PINHOLE PHOTOGRAPHY

Dear reader, if this entry or my other blog entries don't answer your specific photography questions, you can call me on the phone anytime for advice by clicking here.

Most people have heard of Pinhole photography, but not many people have had the challenge and joy of practicing the art. It is a very simple process, but requires patience and good instructions. In the simplest terms, a pinhole camera is a light-proof box that has only 2 elements; a small pinhole poked in one end, and film placed on the interior and opposing end of the box. The results are beautifully soft focused, dreamy and mysterious photographs.

There are a few options for obtaining a pinhole camera. If you would like to build a camera yourself, do an internet search for "how to make a pinhole camera". Or to purchase a pre-made pinhole camera, search for "buying a pinhole camera".

Pinhole photography is the original form of photography; when you practice it you are going back in time, to the 10th century! Long before the invention of film the camera was used by painters and astronomers, and at the time called a camera obscura. Because of the camera's age, older subjects tend to look better than modern subjects. In addition to the decision of choosing appropriate subject matter, choosing between black and white film and color can also yield some interesting results. B&W film is more traditional, as color film was not in use until the mid 20th century. However, I have tended to appreciate color pinhole images lately, which I feel have a warm, romantic feel.

Note on digital cameras: While there are pinhole filter attachments available for digital SLR cameras, they don't work nearly as well as film. One major drawback is the extreme dust that shows up on the image due to incredible lens depth of field. I have tried pinhole photography on my Nikon digital, and while my normal lens photos did not show any dust spots at all, the pinhole attachment showed hundreds of dust spots, simply because the focus extends almost all the way back to the "film plane", or CCD.

A second problem with digital cameras is that they do not produce as good long exposure results as film cameras. Pinhole photos can often take up to 1/2 hour to expose, which is very hard on digital sensors.

Regardless of the above difficulties, if you can find a digital pinhole attachment, it may be of value to introduce you to the process. You can then step up to a film based pinhole when you get a feel for the results.

These building were taken in the Castle District of Budapest, Hungary.
Mark's photographic prints for your wall can be purchased at www.markhemmings.com

Mark can be hired as a photographer or filmmaker via www.hemmingshouse.com

EXTERIOR ARCHITECTURE

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Photographing building exteriors is both easy and difficult. The easy part is finding subject matter . . . the difficult part is composing in a way that is both dynamic and original.

The above image is a nice mixture of old and new architecture, and the vertical lines of both structures compliment each other. As the old west-facing architecture is more aesthetically pleasing than the newer building, this photo was meant to be taken with warm, evening light. A morning shot would have illuminated the newer building at the expense of the great sandstone detail.

Architecture is a classical subject, and because of its permanence, a traditional rule of thirds composition may be the best choice. In this photo, the older building takes up 1/3 of the picture space, while the background texture (newer building) takes up the remaining 2/3rds. One could argue that the older building should be more prominent, but if altered, I believe that it would lose its visual strength.

These building were taken in Saint John, New Brunswick, Canada.
Mark's photographic prints for your wall can be purchased at www.markhemmings.com

Mark can be hired as a photographer or filmmaker via www.hemmingshouse.com

BACKLIGHTING

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This technique works very well with flowers in the late afternoon or early morning, when the sun is low in the sky. Set your lens aperture (f-stop) to the lowest number possible, which will give your image a shallow depth of field. Compose your photo so that the flowers or buds that are closest to your lens are the center of focus. Now shift your position so that the sun is just barely shining directly into the lens. Do not stare at the sun for too long, as it can do damage to your eyes.

After your photo is taken, you should see a beautiful "wash" of warm light throughout your image, as well as lens flare. In this instance, lens flare is an asset!

Mark's photographic prints for your wall can be purchased at www.markhemmings.com

Mark can be hired as a photographer or filmmaker via www.hemmingshouse.com

COMPOSE TO ANNOY

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If you have come from a photography school, or have been part of a photography organization that judges your photos, you may have lingering phobias of improperly composing your photographs (due to the heavy hand that is about to "correct" you!). When it comes to fine art photography, there is no need to follow the rules set out by those above you . . . and often it is in breaking these established rules that the most dynamic and thought provoking works arise.

