The great wheel
Last weekend I was again, my second time, at the Mall of Asia in Metro Manila. My previous post about this Mall was titled The Random Shot wherein I was at an escalator inside and randomly took a picture of a geometrically interesting glass and steel ceiling. No thought and preparation came into that shot. This time around I was outside the Mall complex but within its grounds was this gigantic Ferris Wheel towering probably some ten stories high. I had an hour to spare and I wasn’t going to pass up this one without thinking of my shots and approaches. This was my first time to shoot a Ferris Wheel, and just how does one photograph something that is sure to strain the neck? Let me count the ways…Seriously, I had lots of angles and perspectives to choose from. It was high noon with thin linings of clouds; I was shooting against the light. That backdrop of sun and sky became key elements in the composition. Here is a short but spot-on tip on how to tackle the subject of Ferris Wheels:
“Ferris Wheels are a great spectacle to photograph…Going beyond the standard tourist photographs of minimal distortion (good, but not the most original) and taken at a distance away from the Ferris Wheel, try to position yourself close-up and photograph with a wide-angle lens. If the Wheel is illuminated – experiment with a slow shutter speed and capture the circular motion, creating a blur of colour and light, and remember to fill the frame – wasting no space in your composition!”
~Ferris Wheel Photography from Scott Photographics Inspiration
If I had stayed till sunset I could have captured more colorful and subdued photographs and could have experimented with long exposure. Anyway, do visit the link above which also showcases lots of Ferris Wheel images to give you an idea on the various ways to photograph this interesting subject. Here are but two of the many images I took last weekend.
Going beyond the literal
Article Excerpt:
Beginners often photograph their subjects literally. There’s nothing wrong with that. Many times, though, an ordinary subject can be made extraordinary. That is rarely due to the subject and almost always a reflection of the photographer. Extraordinary photographers do not see their subjects only literally…
Begin to look at your compositions as visual elements, rather than merely literal subjects, you will go a long way towards taking photographs to be proud of. Remembering that photographic images are made of tone, shapes, and lines and their relationships will make it easier for you to find a good composition, no matter what the subject. And you’ll know that even old subjects can be shot anew, no matter who tells you differently.
~Bernhard J. Suess from his article Back to Black-and-White: Choosing Subjects for Black and White Photographs
Seek out graphic elements
Article Excerpt:
No “graphic photographs” do not have anything to do with adult themed images. Graphical photography is an image style that utilizes shape, geometry and color to resemble something that might be drawn or designed. Photographs that are considered graphic in nature have distinct curves & lines, color contrast and highlight geometry within a particular scene. It may sound more complex than it really is, as I’m sure you’ve seen photos everywhere that fit this description.
Finding and taking photographs with a strong graphic element takes an observant eye. Man-made objects such as machinery, architecture, roads, etc. are inherently great graphic photography subjects because they’re designed with geometry in mind by engineers, architects and civic planners. Nature subjects also have a strong geometric shape rooted in the molecular geometry of organic compounds like cellulose and inorganic compounds with crystalline structures like quartz. Whether your subject is made by man or nature if you add light, shadow and color plus follow the 5 tips below you have all the ingredients needed for a great graphic photos.
~Jim Goldstein from his article 5 Tips to Create Graphic Photographs
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The basic material of photographs is not intrinsically beautiful. It’s not like ivory or tapestry or bronze or oil on canvas. You’re not supposed to look at the thing, you’re supposed to look through it. It’s a window.~John Szarkowski
The random shot
The advantage for us – amateurs, hobbyists and enthusiasts – over those who engage in photography as a means of income is that we can afford to take random pictures which do not need to be professional-looking. Okay, though we strive to capture and create pictures worthy to be printed in top quality photographic paper, framed and displayed on a wall for all the world to see, that is not a primary consideration. For most of us, sharing a picture online for the viewing pleasure of our friends and peers is enough. We need not produce visual masterpieces all the time; we are not compelled to.
The above picture is of the atrium of the Mall of Asia in Metro Manila. As the name suggests, it is said to be the biggest commercial complex this side of the world and yesterday was the first time for me to go inside this cavernous structure. As it was a Sunday, the place was filled with people enjoying their weekend time. It was around early afternoon when I went down an escalator and looked up to see this massive ceiling of glass and steel. In the rush of people and the 10 seconds it took to ride the escalator I pulled out my point and shoot cam and took a couple of random shots, no time for thinking and composing and how the shot will come out. At that moment I was dependent on Auto Mode which, if you have read many of my previous posts, is an option I do not totally count on. But Auto Mode is an ally you can turn to in certain situations where you can not properly set up gear or go around to find certain angles or perspectives. I have done many random shots and some of them are keepers, such as the above. Most, however, go straight to the trash bin. The photo may not be the most satisfying of my captures but I can live with that, rather than leave the place with no capture at all. Have a great week ahead my friends!
