DEPTH OF FIELD

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.

Low Depth of Field means that only a small "sliver" of the picture will be in focus, and the remaining parts of the picture space will be softly out-of-focus. This is very helpful for People photography, as long as the point of focus is always the subjects eyes.

There are two main ways to obtain low depth of field. Purchase a 50mm f1.8 lens, and set the lens to f1.8. Focus on the subject's eyes, and everything else should go out of focus. The closer the camera is to the subject, the greater the effect.

If you currently only have a zoom lens that came with your camera, you can still get a good effect without buying a new lens. Set the zoom lens to the longest setting, such a 200mm, and the f-stop at its lowest number, such as f5.6. Similar to the 50mm lens, the closer the camera is to the subject, the greater the effect. You may need to use a tripod however when using such a long lens. The longer the focal length, the greater the chance of camera shake.

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AIRPLANE WINDOWS

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 was touched on a few weeks ago in a similar blog, but it is worth repeating. When flying in an airplane make sure you place your camera as close to the window as possible when taking pictures. Place a blanket or other fabric around the lens so no interior light is hitting the window where you are photographing, and place your lens aperture at the lowest f-number. You can often get spectacular images in aircraft, especially during sunrise and sunset over the clouds.

It may be hard to see, but Mt. Fuji is peaking up through the clouds!

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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

SCALE AND PERSPECTIVE

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.

Today's blog entry is very short, but effective. When photographing large-scale scenes, whether they are natural or man made, it is important to include a reference point (such as humans) to give the viewer a sense of scale. As camera lenses do not give a 100% accurate representation of reality, it helps to either include background subject matter of a known scale, or additional foreground elements that the viewer can make spatial judgments from. In this case, the people in front of the falls show the scale of the waterfall.

I took this photo at Montmorency Falls, near Quebec City. 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

TELEPHOTO COMPRESSION

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.

If you are interested in learning how to take good sports photos, try using a zoom or telephoto lens at around 200mm. These long lenses have a tendency to "compress" an image, making depth of field changes more prominent, as well as giving the image much more drama. Another benefit to long lenses are the compositional possibilities; you can usually get rid of distracting background information because the subject usually fills the entire picture space.

The downside to long lenses are few, but keep these in mind:
1. You will need a tripod, as the longer the zoom, the shakier the images can become.
2. The longer the lens, the quicker the focusing will need to be. This is either the camera's autofocus, or your own focusing.
3. You may need to increase the ISO to freeze the action of the moving subjects.
4. An f2.8 zoom lens is ideal for sports photography, but these are very expensive. A cheaper but high quality option is the 180mm or 200mm f2.8 telephoto lens (non zoom). You can buy them used for good prices, and the quality is excellent.

I took this photo at a bike race in Burlington, Vermont.

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

NIGHT ILLUMINATION

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 is a photo of my first vehicle, a very enjoyable (and expensive to operate) Dodge camper van. I was out doing night photography a long time ago and decided to take a picture of the van, in case it ever died or was driven off a cliff in frustration. As it was a cloudless night, the moon provided all the light that I needed for my vehicular portrait. If you would like to see the world in a completely different way, set your camera up on a tripod (on a cloudless night), and do a long exposure photo of whatever subject you desire. Your exposure may be a few minutes, but the results are worth it. Even though moonlight is a similar color temperature as the sun, it is a very different quality of light, which will be evident in your final image.

If you are unsure of how to do a long exposure with your camera, click here for a previous blog post that dealt with star trail photography. 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

WIDE ANGLE LENSES

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.

If the above photo looks exaggerated in scale, it's because I photographed the dandelion with a wide angle lens. The distortion caused by such lenses are usually unwanted; stretched, fat-looking faces, and an untruthful expansion of interior spaces are a few examples. However when it comes to nature photography, the exaggerated results from a wide angle lens shot close to the subject can result in very interesting images. Simply get as close to the subject as your focusing will allow, and you will find the lens distortion adds to the picture. It really helps (as in the above photo) if you subject "trails off" into the background, which creates a feeling of even more depth. Anything wider than a 35mm lens should do the trick!

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

PHOTO BUSINESS CARDS

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.

Is your business card boring? Why not make a statement with your business cards by designing one with your own photography? The process is simple:

1. Take your preferred image and digitally re-size it to 2"x3.5" @ 300 DPI
2. Add the appropriate text
3. Save the finished file as a TIFF or PSD file
4. Burn to disk and send to your local print shop

I have been doing this for years, and each print run I change the photo. Many people keep my business cards, as there is less incentive to throw out a business card when it is visually appealing.