I took this photo for the purpose of hanging on my own wall. I liked the wallpaper design, from the Arts and Crafts movement, I believe. As I didn't want to have the full painting on my own wall, I decided to throw it off-center in a jarring manner, to grab the attention of the viewer. The wallpaper design and placement of the historic painting takes the image from documentary to abstract, and provides for an interesting work to hang on a wall.

A good location to find textured wallpaper is at an historic settlement, if there is one near where you live. This image was taken at a settlement called King's Landing, in New Brunswick, Canada.

Mark's photographic prints for your wall can be purchased at www.markhemmings.com

Mark can be hired as a photographer or filmmaker via www.hemmingshouse.com

ALTERNATE TRAVEL PHOTOS

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If you are selling (or hope to soon be selling) your travel photos to the publishing world, don't forget images that also represent the idea of travel. Depending on flight connections, you can be sitting around in an airport for hours doing nothing. Why not try to get some candid shots that show movement, and the feeling of air travel? These types of images sell well; you can often find them in travel trade publications such as AAA and the like.

Here are a few suggestions:
1. Use a wide angle lens to allow for extra text space. The above photo has plenty of white area which is ideal for graphic designers; they can add the magazine mast head or any other text.
2. Make sure there is always movement in the photo. Static images do not sell very well.
3. Err on the side of overexposure.
4. Find the brightest area of the airport to take your photos.
5. Keep an eye open for pilots and crew walking toward their gate. You can often get usable images of these people as long as no faces or company logos are visible.
6. Panning shots of people walking by work well. The faces will not be recognizable, and the sense of movement will add value to your image.

Important: With increased airport security this type of photography is very risky. Keep your camera at your waist, and keep shooting, guessing at the composition. You will eventually get some usable images, after deleting the majority of ill-composed shots. In this case, digital cameras have the advantage!

Mark's photographic prints for your wall can be purchased at www.markhemmings.com

Mark can be hired as a photographer or filmmaker via www.hemmingshouse.com

IMPRESSIONISTIC PHOTOS

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An easy way to get your flower photos to look like a painting:
1. Put your camera on Aperture Priority and set your lens to its lowest f-stop number. In this case, a 50mm f1.4 lens works best, but use whatever you have.
2. If you are using digital, set your camera's saturation level to high, and white balance to Shade setting. If you are using a film camera, place a warming filter or orange gel in front of the lens. Use a very saturated slide film like Fuji Velvia or Kodak VS.
2. Hand-hold this photo, no tripods needed.
3. Place your lens on manual focus, and focus above the flowers, somewhere between the tops of the flowers and your camera.
4. Try a few different photos with different levels of de-focus, and choose the best one. I have found that overcast days work best for this technique. Have fun!

Mark's photographic prints for your wall can be purchased at www.markhemmings.com

Mark can be hired as a photographer or filmmaker via www.hemmingshouse.com

FINE ART SELF PORTRAITS

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After my first shot, I felt that one of my photos taken in Quebec City needed an extra element that was not available at the time; a person. As I was alone, I tried a self portrait by placing the camera on a tripod, and setting the 10 second timer. What good is this technique, especially if a face isn't even visible? The value is in the increased marketability of the image with the addition of a person. I am experimenting with this by submitting both images to one of my agents, and seeing which sells more. From past experience, I am quite sure that this photo will outsell the non-peopled image.

Mark's photographic prints for your wall can be purchased at www.markhemmings.com

Mark can be hired as a photographer or filmmaker via www.hemmingshouse.com

PICS FROM THE 60's

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If for any reason you would like to replicate the look of early color film, and are using Photoshop, here are a few tips:

1. Dress your subject in appropriately aged clothing.
2. Find an interior that is difficult to date.
3. Create a vertical composition. In this case, sloppy compositions look more genuine.
4. Set your camera to capture in its lowest contrast setting
5. Use an attached flash so that a sharp shadow is created against the back wall.
6. In Photoshop or any other image editor, defocus the photo with the Gaussian Blur filter. Old family photos were rarely sharp.
7. Desaturate your photo about 50%; less vibrancy is needed.
8. Adjust color balance so more red and yellow are added.
9. OR . . . skip the above and go the easy route by getting an iPhone app like Instagram.