Capturing the realism
The picture below was taken at Baluarte, a seaside park in the tourist island province of Bohol in central Philippines. When I reviewed the picture in my computer, it was far from what I saw on that day. My picture was bland and boring. It had to undergo post-processing to highlight the colors and details to more or less approximate the actual scene. How do we go about capturing the realism of a scene when we first saw it?
Kimball Larsen shares some pointers in his article 10 Photography Tips To Better Capture What You See. They are the following:
1. Decide on a clear center of attention
2. Remember that your eye has a better dynamic range than your camera
3. Aperture control for DOF
4. Careful composition to either expand upon or contract the feel of the photo
5. Be ready – moments come and go quickly
6. Understand the exposure triangle
7. P is not for “Professional”
8. Pay attention to your light sources
9. Always check your camera settings
10. Practice!
Again I suggest you go over the article and read Larsen’s descriptions on each tip. Giving thoughtful consideration to the above items will greatly improve our picture-taking. It helps elevate us to the level of a thinking photographer, deliberate and confident that our every shot will result in a faithful capture of what we saw. Happy shooting this weekend!
Happy Easter!
We thank you Lord for this gift of talent and artistry which we are able to share to the world. Happy Easter everyone!
Venerable venues
Tomorrow, Easter Sunday, churches will be filled to capacity. It is a momentous event in the whole of Christendom. If there is one set of images in my collection that I enjoy going through over and over again, it is my photographs of Philippine churches – venerable venues of the Lord’s flock. Church structures, with their details, designs and architecture, will enthrall any photographer.
The most interesting churches are the historic ones, centuries-old structures, and there are many of them all over the country. Four of these churches are listed in the UNESCO World Heritage Sites “Baroque Churches in the Philippines.” One of these is pictured above – the Sto. Tomas de Villanueva Church in the town of Miag-ao in the province of Iloilo. Every time I get to visit the province, I make it a point to go to this famous church which is some 40 kilometers south of Iloilo City. The online site of the UNESCO World Heritage List gives a description:
The Church of Santo Tomas de Villanueva stands on the highest point of Miag-ao, its towers serving as lookouts against Muslim raids. It is the finest surviving example of ‘Fortress Baroque’. The sumptuous facade epitomizes the Filipino transfiguration of western decorative elements, with the figure of St Christopher on the pediment dressed in native clothes, carrying the Christ Child on his back, and holding on to a coconut palm for support. The entire riotously decorated facade is flanked by massive tapering bell towers of unequal heights.
The Augustinian mission station of Miag-ao became an independent parish in 1731, when a simple church and convento (parish house) were built. However, destruction of the town by Moslem pirates in 1741 and 1754 led to the town being rebuilt in a more secure location. The new church, constructed in 1787-97, was built as a fortress, to withstand further incursions. It was, however, damaged severely by fire on two occasions – during the revolution against Spain in 1898 and in World War II.
That’s when you take a snap
A photographic urge is like a bodily itch, there is only one immediate solution – scratch. In a photographic situation, you can’t help it, you have to take a snap and hope for the best.
I have been to dozens of churches in the Philippines and they are some of my most favorite photo subjects. The older, bigger and more elaborate the church structure, the better. But there are many modern ones that catch my eye, with their attractive geometric designs. Like the above church interior when I was in Cebu City. It was the first time for me to see this particular church and as I entered its door the Mass had just started. It was filled with people and the first thing that struck me was the ceiling design above the altar. I did not want to attract attention and disturb the solemnity of the proceedings so I slowly took out the point and shoot on my belt pouch, turned it on, raised it and took a one-handed snap, all under five seconds. Some people saw me and gave disapproving looks. I bowed my head, closed my eyes and prayed for two things: apology from the Lord above, and hope that I had a good shot. The above picture was the answer. Though patience is an endearing trait of the photographer, there are times when the urge gets the better of him and he just has to take a snap, foregoing all processes of thought and forgetting all about composition. This is not an ideal situation for a thinking photographer. Yet sometimes, there is that rare moment when the photographer leaves it all to divine providence.
Head height for interior shots
Article Excerpt:
As you look through the viewfinder and tilt the camera up and down from the ceiling to the floor, watch what happens to the vertical elements of the picture. You will notice when looking into the lower corner of a room the perspective in the verticals becomes convergent. This means they get wider as they get further away. The opposite can be seen if you look up to the ceiling through the viewfinder. Both these convergent or divergent verticals should be avoided. To ensure that the verticals stay vertical, try and keep the camera completely horizontal. If your eye is 150cm off the floor and your camera is at the height of your eye then you should be pointing your camera at a point on the wall at the same height of 150cm.
