutter button.
8.
Shutter delay (stop and think)
Ask
yourself if everything you want is included wholly within
the frame? Is there anything that detracts from the picture
straying into the edge of the frame? Is the brightest part
of the picture (or the most colourful) your subject, or
something that detracts from the focal point? Could you
fill the frame more with what you really want? Is the light
too dark, too dull or in the wrong place? Could you move to
a better position? Could you use the camera's exposure
compensation (+/-) to re-shoot an image that is too light
or dark?
9.
Softly softly
Once
the picture is taken there are quick and easy ways of
improving your shot. This can include cropping to
straighten the horizon and eliminate unwanted space,
correcting exposure and colour, or even removing 'red-eye'.
This is especially important if you want to get your
pictures published or use them for promoting a business.
Adobe Photoshop is the industry standard software, but for
simple editing it isn't necessary to spend any money. Basic
applications are usually free on a CD that came with your
camera. Alternatively, Adobe Photoshop Elements (a cut-down
version) is often bundled with cameras and scanners. If you
have neither of these and want to try a simple but
effective program, download the Gimp freeware package,
compatible with Mac, Windows or UNIX platforms
(http://www.gimp.org).
10.
Saving money…
Only
buy a new camera or lens if you’re really convinced that
your skill level has gone beyond your current gear. An SLR
will give more flexibility and a better image quality for
large prints, but at the expense of size and weight – is
this what you want? Manufacturers endlessly update models
with what they hope will be 'must have' features. Ask
yourself if you really need them; or does your current
camera already give you all that you need? Your system is
only as good as its weakest link, so buying an expensive
camera and a cheap lens makes no sense at all. Choosing
better quality lenses is a more sound investment than a
camera body with the latest features. A top-drawer camera
won’t turn you into a professional photographer overnight,
just as a newer car won’t make you a better driver.
11.
Saving battery power
If battery power is low (especially in
cold weather), consider turning off features such as image
stabilisation (IS), or using the viewfinder instead of
‘live view’ on the rear screen (if your camera has one).
Keep a spare battery in a warm inside pocket (or eject and
warm the one from the camera if you don’t have a spare).
12. Resolution (dpi)
myth
‘Dpi’ is a term that often causes confusion. Dpi (dots per
inch) is a measure of the number of picture elements
(pixels) in a given area
(a square inch).
300dpi is often quoted as a minimum requirement for the
resolution of a file that will print with reasonable
quality. In fact, publishers regularly ask for a file of
‘300dpi’ without specifying the size of the file. In
isolation, 300dpi is meaningless; it doesn’t ensure the
quality of a file, it is only a density.
An analogy I use with students is to think of laying a
gravel path: If the density is the depth of gravel, the
recommendation may be to have a depth of 3 inches. If you
ask the retailer for 3 inches in depth to ensure quality
the retailer doesn’t know how big your path is so, without
dimensions, they cannot supply the correct volume or
weight. A one inch square could be a handful... 10 square
metres could be a tonne.
A file of one square inch could have a resolution of 300dpi
but will not reproduce well as an A4 print because the
pixels will be stretched over too large an area. So, in
specifying the resolution of a file, the area needs to be
specified too. A file of 300dpi, when sized for the
printable area it will be reproduced on the page, is a
meaningful standard. In reality, 200dpi can produce good
prints and 360 dpi is often used as an ‘ideal’ standard.
The standard for screen resolution (for websites) is
usually 80 dpi. High resolution files can be downsized for
the screen, but screen resolution files will not gain any
detail if scaled up to use as a print. It is common to see
very pixellated images where previously smooth lines are
reproduced as jagged ones. This is because a file that may
look good on the screen has insufficient detail to be
printed on the page. ‘Lpi’ is a similar term to dpi, used
for the resolution of printers. It refers to
lines per
inch (the printer’s maximum number
of printable lines per linear inch of print).