And there you have it! One important factor is the printing. Make sure that whoever prints the photo does not "correct" any color or contrast settings. Tell them to print the photo as is.

Mark's photographic prints for your wall can be purchased at www.markhemmings.com

Mark can be hired as a photographer or filmmaker via www.hemmingshouse.com

FASHION PHOTOGRAPHY

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The lack of a photo studio may be keeping you from trying your hand at fashion photography. Many fashion photographers begin by photographing outdoors, which can produce great results with the right background. There seems to always be young men or women who would gladly trade modeling for portfolio photos; you get a free model, and they get free photography. In the beginning, this is a good arrangement for both parties. Most model hopefuls don't have the cash to pay a photographer full price for a portfolio, and most amateur fashion photographers don't have the cash to pay a model full price to practice on. So why not start out helping each other?

Some important points to keep in mind when photographing models outdoors; look for interesting backgrounds, choose overcast days (in most cases), purchase and learn to use a reflector, and keep in mind that you are not the boss . . . the success of the photo shoot relies on the connection between the photographer and model, thus it is in everybody's best interest to keep a groove going.

If you are having trouble finding models, go to your local hair salons, and tell the stylists what you are doing and offering. They will often have regular clients who will be up for a photo shoot, especially if you offer the photos to the stylist as well (for his or her own portfolio). There are also many websites on-line that have geographic listings of models who are just starting out. You may see the terms TFP or TFCD, which means "Trade for Prints" or "Trade for a Photo CD", respectively. If the models list these terms as an option, you might be able to arrange a shoot where no money changes hands.

There will come a time, however, when both the models and the photographers will give up the trading, and will only work for cash. This is necessary, as to do otherwise can devalue the market, which none of us want. When you feel like you have reached a skill level where your images can be published, start charging for your work. The models will also be doing the same, as they get more experience and proficiency in front of the camera.

Mark's photographic prints for your wall can be purchased at www.markhemmings.com

Mark can be hired as a photographer or filmmaker via www.hemmingshouse.com

USING SUN FLARE

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Sun flare is a phenomenon where direct sunlight comes into contact with the many pieces of glass in your lens, and then creates mostly unwanted flares and reflections in your photographs. The way to avoid sun flare is to use your lens's hood, or simply place your hand in front and to the side of the lens, thus blocking the direct rays of the sun from coming into contact with your lens surface.

There are a few times when allowing sun flare can be good for a photograph. In the case of this attached image of the clouds, I waited until the sun was just coming out from behind the cloud and took the shot. I knew that because of the great intensity of the sun, the camera would automatically reduce the exposure, making the background very dark and dramatic.

This type of shot can be very dangerous to your eyes, so I would advise the following: Wear sunglasses, and have your camera on auto exposure. The only time you should be looking through the lens is to quickly get the right composition, then close your eyes and take the shot. Allow your camera to choose the exposure for you, and you might be surprised at the bold images that are a result. If you try the same image a number of times you will find that the sun flare always changes, because your composition will change slightly. Feel free to "bracket" your photos, which is taking many different shots at different exposures. You can lighten or darken your images even when the camera is set on auto exposure. The setting is called Exposure Compensation, and it usually identified with a symbol like this: +/-

Finally, this is the type of shot where older or cheaper lenses may be better, as they do not have as much anti-flare coating on the lens glass (compared to pro lenses). Again, avoid looking at the sun directly when composing the shot . . . you can do a lot of damage to your eyes.

Mark's photographic prints for your wall can be purchased at www.markhemmings.com

Mark can be hired as a photographer or filmmaker via www.hemmingshouse.com

USING TRICK LENSES

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There are a multitude of trick lenses available that fit modern cameras. Many of these are gimmicky, but given the proper subject matter some interesting results are possible. This shot was taken with a Lensbaby, made by a company in the United States. The cool thing about this lens is that the front lens element is on a flexible bellows, which allows you choice as to where you want the center of sharpness to be. The rest of the image becomes progressively out of focus. They have lenses to fit most film and digital SLR lens mounts, and you can find the company on-line.

What I have found with the above mentioned lens, and with other third-party lenses or attachments, is that they rarely produce dynamic images when shooting normal scenes in broad daylight. If you can, find subject matter with a darker, slightly melancholic feel, and you will find that these lenses can produce some fascinating photographs.