Don’t be afraid to shoot portraits as well as landscapes – just because most rooms are landscape in proportion, doesn’t mean the photographer can only shoot that way. Often portrait photographs are more interesting.
Resist the temptation to stand on a chair in the corner of a room unless you want the image to look like footage from a security camera. Most interior photographers shoot around head height or just above ground level which can give a different feel to an image.
~Doug Jackson from his article Photographing Interiors
The eternal rule in photography
Book Excerpt:
The simple truth of it is that even the most experienced shooters still miss the moment, still make mistakes—sometimes mistakes so basic that they wonder if there’s ever any way to really and reliably learn this art and craft.
In this way, digital photography is no different from old-time photography. Good pictures are good pictures; you make some, you miss some…Digital has changed the game, to be sure, but as in sports, the same rule applies eternally: The one who performs best—the one with the most points—wins. Whether we’re talking football or tennis or photography, you play the game the right way, you win…
~Joe McNally from his book The LIFE Guide to Photography
Wishing everyone a blessed and spiritually-filled week ahead.
The gift of sight
Around 15 years ago I was diagnosed with glaucoma. It is a debilitating eye condition which, if left unattended, can lead to blindness. I was at an advanced stage and had to undergo expensive and critical laser surgery on both eyes. The medical process was to free up the pressure that was building up inside the eye so that the liquid inside can freely circulate. Unlike the skin organ, the rods and cones in our eyes damaged by the built-up pressure caused by glaucoma cannot regenerate. My sense of sight has not been the same ever since that operation. I wear glasses though the grade is not that high. Glaucoma doesn’t go away, there is always the prospect of a recurrence. How does this affect my photography?
If you have been following this blog for some time now and going through my image postings you may say that I have 20/20 vision. Well, it’s far from that. I have poor eyesight and is nearsighted. I don’t know if that’s because of my previous glaucoma condition. It’s crucial that I wear my eyeglasses when driving because I can not clearly see distant objects, they are all just a blur. I even struggle peering through the electronic viewfinder of my DSLR and find it more comfortable viewing, framing and capturing through the camera’s LCD screen. Such setback (I wouldn’t call it a disability) does not deter me. It even encourages and inspires me to really “see” things. This gift of sight, no matter how imperfect it is for me, propels my photography and visual imagery. Maybe because of this condition I strive to see more, and go the extra effort to perceive light and other elements that make up a good picture. Maybe I am guided more by my internal vision than my external sight when photographing. Or both could be complementing each other. All you my friends who have perfect eyesight be thankful, and utilize that powerful sense to make the most of your capture.
Find shadows and highlights
Article Excerpt: “Most of the general tips on how to compose or frame a good shot apply just as well to black and white photography as they do when shooting in color – however the main obvious difference is that you’re unable to use color to lead the eye into or around your shot. This means you need to train yourself to look at shapes, tones and textures in your frame as points of interest. Pay particularly attention to shadows and highlights which will become a feature of your shot.”~Darren Rowse from his article 5 Black and White Photography Tips
A different feel at night
Article Excerpt: “Taking pictures at night gives an image a completely different feel because it captures different stories of daily life, sometimes more dramatic than the ones captured during the day. There is also a whole new cast of characters at night that make taking pictures on the streets after dark an even more adventurous experience in street photography…Just by decreasing the available light we increase the element of mystery in the image. Don’t get me wrong, it could still be an average image. Just because it was taken at night the picture won’t magically become a great photograph, but at least it might become a little bit more interesting, it may make the viewer ask just a few more questions. And depending on where you are it may even add an element of danger.”~Juan Reyes from his article Street Photography Tips at Night
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There are some photographers that don’t go out at night. For many, the perception is that with the lack of ambient light, all your shot will turn out blurry, noisy or dark. In reality, within most city centers there is a wealth of photographic opportunities just waiting to be discovered, all using the available light.~Simon Bray
The challenge of night photography
Shooting subjects in daylight is challenging enough. We often produce blurry, out of focus images even in bright light. What more at night, in an urban landscape with only neon signs, street lamps and lights from buildings? The special condition of low light situation presents an obstacle to photographers but these can all be overcome, and you do not need to be an expert. Night photography can produce some of the most remarkable and impressive photos. To do this you have to remember some simple guidelines.
