Starting tomorrow August 19, 2013, I become part of a U.S.-based advertising agency. The company president invited me to join her team of creative professionals to do work on a full-time basis. The job includes writing online content and designing blogs and websites – things that are right down my alley. I’ll be a remote staff, doing work from home. This post is not about saying goodbye to blogging. Previously I was doing online freelance work so I had more time in my hands, enabling me to do multiple posts a day early on when I started this blog October last year. By tomorrow I may not be able to follow my habit (yes it has become a habit) of daily posting. This blog will continue but not on its frenetic pace, it will slow down a bit. I still have many pictures to share together with experiences, stories and learnings. I thank all of you my blogging peers for making this online activity for the past 10 months very worthwhile, enjoyable and meaningful. But, probably like every one of you, blogging is just one chapter of my life. There are others, and for me a new one starts tomorrow which requires my undivided time and skill. I will have to focus on that. For the meantime this is JJ saying “Take care my friends and keep on clicking!”
Because B&W images do not depend on colors for impact, black and white compositions are often better designed, and so your ability to compose may well improve by working in B&W!~William Neill
Wishing all of you a splendid weekend! Thank you for the visits, likes, follows and comments during our Islands Week. Keep on clicking my friends!
Principles of Visual Dynamics
If you like rules, remember exceptions prove the rules. Being too insistent on the application of hard and fast rules can blind you to many exceptional opportunities. If you don’t like rules, remember that while there are no absolutes there are forces at work that have consistent tendencies. Denying or ignoring universal principles will lead to unpredictable unrepeatable results; you’ll achieve success far less frequently and be far less able to repeat your successes.
Forget rules. Forget absolutes. Forget musts. Instead develop an awareness of visual principles. Look for the unique power each element has to influence a composition. Develop a sensitivity to how elements and combination of elements make the forces at work in a composition stronger or weaker. Instead of composing formulaically, you’ll then be able to improvise. Understanding the principles of visual dynamics will help make your decision making process more informed, it will not make choices for you. Awareness is the key. Better awareness brings better choices bringing better results.
~John Paul Caponigro from his article Photographic Composition: Introduction
It seems positively unnatural to travel without taking a camera along…~Susan Sontag
These are actual island dwellers I’ve encountered during my travels to far-flung provinces. They are fishermen, children, kids – people who live simple lives and enjoy their natural surroundings. They don’t have elegant homes, fashionable clothes, regular work or a lifestyle to speak of. I don’t even think they have cellphones. In the first place there are no signals in these remote places. What do they have? An affinity with nature that we, dwellers of the metropolitan jungle, so obviously lack. And the barest of their needs to live a life are aptly provided for by nature’s resources, right at their doorstep. God bless these island dwellers, these people of the sea.
When you’ve got islands, unless they are rock formations protruding out from the sea, then you’ve got beaches. What do you do? Plunge right into those inviting waters? Shoot First, Swim Later was the title of my post last October 30, 2012. I’m reposting it:
My country, the Philippines, has 7,100 islands. Put all those coastlines together and it will stretch for 23,000 kilometers, the third longest in the world. As a tropical country, it’s literally beach time all year round. Hence the beach, found everywhere, pristine in its natural beauty, is a mainstay subject of mine. Water, sand, sea, tides, shells, corals, sunny skies, palm trees, all these converge to create an inviting, colorful and exotic environ deserving of the pages of a travel magazine. In fact, we have some of the best beach and diving locations in the world. So how exactly do we photograph the beach, coast and shorelines? We know these images as seascapes. Darren Rowse, founder of the online Digital Photography School, jots down 10 Beach Photography Tips which include looking for focal points, watching the horizon, using flash and filters, utilizing black and white and many others. Unless you live there right by the sea, the chance to be at a scenic coastline or beach must not be passed up. You will be guided by your accumulated knowledge of what to shoot, when to shoot and things to look out for to get that postcard-perfect shot. (Photo location: Alubihod Beach, Guimaras Island)
With over 600 posts, all of them with pictures, I have quite a number of island images. Some of those images used in this blog as well as those from my collection are featured in Junsjazz Digital Magazine Issue #3. Now here’s where I curate myself, I went over these previous postings and picked some of the best island pictures (which may be familiar to you if you have followed this blog from early on). In keeping with this week’s picture series I present them again. Here are personal picks. Enjoy!
When I posted the above image at a popular photo sharing site, a viewer commented: “Wow! You captured the whole island!” Well, not really, just one area of the island which happens to be its most visible part. It’s because motorboats and their passengers pass along this sea route on their way to the main island some two hours away. I don’t know if other corners of the island are as gorgeous, but I should say the above area looks the part of a tropical Eden, unspoiled and untouched (unlike the famous Boracay Island which is teeming with people).