I photographed this man in an old Budapest hotel room, both with a normal lens and a Lensbaby flexible bellows lens. When I compared the two images, the bellows lens image was far more atmospheric and emotive. I believe that effect is a result of the dream-like blurring of the photo's perimeter (reminiscent of historic photographs), and the fact that the lens is not nearly as sharp as my normal Nikon lenses. I have discovered that for fine art photography, tack-sharp lenses can sometimes be detrimental. I will often use old scratched and dirty lenses, which can often be bought very cheaply on eBay or other used equipment venues.

For fine art photography, look for mystery . . . it will add an important dimension to your photographic collection.

Mark's photographic prints for your wall can be purchased at www.markhemmings.com

Mark can be hired as a photographer or filmmaker via www.hemmingshouse.com

CREATING SILHOUETTES

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This process is very simple and can lead to dramatic results, however it is meant for film based cameras. My suggestion for film is Kodak T-Max P3200, or Fujifilm Neopan 1600. Both black and white films will give a nice high contrast, high grain appearance. A much easier choice is black and white film that can be processed in normal color photo labs, called chromogenic films. These black and white films are inexpensive, and a lot faster to get developed.

Pin up a white bed sheet so that it hangs from the ceiling or doorframe, and have the model on one side with the camera on the other. Use a continuous light source, and place the lights behind the subject. You will find that the level of the model’s sharpness changes depending on how close he or she is to the bed sheet, and how far away the model is from the lights. Luckily, you will be able to see the differences in real-time as you can ask the model to move closer to the sheet or further away. It may be helpful to have an assistant alter the location of the light source while you are behind the camera observing.

The next step is to place a clear plastic shower curtain (or similar material) between the camera and the bedsheet. This will create an out-of-focus, aged look to the image. The distance between the camera lens and the shower curtain can vary . . . it is best to try a few different placements.

Make sure that your camera's aperture (or f-stop) is at the lowest number. The easiest way to do this is via Aperture Priority, where you choose the f-number, and the camera chooses the shutter speed. If none of this makes sense to you, check your owners manual or ask a friend for help.

After the photos are taken, get the film developed (make sure you take many shots, with different exposures and different set-ups). Choose the one that you like the best, then locate the corresponding negative, and throw it on the ground. Drag it around the floor, step on it a few times, and try using steel wool on it as well. You don't want major gashes in the negative, just enough to give the photo an aged look. After your hack job, take the negative back to the photo lab and ask to get just the one photo printed. Warn them ahead of time that the image will be scratched.

It is a long process, but hopefully one that will enrich your fine art photography. With advancements in digital filters for programs like Photoshop, you may be able to replicate this look if you only have access to a digital camera. Good luck and have fun experimenting!

Mark's photographic prints for your wall can be purchased at www.markhemmings.com

Mark can be hired as a photographer or filmmaker via www.hemmingshouse.com

BALANCING THE LIGHT

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Today's photo blog entry is more of a tip than a technical lesson. The example photo is of exterior architecture, but the same principles can be used for many different styles of environmental photography.

Have you ever taken a photo of a building and the formerly blue sky turned out completely white? Or, the sky was a proper exposure, but the backlit building came out shadowy and dark? The problem is the great difference in light levels between the dark shadow of the building and the very bright light of the sky. The easiest way to correct this problem (if you have the time) is to wait for the sun to go down. Approximately 1/2 hour after sundown, depending on your location, the light in the sky will be about the same brightness as the artificial light emanating from the buildings.

The window for getting balanced light is very short, sometimes only 20-30 minutes. As an experiment, place your camera on a tripod, and take the same photo every 5 minutes. When it is too dark to see any sky, you can pack up and review your photos at home. You will find that maybe 3 or 4 photos look excellent, and they will probably be the ones taken in the middle of your session.

This technique is very popular with photographers who specialize in house exterior photography. They simply turn on all the lights in the house, wait until the outdoor sky is the same brightness level as the indoor house lights, and the result is a beautiful warm interior with a cool dark blue sky. Try it out on your own house!