This business card photo was taken in Grand Central Station in New York. I don't know the person, but he was entering the Metrazure restaurant. If you are reading this blog, and that is your silhouette, thanks!

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

INTERIOR ARCHITECTURE

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.

When you are asked to do interior photos of a large room or building, one of the most important technical elements of the final picture are straight lines. A sure sign that an interior photo was taken by an amateur photographer are curved or angled walls. The unnatural curve that you experience when taking the photo is not your fault; your camera lenses are not nearly as advanced as your eyes, which have the ability to optically correct the curving perspective.

So how do you correct the image so that all lines in the photograph will be straight? Here are a few suggestions for in-camera perspective control, without using software:
1. Learn how to use a view camera. This is a very expensive, time consuming, and technically challenging endeavor. To learn more about view cameras, do an internet search.
2. Purchase or rent a perspective control lens made by Canon or Nikon. These expensive lenses can move in many directions, and will allow you to get straight lines by experimenting with the amount of Tilt and Shift that you apply (these lenses are also called Tilt/Shift lenses). Currently, Canon has the best version of this lens, as their 24mm wide angle will be adequate for most interior spaces.

If you don't have the cash for the above options, the second-best choice is using software such as Photoshop. Software still requires the very best image however, so you need to supply it with a photo that is as straight as you can possibly get. To do the most for the photo, follow these guidelines:
1. Always use a tripod.
2. Compose the photo so that you are exactly in the middle of the room.
3. If possible make sure your camera is positioned at the same distance between the ground and the ceiling (half-way up the room). You may need a ladder to do this, and a measuring tape.
4. Step away from the camera and make sure that the lens is pointing exactly 90 degrees away from the floor. In other words, the lens direction has to be completely parallel to the floor.
5. Set the lens aperture of f8 or f11.
6. Use a cable shutter release or 10 second timer so you aren't touching the camera while the shutter is released.
7. Take the photo!

If you are able to import your final image into Photoshop or other software, you can now make fine-tune adjustments to create straight lines throughout the photo. Each software is different, so you will have to read the instructions or ask someone to help you with this. Some key words to look out for are "barrel distortion", "pincushion distortion", "perspective", and "lens distortion correction".

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

NATURAL LIGHT PORTRAITS

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To get a nice soft natural look for indoor portraits using window light, it is very important to have a lot of light illuminating all sides of the model. If you have a corner in your house that has two windows on both walls, try placing your model in the corner. If you only have access to one window, pin up reflective material to surround the model. The reflective material will bounce light from the window back to the model. Reflection can be anything white or shiny, which could include a large white bedsheet, tinfoil, white bristol board, etc.

The reason that it is helpful to have non-contrasty scenes for lifestyle shots is because high contrast images do not sell as well. Take a look at any lifestyle magazine and you will see that the majority of images are light, airy, and warm. The more light that you can find to surround the subject the better!

Over-exposure is also a benefit, to the point where the background is always lighter than the foreground. The reverse just doesn't look right. Expose so that the model's face looks great, and don't worry about the rest.

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

MOVIE 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.

There are many different types of professional photography, and most of the time a photographer will work within many different disciplines. There are a few photographers who only specialize in one part of the industry, but they are rare, and usually work only in large cities.

A Still Photographer is someone who works in the movies. It is the on-set still photographer's job to take photos of the same scene that the movie cameraman is filming. Why bother having a normal photographer in addition to a movie camera photographer? It is much easier to use still photos for advertising, than the film that comes from a movie camera. It is the still photographers job to take all the photos that end up on the movie posters, websites, movie extra features, and DVD cases.

During filming, the still photographer stands near the cinematographer and takes the same images. It is not an easy job, as the spaces on set are often very small. The still photographer has to keep a low profile, and remain out of the way of everyone else on set. In addition, the still photographer has the added challenge of working in very low-light conditions. Film cameras can handle light levels that would cause severe motion blur in normal still cameras. The solution is to use very fast lenses, and high ISO settings.

If you would like to get involved with movie photography, the best way to start is to join a local Film Co-op. They are often student groups who help each other make films on the cheap . . . each person volunteers their time to create the final product. Another thing to consider is that in most cases you need to be a part of a union to work on movies. It is necessary to have a number of films under your belt before you are permitted to join the union, which is why the student film co-op is such a good experience.