Imagine yourself in the island above, lying on the beach, feeling the warm caress of white, powdery sand on your skin as the balmy wind tempers the midday sun and sways the lush palms. Then you arise and dive into those tempting waters, practicing your strokes against the incoming tide. Later you retreat to the natural shade and get your fill of ripe, juicy mangoes, papaya, avocado and of course the coconut fruit…this is gastronomic heaven. Your eyes feel heavy and the cool hut beckons…with the sweet singing of birds above and the soothing sound of the surf below, you get to dreamland…fast. This is back-to-basics living, without your smartphone, tablet, laptop, music player or radio or whatever gadget. I can live with that, but not without my camera!
Another week and another picture series. The Philippines as an archipelago has 7,100 of them jutting out like pearls from the sea. Some are world-renowned destinations but we’ll explore those that don’t have hotels, bars and cabanas on the beach. We’ll go to the untrodden places, quiet, peaceful and free, and where time seemingly stands still. Welcome to Islands Week!
The decisions that the photographer must make are decisions that are made on the basis of feelings and emotions. Decisions that are aimed at expressing our emotional response to a scene, our perception of the subject we desire to photograph, and our personal artistic approach. All of these represent individual choices, choices that we are usually unaware of until we find ourselves in the act of capturing a specific subject with a lens and a camera. As such, this process prevents camera designers and software engineers to program either the hardware or the software to automatically express our response to the subject. They cannot program it any more than we can program it because both of us ignore what this response will be.
So what am I getting at in this explanation? I am getting at the fact that no matter how advanced and automaticized the equipment and the software we use becomes, there cannot be a substitute for individual input and expression.
What I am also getting at is the fact that the field of endeavor where this individual input is best expressed is the field of composition. Why? First, because composition is about personal choices: very few, if any, aspects of composition can be automaticized. Second, because composition is a field of endeavor composed of multiple facets and not just a set of rules. If it was just a set of rules it would be possible, theoretically, to think that these rules may be embedded in camera or computer software and that such software may have the ability to “compose” photographs on the basis of these rules, or the ability to give us directions aimed at helping us compose images in a specific way.
Sunsets are not meant for the black and white medium. I prefer sunsets and sunrises as they are meant to be – enjoyed in full, vivid colors such as the images posted during the whole sunset week. But as I said many times before, there is something about black and white images – the classic, clean lines and the play of tones, 256 shades of grays to be exact, plus pure white and pure black. There lies the challenge of sunsets in monochrome. Stripped of those fiery reds, vibrant orange and lucid yellows, what do you show? Show the shapes, silhouettes, forms and lines. Those are the elements you are left with, so highlight them. In the above picture, you are drawn to the scattering of rocks on the shore while at the bottom image the point of interest are those silhouettes of huts. The trained eye can spot these shapes, yet a keener eye which visualizes in black and white can foretell that the image will work without the distraction of color. I hope everyone enjoyed our sunset week. Till next week when we embark on another picture series. Have a great weekend my friends!
Wishing everyone an enjoyable weekend!
I can say that I’ve just been plain lucky to chance upon gorgeous sunset scenes. You can’t gamble with the weather and atmospheric conditions, they are as fickle as they can be. One minute it’s sunny, another minute it’s cloudy. I’m the fatalistic type, if serendipity is on your side you’ll be presented with a heavenly, once-in-a-lifetime scene. If not, better luck next time. It just so happen that with my outdoor sojourns I am sometimes greeted with spectacular sunset sceneries and, for a photographer, these are manna – blessings from heaven – scenes that I may not see again. And rightly they are rare, unique occurrences. There is never the same sunset everyday. Each is a special daily spectacle. You may have the chance or luck to be there, at that moment, or you may not. When given the chance, you just have to be ready to capture nature’s stunning, colorful display. A quote comes to mind – chance favors those who are prepared, something like that. I am always alert and mindful of photographic opportunities, knowing that I may not see the same scene again. It helps to have foresight and quick, deliberate decisions as you never know what unforgettable views you may encounter.
A sunset can be your point of interest. But then that’s just that – sun, sky, clouds, colors. Those elements may be more than enough to carry an image. Yet there are times a sunset can be an interesting backdrop, an exciting candy-colored canvas playing an important supporting role to a main subject. Why this approach? Since sunsets are often paired with sweeping horizons, putting a focal point in your foreground or middle ground indicates scale and vastness. You present an earthly dimension of size, the broadness of nature. Another thing is you ramp up your composition, arranging elements with the the use of perspectives (foreground against a background), placing main subjects in relation to minor ones (framing or rule of thirds), and presenting a general point of view (vantage points or elevated shots). You work out your shots with sunsets. You are given precious few minutes from observation to execution when the sun mellows down and dips into the horizon. And you can take on either or all approaches in a way that is interesting and captivating. You can never go wrong capturing a sunset scene. But everything can go wrong if you don’t know how to.
We all know that sunsets are the best time to create silhouette shots. So how do we go about this? Keep an eye out for distinct shapes, forms and outlines, or you can use silhouettes to frame an image. If you can’t nail it in manual, use the “sunset” mode (one of your camera’s preset shooting modes) that way your camera does all the analyzing to get the right white balance, exposure and other optimal settings for sunset situations.