Mark's photographic prints for your wall can be purchased at www.markhemmings.com

Mark can be hired as a photographer or filmmaker via www.hemmingshouse.com

FINE ART PHOTOGRAPHY

Dear reader, if this entry or my other blog entries don't answer your specific photography questions, you can call me on the phone anytime for advice by clicking here.

A very easy way to get a painterly look to your images, and to produce photographs that do not appear to be photographs, is to utilize the setting sun. For this picture, I was asked by a client to create an iconic image of wine, with no other parameters. Since I was free to interpret the assignment in any manner that I chose, I decided to experiment with shadows.

The only requirement for this type of abstract image is a window that receives light from the setting sun. If you house is not oriented as such, try a friends house. The first step is to place your props on a small table or other movable surface. The props should have the setting sunlight shining directly on them. The second step is to place a piece of white bristol board (available at any stationary store) behind the props, thus creating the shadow projected on the blank surface. For this image I just used my living room wall, however the bristol board may be a better option as it is movable.

You will find that you can control the level of sharpness of the shadow. Simply experiment with the distance of the props to the window, and the distance of the props to the background bristol board. When you get the desired effect, you will need to work quickly as the sun sets quite fast. Have your camera on a tripod somewhere between the window and the back surface, and shoot a few different shots with different exposures. Since this is more of an artistic image, there is really no correct exposure; go with the image that feels right.

If you find that the shadow is not as warm as you like, try adding a warming filter available at your camera store. If you are shooting digital, experiment with different white balance settings, most notably the "cloudy day" setting, or the "shade" setting. Finally, when you take the picture you will be photographing at a slight off-center angle, as you can't be in the way of the sunlight hitting the props.

Mark's photographic prints for your wall can be purchased at www.markhemmings.com

Mark can be hired as a photographer or filmmaker via www.hemmingshouse.com

COMPOSITIONAL FRAMING

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Regardless of where you travel to, if you have a camera in hand there will usually be an interesting landmark or building to photograph. As you already know, the subject matter that is in front of you has already been photographed ad nauseam. To set your photo apart from all the millions of other similar images, try a simple framing technique where the main subject is encased within a secondary point of interest. In the case of this image, my goal was to photograph the Budapest parliament building, but to have the image framed by a secondary subject, the famous Buda Castle.

There are many examples of this technique throughout the history of photography, and the one that stood out for me the most was a snapshot that an acquaintance took of the Taj Mahal in India. There are countless Taj Mahal photographs in existence, but this one was framed within a minaret shaped archway or gate, and the effect was very dramatic.

If you are a nature photographer, you no doubt have already employed framing devices in your images. An often-used example is autumn tree branches surrounding your main subject. Outdoor portrait photographers often use similar techniques to add drama to their images.

Experiment with different angles, and try shooting your main subject through another subject. It may just be the extra touch that takes an ordinary photo to something mysterious and compelling.

Mark's photographic prints for your wall can be purchased at www.markhemmings.com

Mark can be hired as a photographer or filmmaker via www.hemmingshouse.com

PHOTOS THROUGH GLASS

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People are my favorite subjects to photograph. Although I am thoroughly passionate about architecture, interior design, and location travel photography, I am always drawn to the mystery of capturing a person's soul in the camera. In this example, the person is not alive (nor dead!), but a fashion mannequin. This blog entry will hopefully be an encouragement to expand your subject matter to include subjects that are out of the ordinary.

This photograph of a mannequin was taken at Harrod's department store in London, England. While walking around the store looking for a few gifts, I was struck with how life-like a certain mannequin looked. The image would be a great addition to my collection of Mannequin photos, so I purchased my goods and looked for a vantage point to take the photograph. The scene indoors did not provide an interesting composition, so I went outside to photograph through the window.

There are technical challenges involved in photographing mannequins, or any other subject, through store-front windows. They include loss of image sharpness due to uneven glass, a "muddy" appearance of the final image due to windows that haven't been washed, but the major problem is reflection. If you take a photograph through a window you will often get the reflection of whatever is across the street. To combat this, I use two different methods to reduce window glare:

1. Buy a Polarizing filter. This "magic" filter, if used correctly, can almost entirely eradicate window reflection (but not so much direct sun glare). The only catch is that you need to be photographing at a 45 degree angle to the glass for it to be really effective. With the filter on the lens, compose the photo so that you are looking at the subject at an angle of 45 degrees in relation to the surface of the window. Now experiment with the polarizing filter by rotating it. You will see in real time the reflections begin to disappear as the filter is rotated, and then reappear as the rotation is completed. Take your picture at the rotation point that provides the most glare reduction.