Equipment needed for on-set stills photography: 10-12 megapixel digital SLR, a monopod (tripods are too big), and camera sound blimp to encase the camera (reduces camera noise; available from Jacobson in California), 35mm, 50mm, and 85mm prime lenses, and a 70-200 (or equivalent) f2.8 zoom lens. As you can see, it is quite an investment!

You may also need a full studio light set-up to do what are called Gallery Shots. These are the planned studio shots that end up on the main film poster. These shots need to be of a higher quality than on-set film stills, thus the planned nature of the photo shoot.

Finally, although it may seem glamorous to be working in the movies, it is an incredibly boring process, with long hours and many egos to deal with . . . be prepared!
The above photo was one I took of James Caan in the movie Jericho Mansions

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

VERTICAL PANNING

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 photographers have already practiced horizontal panning; when a moving subject travels past the photographer, the camera lens follows the subject. This allows the subject to remain relatively sharp, while the background becomes blurry in a linear fashion.

The same technique can be effectively used for vertical shots as well. I was working on a series of advertising photos for Mitsubishi Motors, and one of the shots needed to be an aerial photo to show off the top of the car. A helicopter would have worked, but a much quicker and cheaper option is to simply photograph from a highway overpass.

I wanted the shot to be taken at dusk, so the shutter speeds would automatically be slow enough to cause vertical motion blur. In fact, the driver was only traveling at 20 miles per hour. This slow speed was a good choice for just a slight amount of blur. Simply follow the car with your camera on a loose tripod, and take the shot at will. The amount of blur will be dependent on the duration of your exposure.

While you may not be interested in photographing cars, vertical panning is a good technique to practice, as it can be implemented in many diverse forms of photography.

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 PORTRAITS

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A very easy and effective way to create more mystery in your portraits is to photograph your models utilizing window light shining through curtains. The light should be in the evening when the sun is low and warm, and you, the photographer, should be inside the house, somewhere between the window and the model. The position of the model in relation to the window with curtains will determine how much curtain fabric detail shows up on his or her face. Experiment with different locations for the model, but realize that the sun sets quickly! In order to get rid of distracting backgrounds, place a black sheet or bristol board behind the model. For faces, try to use a zoom lens in the 100mm range, which is usually the most flattering lens focal length.

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

SYMMETRICAL COMPOSITIONS

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.

When photographers first learn about compositional guidelines, such as the rule of thirds, they are often subconsciously bound by these parameters. One thing to keep in mind is that if an image is symmetrical, or has a triangular appearance to it, a centered composition often works best. For the above image, if the door was placed on the left or right of the picture space (rule of thirds), the photo would lose much of its strength. Indeed, images that have triangular shapes are often associated with power or authority, and to compose off-center will often weaken the photograph.

The best way to find out for yourself what compositions look best is to take three versions of the same scene; one where the center of interest is to the left, one to the right, and one in the center. It won't take long to be able to know in advance of your picture taking what composition will be the most effective.

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

WALL ART Part 1

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.

With the steady rise of Modernism's popularity in the home, design has been receiving almost as much attention as traditional artwork when it comes to wall hangings. While many would not classify two dimensional design as art, record sales at art auction houses say otherwise. To create your own piece of Modern design for your walls, simply find a colorful linear or circular pattern and take a picture of it out of focus. You will need to have your lens aperture set to its lowest f-stop number. The photo above was originally a colorful bedsheet, focused manually.

One day I was preparing my camera for a photo shoot, and I took a test shot of a venetian blind. My photo was out of focus, so I checked my camera and saw that my lens was on manual focus instead of auto. I was just about to delete the test shot, when I realized that the image had a nice abstract appearance to it. During the next few weeks I photographed many things out of focus, and eventually had enough dynamic images to create a series. It was a good example of serendipitous creativity!

The next lesson is also on artwork for your walls, and will mention printing options.

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

WALL ART Part 2

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 friend of mine showed me a collection of beautiful 200 year old South Korean manuscripts. They were made with an old leathery paper and still intact, which gave me the idea that they would make unusual and dynamic artwork to hang in my home. Because the books were only 10 inches high, I decided to photograph them, blow them up for printing, and then get them framed.

Depending on your choice of interior decor, texture photos like this can make for interesting wall hangings. Some good ideas for finding texture are old worn-out leather, old printed fabrics, wall paper from a different era, and designs within nature.