Sunsets are panoramic-friendly. How best to capture that sweeping vista of colorful sky and horizon than through a panoramic shot. Here are sunset images at 16:9 aspect ratio.
Another week and another picture series, this time on one of my all-time favorite subjects – sunsets.
I wrote this piece titled Do The Math on April 27, 2013 and I’m reposting it.
Those few minutes before the sun finally dips into the horizon will give you some deep contrast. It’s where the darkness of ensuing night conquers the last remaining light of day. And depending on the weather, cloud formation and where the rays fall, it can give you an exquisite canvas of colors, light, silhouettes and shadows.
I have said before that I’m not a morning guy, hence I have just a few sunrise shots. But I have a whole collection of sunset scenes – reminders of the cyclical nature of life, of the eternal passing of time divided into a 24-hour day. I remember this quote from American photographer Galen Rowell:
“There are only a fixed number of sunrises and sunsets to be enjoyed in a lifetime. The wise photographer will do the math and not waste any of them.”
I would like to think that the wise photographer is the thinking photographer that we should all strive to be. Whether we have reached that level or not yet, it would add to our experience, satisfaction and skill to capture one of the most spectacular displays of nature afforded us on a daily basis. When the opportunity to photograph a great sunset is there, yes, we should not pass it up. We should “do the math.”
Wishing you all a splendid week ahead!
Without color the components of visual design become that much more important. Look at the lines in the image. Are they horizontal? Vertical? Diagonal? Do they form a pattern? Rhythm or repeating elements in a photo are interesting, with a break in the repetition being even more interesting. Also look at the texture, shapes, and forms in the image. Concentrating on these will take your mind off the color and enhance your ability to “see” and think in monochrome.
~Joel Wolfson from his article Digital Black and White Photography Tips and Techniques
It is nature filtered through the mind and fingers of the artist that produces art, and the quality of the pictures depends on the fineness of that filter.~Henry Peach Robinson
Note: This is my 600th post since I started this blog 10 months ago. The fuel that got me going is my passion for photography. But the spark that always ignites that fuel is you, my audience. Through your visits, follows and likes I am inspired and encourage to further my craft and to share whatever learnings I discover. Thank you and enjoy your weekend!
Here’s a run-down of the most common elements that you should look for when identifying a suitable subject for the black-and-white treatment. Remember that these elements can be used individually, or even combined to produce marvellous mono images with clout.
1. Contrast, shape & form
One of the fundamental aspects of black and white photography is that your whole composition relies on contrast (for on composing images, see our 10 rules of photo composition – and why they work). For this reason, look out for subjects that feature simple, strong lines and shapes. It’s often the shadows that define shape and form, so pay attention to areas of darkness, as well as light.
Black and white photos actually include a whole range of greys, which add subtlety to your images. Normally, you look for subjects that will translate into a range of tones from black to white, but you can also get great results where the subject is mostly light (high-key) or dark (low-key).
3. Texture and detail
Fine detail, or strong textures such as weather-beaten stone, foliage or clouds, can help to give your black-and-white shots depth and interest. Strong side lighting is perfect for bringing out the texture in any subject. You can use strong natural light, or get creative with flash to create sidelighting on the subject.
4. Graphic composition
Black-and-white images need strong compositions to really work. Keep an eye out for strong lines or features in your scene that can be used as leading lines, or positioned diagonally across the frame to create dynamic images.
~Black and White Photography: What Every Photographer Should Know
Wishing you all a refreshing and invigorating weekend!
Whether abstracts or straight ahead photography, or whatever genre for that matter, we are attracted to lines and shapes. These are powerful compositional elements which, combined with dramatic lighting and stimulating colors, provide interest in images. We don’t search for lines and shapes. For the keen photographer, it is almost second nature to spot such elements, along with textures, patterns, forms, shadows and highlights. The photographer’s “third eye” is always on the look out, it doesn’t turn on and off. It is ingrained in his system to notice and discern what is interesting and what will work out. He may see a subject in its grandiose totality and as a composite whole, but he will also eye the subject’s parts and areas that may carry distinct forms, details and character. Here are samples:
It has been one great week of photographic abstractions. I hope you enjoyed this week’s picture series. Thank you all for the visits, views, likes, comments and follows. Always, we must have fun in our photography and at the same time learn and develop it, maybe not to staggering, earth-shattering, legendary levels (anyway, most of us are not professionals) but simply to a point where we can be satisfied and proud of our work and make it worthy to be shown and shared to our online viewers. Keep on clicking my friends!
The one subject that will give you the best abstract images are flowers. Zoom in, macro or close up, and capture those delicate curves, arches, shapes and spirited colors, and bring them out in looming proportions and surreal dimensions. Crop out the edges, play with light, use selective focus or blur, present them in panoramic 16:9 aspect ratio or in tight 1:1 square format; you’ve got a lot of creative options in your toolbox. The approaches are yours to discover and experiment to come up with the best abstractions from nature’s little angels. Here are samples from my collection.