2. A cheaper and quicker option, but somewhat limiting with regards to composition, is to simply place your camera lens directly on the window glass. Further, if you are wearing gloves, or have a scarf, wrap it around the front of your lens so that very little outdoor light is entering the small space between the lens and the window pane. You will see that all glare has been removed, and you can take your picture. This technique is also very effective when you see a nice sunset while flying on an airplane. Place the camera lens against the window, cover the lens with a fabric if necessary, and you will get a better image.

When photographing through department store windows using the second method, move along quickly after you get the shot, as security guards will be very uneasy seeing someone place a camera directly against the window pane. Always turn off your on-camera flash, as it will create even more glare.

Remember to look outside the box when choosing subject matter, and if everybody is taking a certain photo or working within prescribed photographic boundaries, you will serve yourself far better by making your own path.


Mark's photographic prints for your wall can be purchased at www.markhemmings.com

Mark can be hired as a photographer or filmmaker via www.hemmingshouse.com

FLOWING WATER PHOTOS

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Including flowing water in a photograph will add a sense of time and calm, if done with a slow shutter speed. No doubt you have seen countless waterfall photos where the water flows like silk down the rocks. I took this photo in a mountain hot spring town near Mt. Fuji, Japan. Because many temples and gardens in Japan have flowing water, it is an ideal location for such images. If you have tried similar shots, but only ended up with harsh rushing water, try the following techniques:

1. Place your camera on a solid tripod, and compose the photo. If you have a cable or remote shutter release, this is the time to use it, as it will keep your non-moving picture elements sharp (background, rocks, etc.).
2. If you have a camera that will allow for manual exposure, set the camera to Aperture Priority ("A" symbol for most cameras . . . check your user manual). Change the aperture (or f-stop) to the biggest number possible, which is usually 16 or 22. If you have a neutral density or polarizing filter, adding it to the lens will give you a greater effect of smooth flowing water. You are now ready to take the picture.
3. If you have an automatic point and shoot camera, go to a local camera store and purchase a neutral density or polarizing filter. It will be gray in color, and will allow for longer exposure times (thus giving a softer flow of water). Switch your settings to the mountain, or scenic icon, which will slow the shutter speed even more. Hold the filter over your lens, and with your camera on the tripod, take the photo. The length of your exposure will be dependent on the brightness of the day.
4. Hints: the brighter the day, the shorter the exposure, which means less flow effect. To this end, overcast days will produce better results. Also, if you are using a polarizing filter, you will get interesting variations on the photo by simply rotating the filter. Ask for a demonstration at your local camera store.

Mark's photographic prints for your wall can be purchased at www.markhemmings.com

Mark can be hired as a photographer or filmmaker via www.hemmingshouse.com

STREET PHOTOGRAPHY

Dear reader, if this entry or my other blog entries don't answer your specific photography questions, you can call me on the phone anytime for advice by clicking here.

This photo taken of a Greenwich Village shopkeeper always makes me smile, as I believe it represents the soul of that eclectic and atmospheric Manhattan neighborhood. When doing street photography I keep my equipment to a minimum; one camera body and a 50mm f1.4 lens (also try 35mm or 28mm). It is important to keep a low profile while photographing people on the street, and you will need a small and fast aperture lens to shoot quickly and move along. As soon as people realize they are being photographed, the scene loses its natural un-posed look.

In this photograph I quickly composed so that there would be more space on the right of the subject than the left. An easy rule to remember (but feel free to break it!) is to allow more space in the picture on the side that the subject is looking toward. In other words, if the subject is looking right, allow for more space on the right side of the photograph. The opposite is of course true as well. A natural composition has the subject looking into the picture space, as opposed to looking out of it.

A note on street photography: There is a fine line between street photography as art, and voyeurism. While I don't care what you photograph, keep in mind that others might take issue with your activities, and decide to relieve you of a few teeth and maybe your camera. Keep moving, and if a situation doesn't feel right, don't stop to photograph it.