David Peterson, founder of DigitalPhotoSecrets.com, presents some tips in his article Spectacular Night Shots In 5 Easy Steps. These are:
1. Get a tripod
2. Find a high-traffic location or an interesting street sign
3. Frame the shot in an interesting way
4. Pick an aperture of F8 and shoot some experimental shots at a slow shutter speed
5. Readjust and keep shooting
You will notice that the steps provided by Peterson is a combination of the technical and the creative. The technical side is where you have to learn all about your camera, its features and what it can do. Once you know that, then you can do a lot of things such as shooting with shutter speed priority or long exposures, the technique which creates silky smooth waterfalls and, in night photography, those amazing light trails. The creative side is where you have to draw on your knowledge to come up with the proper framing and effective composition. We are often deterred in doing night photography thinking this needs specialized equipment. The only other thing you need aside from your camera is a tripod. Everything else boils down to you – your patience, passion and resolve. Add these personal traits when doing night photography. The resulting images are rewarding.
Photo Quotes 117
How do you know when the shapes and forms in your black and white composition will be effective? The best way to pre-visualize the impact of shapes on your photos is to practice separating form and function. In other words, try to forget about the subject matter of your photo as you abstract a composition from the shapes in front of you.~Harold Davis
Subjects will reveal themselves
I do no seek out “photographable” things and situations. I do not go out for the main purpose of finding things to photograph. During the early years of my photographic journey, I was the type who was restless and always on the go, wanting to be outdoors all the time, with a mission to seek out and take pictures. Most often I go home disappointed. I placed my energy in trying to find inspiring and beautiful things to photograph, but I wasn’t attentive and sensitive enough that I missed out on interesting things right in plain sight.
If we open up ourselves – mind, heart and soul – to our surrounding, whether it be the urban jungle, or the quiet countryside, or like in the picture above – a small, cozy corner at the 19th floor of a hotel lobby – things will reveal themselves for you. You just have to be keen and observant. To what? To subtleties and nuances, to light, to the feel of the place, situation or subject. Your inner eye, which exists because of your experiences, knowledge and practice, will guide you and enlighten you. When out of your extraordinary photographic awareness subjects begin to divulge themselves, then you have the green light to proceed to the next phase – capture.
Present it simple
Simplicity is all about presenting simple images – uncluttered, plain and downright, well, basic – lines, colors, shapes. Because as we’ve learned and presented in over 300 posts in this blog, photography is the art of simplification, elimination, cropping and focusing on the subject. It is all about presenting the point of interest in the most lucid and spot-on manner. Granted that the photographer sometimes use artistic license in his work, it shouldn’t however deprive him of presenting his pictures in the most understandable way – clear, precise and clarified. It should never be the photographer’s intention to present to viewers something they could hardly grasp or comprehend. Unless its abstract or a mish-mash of incomprehensible obscurity. Then maybe its art, not photography. In our photographic milieu we try to present things as clearly and plainly as possible even with some tinge of artistic license. We are allowed that. Anyway its always the photographer’s vision. One photographic technique we have learned is that we may not necessarily present our subject as a whole. We can use creative and selective focus, or crop out edges or recompose, always keeping in mind the art of simplicity and the technique of giving emphasis on our subject.
We perceive colors differently
That’s right. We pick up colors in various varieties and shades. What may be red to me can be amaranth, scarlet, crimson, ruby, flame, burgundy, cardinal, rose, terra cota and rust to another. And those are just a sampling of red varieties. That’s just one color. There are many other shades in other colors. How we see and receive color is unique to each individual. And how we interpret such color is different from person to person. Generally, the color red is active and dynamic, but others may perceive it as romantic, sensual and even playful. Others will see it as the personification of evil, blood, lust, greed, domination, among others. What am I getting at? In color photography, color defines an image. How we perceive colors in an image is how we understand the message of that image, or what it is trying to convey. Red as rust or age may describe a subject that has gone through the passage of time, such as the picture of the old house above. In his article Color Perception And How It Might Apply To Photography, Spencer Seastrom presents two unique ways of how we see the world. First is that the world is unique from the perception of others and, second, we can’t explain our own perception to others. He relates this to color and as I’ve made examples earlier on, we see colors differently. This is compounded by the fact that colors evoke emotions, and when emotions are involved we feel it in extreme sensations. Saying “I love you” is best with red roses, passionate and heartfelt, but it can also be with white roses, pure and meaningful. In other words, color photography is not mainly how the photographer sees it. It is as much as how others will see it, feel it and be moved by it. Parallel to satisfying the photographer with his capture is ensuring the contentment of the viewer.
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There’s something strange and powerful about black-and-white imagery.~Stefan Kanfer
Junsjazz Images & Inspiration 