Some tips for photographing these textures and printing them out for display:
1. Make sure that the light is evenly illuminating the texture. Overcast days may be best for this.
2. Use a tripod, and if you need maximum sharpness (not always necessary for artwork), set your lens aperture to f8.
3. Take a few different exposures of the same photo, so you are guaranteed at least one with the optimal light level.
4. Get the image printed at a professional lab that has access to fine art archival printing paper. These papers are usually thick, and can be watercolor style, canvass texture, Japanese Washi paper and so on. Ask your printer how many years the paper is rated for. The good papers and special ink jet printers (by Epson, HP, Canon etc.) can offer up to 100 years of color fidelity.
5. When the print is done, it is better to get the print framed by a professional. It will cost more than buying stock frames, but you will be guaranteed acid free matting which will extend the print life.
6. Enjoy your new artwork!

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

THEATER 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.

There may come a time when you are asked to photograph an event at a theater. This can be a tricky endeavor, as you will be dealing with situations beyond your control. Here are a few pointers for successful theater photography:

1. Ask the management what areas of the audience you can photograph in.
2. Use a tripod, as you will not be allowed to use a flash.
3. Set your camera to Aperture Priority, and place the f-stop at its lowest number (f2.8, f4, etc.)
4. If you are using film, choose a high ISO film.
5. If you are using digital, change the digital ISO until the shutter speed is 1/125 of a second or faster.
6. Make your exposures so that the face of the lead character is properly illuminated. This may result in everything else being dark, but that is a sacrifice you may have to make. If you expose for any other element on stage, the main subject may be too dark or too bright. This is easy to judge with digital cameras, as you have access to the monitor. If you are using a film camera, use a spot meter and judge exposure from the face, and add one f-stop.
7. Try to take the pictures when the actors or musicians are loud. This will mask the sound of your shutter.
8. Photograph in places that are a fair distance away from the audience. They will be able to hear your camera and it may be distracting.
9. Theater lighting is often multi-colored; there may be no way to get proper color balance, but it won't matter. When people see the photos they already know that theater lights can be many different colors and intensities.

I took this photo of the Eastern European Szeged Contemporary Ballet, while doing their interpretation of A Midsummer Night's Dream.

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

CHEAP STUDIO LIGHTING

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If you are a photographer who is just starting to get paying clients, but don't have the money to buy strobes (studio flashes), there is a way to get similar results for interior portraits or subject matter when natural light is unavailable.

The only purchase necessary for this technique is a yellow construction light available at any hardware store. They are high powered lights that have their own tripods, and you can often see them being used on construction sites. They are not very expensive, and come in a variety of wattages. Make sure to get the strongest light you can get; 500 watts minimum.

The next item needed is a normal white bedsheet. The sheet doesn't need to be large. At the location of your photo shoot, pin the sheet up with clamps so that the sheet is a bit higher than your subject. Then place your construction lights so that they shine on the bedsheet, in the direction of the subject. The bedsheet acts as a diffuser, and softens the light.

You will find that the amount of softness will change when the placement of the sheet and lights change with relation to the subject. Experiment with these three elements, and you should end up with a nice image. You will probably need a tripod, as the power of the light reduces dramatically as it is diffused, which causes slower shutter speeds.

One final note: As these lights are incandescent, they will produce a yellow/orange color shift in the final photo. To correct for this, use a blue filter if you are using a film camera. If you are using a digital camera, Auto color balance should work, or switch to the indoor light bulb setting.

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

BLACK AND WHITE FILM

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 this new age of digital photography, it is sometimes nice to revert to a good solid film to record certain events. Even though I predominantly use professional digital cameras, there are certain subjects that just seem to require traditional film. I find that nature photography is better suited to slide film, wildlife photography (in certain cases) works best with professional color film, and in the case of the above photo, Asian martial arts work well with B&W film.

There are two brands of Black and White film that I have always loved; Kodak T-Max P3200 (ISO 3200) and Fujifilm Neopan 1600. Both films are very high contrast, grainy (but in a good way), and wonderfully fast for low-light and quick moving situations. If you are used to hand-holding your camera using a 400 speed film, you will really enjoy the added shutter speeds afforded by these higher speed films.

Subject matter consideration is very important when using these films. Similar to Monday's lesson, these films are better suited to mysterious subject matter, and portraits of models who have soul. Photojournalists often used these films in the past, and they are well suited to many forms of social documentary work.

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