Mark's photographic prints for your wall can be purchased at www.markhemmings.com

Mark can be hired as a photographer or filmmaker via www.hemmingshouse.com

STAR TRAIL PHOTOGRAPHY

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This photo was taken at 4 in the morning in the Dominican Republic. It was a starry black sky with no sign of sunrise, perfect for taking star trail shots. Film SLR cameras (the kind with removable lenses) work far better than digital cameras, however it is possible to take these images with professional DSLR cameras, as long as you can keep the shutter open for long periods of time.

STEP 1. Use a 50mm lens or a zoom lens set to approximately 50mm. Set the camera on the tripod, and set the focus to infinity (manual focus, as it will be too dark to operate auto focus)

STEP 2. Compose your photo so that a foreground object is in the image, such as a tree or building. Make sure it is a fair distance away, and that it does not fill the frame entirely.

STEP 3. Set your aperture (f-stop) to the lowest number (ex. f2.8, or f4.5, etc.). Your shutter speed should be set on the Bulb or Time setting "B" or "T"

STEP 4. With a cable release attached to the shutter, take the picture. The shutter will now be open for as long as you desire. For the first shot, try 10 minutes, then 15 minutes, and if you feel adventurous, a few hours. The longer you keep the shutter open, the longer and more dramatic the star trails become.

STEP 5. When you are finished close the shutter via the cable release. Now go to bed.

An added benefit to waking up before dawn is that your long exposure may pick up some early morning pink and red pre-sunrise light. In this photo I was fortunate enough to have the sky dark with shooting stars, but the bottom part warming up with reddish light. You will need to experiment with sunrise times; start your long exposure well before you see any hint of morning light. Good luck!

Mark's photographic prints for your wall can be purchased at www.markhemmings.com

Mark can be hired as a photographer or filmmaker via www.hemmingshouse.com

THE "S" CURVE

Dear reader, if this entry or my other blog entries don't answer your specific photography questions, you can call me on the phone anytime for advice by clicking here.

In compositional theory, certain geometric shapes are often used by artists to guide the viewer's eye throughout a picture space. Triangles, circles, arches, and curves have shown up in countless images throughout the history of photography and painting, and the "S" curve is one that bears mentioning.

While this image of a spiral staircase is an interior, S curve compositions can be found in any location. Look for elements within a potential picture space that aid in allowing the viewers eye to follow the winding path from a starting point to an ending point. In this photograph, we naturally begin our exploration of the photo at the bottom, working our way up the banister until we reach the top of the image. While not always the case, the viewer will usually begin a photo with an S curve viewing from the bottom left to the top right.

Other geometric designs within your compositions can evoke a sense of authority, empathy, rigidity, and countless other emotions. The S curve composition has a sensual feel to it, slightly dangerous and very compelling. The next time you have a camera in hand, keep an eye open for visual pathways that mimic this serpentine geometry.

Mark's photographic prints for your wall can be purchased at www.markhemmings.com

Mark can be hired as a photographer or filmmaker via www.hemmingshouse.com

USE BLUE FILTERS

Dear reader, if this entry or my other blog entries don't answer your specific photography questions, you can call me on the phone anytime for advice by clicking here.

This scene in South Korea was too good to pass up, but conditions were less than ideal. It was noontime with direct and very harsh sunlight, and 40 degrees celcius! I knew that the only way to get a good shot out of this was to put a blue filter on the lens and underexpose to mimic the look of moonlight. This trick has saved many of my travel photographs, as there are times during traveling where you can’t wait around for beautiful golden hour sunlight.

If you are a digital photographer and you don’t have a blue filter, you can do the same thing by using the indoor light (incandescent) white balance setting. Often this setting will be indicated by a lightbulb icon on your camera dial. Luckily after your shot you will be able to preview the image, and decide if the photo needs more or less blue color cast. If you can adjust contrast within your camera settings, higher contrast will mimic the look of moonlight better than normal contrast settings.

Mark's photographic prints for your wall can be purchased at www.markhemmings.com

Mark can be hired as a photographer or filmmaker via www.hemmingshouse.com