NIKON 35mm LENS & FOOD PHOTOS

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A friend of mine recently bought the relatively new Nikon AF-S 35mm F1.8 lens. I have been using it lately for food photography, specifically menu items that don't need to be blown-up beyond 8x10 inches. The most important aspect of the lens for me is the ability to get in very close to the subject matter. The closest focus distance is 30 cm, which is quite valuable for certain types of food photography. The closer your lens is to the subject, the more options you have for creative depth of field experimentations.

While professional food photographers might not use this lens because it is not full frame (DX, used with normal consumer Nikon DSLR's), it is a great lens for practicing the art of food photography. A good way to start shooting food is to offer menu photography for your local diner or family-run restaurant. They probably won't have money to pay you, but why not work out food credit? When you get confident in your food lighting skills, and are ready to handle larger commercial jobs with dedicated photography budgets, you will already have a decent knowledge of how to present and light the dishes.

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

ELEMENTS OF COMPOSITION

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Compositions can be created by many different design elements, such as color, texture, shapes, lines, differing sizes, etc. Next time you take a picture that you like, ask yourself which design elements are at work in this photograph. Sometimes fewer design elements are better, especially for Asian inspired scenes, and at other times the more compositional elements the better, such as high impact magazine ads. 

When I took this Barrios picture from a train station, the scene seemed happy and carefree. I looked behind me, and the same type of houses, on an almost identical mountain, seemed depressing and dangerous. Why the difference? The other neighborhood was in the shadow of the mountain, the houses weren't painted and there was a bit of cloud cover on that side.

Two almost identical scenes, but with vastly different emotions being portrayed. In this instance, color and brightness were the design elements that significantly altered the composition. The next time you are out shooting, use the following design elements to your advantage, and always work toward an image that portrays any kind of emotion. Below is a general list of design elements:

http://en.wikipedia.org/wiki/Composition_(visual_arts)

• Line - the visual path that enables the eye to move within the piece
• Shape - areas defined by edges within the piece, whether geometric or organic
• Color - hues with their various values and intensities
• Texture - surface qualities which translate into tactile illusions
• Direction - visual routes which take vertical, horizontal or diagonal paths
• Size - the relative dimensions and proportions of images or shapes to one another
• Perspective - expression of depth: foreground, middle ground, background
• Space - the space taken up by (positive) or in between (negative) objects

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

CARACAS MODERN

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Although not an expert, I am a big fan of mid-century modernist design, architecture, and art. A recent trip to Caracas, Venezuela was beneficial for me in many ways, especially as I was able to document modern design via still cameras and video. Caracas went through a modernization period in the 1950's that removed much of the Spanish Colonial style that is throughout Central and South America. While a trip to Caracas can easily be depressing to those who do not appreciate mid-century design, for those who are inclined, the city is quite valuable.

The Humboldt Hotel is a great example; it was opened in 1957 by Perez Jiminez, but closed in 1970 due to shifting politics. Re-opened in 2002, the interior and exterior make for great photo opportunities. While the interior furnishings are new, I assume they are commensurate with what the hotel used to look like during its grand opening.

The photo lesson for today is an encouragement to always seek photo opportunities in places that you would normally consider unattractive. If you do your homework prior to departing for another country, you may be surprised by a newfound appreciation of the location's architecture, art and design history.

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

TRAVEL PHOTOGRAPHY GEAR

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A few days ago I arrived home from filming a television documentary on the Venezuelan Youth Orchestra. We stayed for a week in Caracas, Venezuela, going to different neighborhoods doing interviews and photo sessions with the youth. 

Traveling to dangerous cities such as Caracas can be a challenge due to the high possibility of camera theft. I remember on past trips, especially to Japan, I would take a pro body such as the Nikon D2x, with a Nikon D70 as a back-up, with a 70-200 f2.8 pro lens, an 85mm, 50mm, and 12-24mm zoom. This made for a massive backpack, extremely heavy and uncomfortable.

Lately I have been traveling professionally with the least gear possible. I am not well versed with Canon equipment, but a Nikon D90 with an 18-200mm zoom has served me very well when on the road. I have always relied on the excellent quality of prime lenses, but zooms seem to be getting better each year. The D90 and 18-200 combination is adequate for almost all magazine work, and most stock agencies will except images from this equipment. And if it does get stolen or lost, it is a much easier pill to swallow than replacing a $10,000 professional Nikon body and lens!

While I haven't tried the new Nikon D5000, it might be an even better option for frequent travelers. It is small, light, can do decent travel videos, and is priced very well for its excellent image quality (based on my knowledge of the similar D90 CMOS sensor).

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

BACKGROUND SHADES

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 studio backdrop is pure white in reality, but in this photograph it is gray. If all you have is a white wall to shoot against, you can change the shade of the background from pure white to dark grey. Simply move the model closer to, or further away from the wall.

If this subject was very close to the background, the wall would be pure white. If you don't want pure white, move the subject away from the wall. If your room is large enough, you will eventually get to the point where the white background has turned black.

How do you do this? Make sure that your studio lights are overpowering any ambient window or fixture lights. A good combination to start with is a shutter speed of approximately 1/200, and an aperture of f8. Place your lights slightly over the subject, in any direction that you choose. Make sure the lights aren't pointing toward the background. With this studio set-up, you should be able to effectively control the shade of the background simply by altering the position of the subject. This technique is very useful for photographers on a budget, as you will not need to purchase a gray background. 

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