Hold The Eye Images

Elements Of A Great Image

I have been thinking about what makes a great image. I'm not taking about the rule of thirds or similar principles which are important to learn but not that relevant to a great image. Today's great images are different, new perspectives, often broader dynamic ranges, and above all images that get your attention. The first ingredient in any image is light.

Light is the most important element in photography, one that often defines the image regardless of composition. In great images light is used to add texture and drama to the image. The light varies across the image. For example, this image is entirely created by light.

Here is another example of how light adds impact, by using it selectively. Above the sun provides the light, below the light is added artificially.

In many ways, light is the defining characteristic of all great photos but another characteristic is spontaneity. Capturing something in a special way. Here is an example of capturing the moment.

The use of black and white is really playing with light, the pose and capture grab your attention. Another element of great pictures is texture and depth. This is subjective but you have to learn to see it, and the great photographers see texture all around us. Here is an example of texture and depth which draws the observer into the story of the image.

Great portraits often display texture and depth, tell stories in the faces of the image. Here is an example of this.

Another example of the portrait, but this time the face says something but the environment also adds depth to the story.

And while you can tell I love black and white, color can be just as powerful. Here is a simple image with power because of the pose. The pose is candid, not directed, I simply asked him to stop while I did a light check. I loved this image from the moment I saw it. And by the way, he liked it to.

So you have light, spontaneity, texture, and depth, but perspective is also important in great images. And I'm not speaking of composition although obviously that's the output. Think of it as the lens you look through, how you see a subject. It's not how to compose but more how you see, if that makes sense. The images above illustrate that point for me, but here are a few more examples of perspective. First a cabin with a window on the Grand Tetons.

Another example from a nude shoot in my studio. This image is created in your mind's eye long before it is shot and perspective was the controlling factor.

There are also some elements of the above photo that break rules. For example, the open use of the hands and arms. The image below is an example of a perspective that is much more common. Here I intentionally waited until someone walked down the stairs, and I loved the phone. As with most photographs, people at something special and I love to include people where possible.

One final image on perspective to illustrate my point, is a common subject in Northern California, namely grapes. Here is an image of vines without grapes, but mustard adds beauty, but perspective adds depth and interest.

I hope I have done something to illustrate the elements of great images. Your photographic gift is your ability to see, some use instinct, others use rules. Some see the image in their minds eye before the shutter is pressed, others take lots of pictures and examine their product. Great images can be captured using any technique so long as you take lots of pictures. Principles mean nothing without practice and experience, and practice and experience develop your ability to see, and in those rare people, unlocks that special gift of sight. So here is a challenge that I'm thinking about, one picture a day from within 20 feet of my house. That's right I can shoot indoors and outside but I'm limited to my yard. Wonder how that will work out?

 

On Camera Flash and the Nikon D800

I changed up my lighting last night with on camera flash. I almost never use on camera flash. I was lazy last night, waited too long to set up lights, and was forced into either using someone to hold a light or on camera flash. With on camera flash and moving around, iTTL is almost a necessity if you are not going to fuss with the controls every time you shoot. Another thing I don't like is iTTl. Not that it is not good in some situations, but for my work with fixed distances normally, and limited lighting, iTTl lights up the place like a bathroom. But I had a flash on camera last night. Now I could have used a cord, or SU800 and moved the flash a bit, but I didn't. I used the flash with a diffuser, rotated the head a lot, and set the EV to -1.7 to -2.0. You lose the side lighting which I personally prefer, but making it work is part of the task.

With on camera flash I shoot differently, from different perspectives to take advantage of the light as best I can. For example, straight on like this, works in black and white.

Boucing the light can add options on a similar pose

My trusty mirror still works with a bit of lens flare, although not as well as side light.

The EV can control the light drop off and help with images like this.

But some of my favorite perspectives work well with close in light as with on camera.

On camera flash limits the drama you can create with light, but it can work as these images illustrate. I don't like holding a flash unless I'm just taking a portrait but if I'm trying to get something creative, I like to be totally focused on the image, with the light as a known.

On camera flash is something to use, doesn't give the most pleasing pictures because of the way the light strikes the subject. You can mitigate by moving the head, bouncing but only on the margins. You can take it off the camera and hold it, using it as a remote, works better but more complex in figuring out the camera perspective if creative is required. If you are moving around and the subjects are moving around, your best bet is one of the wedding rigs that move the flash a bit off camera and allow you to maneuver easily. For the best, check out Really Right Stuff. Another alternative is to set up the light on a pole or light stand, more complex for some but works if distance is fixed or you have an assistant. Finally, don't forget the EV control.

Just for reference, my normal shooting for this situation is to hang a light from the ceiling, put the flash on 1/4 power, manual. I then control the lighting with my f stop in camera as I walk around. Making the f stop adjustment for me is second nature because I have done so much. But it takes a bit of getting acquainted with but works well.

All images taken with the Nikon D800, 24-70mm/2.8 lens and the SB900 camera mounted.

 

 

Nikon D4, ISO 12,800! Or, are they usable?

So shooting last night under terrible conditions without a flash or other suitable photo light, I set the camera to Auto ISO (1), which ended up being 12, 800. I have written in the past that these high ISO images are useful for some but not in the work I do. In other words, not my taste. I may have to eat those words. Here are some images and what was salvaged. First let's take the image right out of the camera. The red glow that you see is from stage lighting on the musicians.

The first thing I tried to do was get the color right or as good as possible, and do a little crop.

I like the image, but not in color. So with the help of some black and white work, here is my final which I like.

So again, a matter of taste, you may not like what I do, but the journey is important to understand.

Let's take another image set. So, here is the original. Not a very good image on the surface, but let's do some work with a crop.

So, here is the crop converted to black and white. Quite a difference I would say and I went from an poor image to one I really like.

So, the bottomline, the high ISO is not perfect for what I like, but I have now come to the conclusion it can really work if I'm careful. And just an aside, photography is all about the art of seeing. It is all in the eye. So finding a way to make images work is just part of my journey.

Nikon D800 Images, can only be described as AMAZING!

Let me begin with my conclusion. The Nikon D800 is the best buy for photographers since digital photography came into being. The ability to capture quality/high resolution images is amazing. I have shot thousands of images with the Nikon D3 and Nikon D3s, hundreds with the Nikon D4, and nothing compares to the images fromt the D800. Everything comes with a price and I'm not talking about money. The auto focus of the D800 is much slower than the D3 series. I have not used the D800 to track wildlife but no doubt the D4 smokes the D800 in this category. But those images, nothing compares to the D800. Now I'm going to give you an example and I could fill this blog with similar examples. So here is the wide shot.

Here is the crop! Can you believe this? Folks this is an extreme crop, one you would never do.

These files come out of the camera at between 41-44MB, quickly become 100MB's. I really don't know what else to say. I was using a 24-70mm/2.8 lens and the camera ISO was 400. You can lower the ISO to 100.

For landscape photography, there is nothing like this camera. Now you could talk about Phase, and yes it is a great camera. But I have tons of lenses including a 600mm, wide angles beginning 10.5 so my flexibility is enormous and outweighs medium format. Secondly, I can quickly switch to a Nikon D3s or D4 and track any animal on earth with the best focus system tracking on the planet.

Prior to digital photography, I used medium format. Specifically a Contax 645 and loved it. I still have the entire lens kit, body, etc. I have been waiting for the backs to become reasonable. I considered the 120mm macro planar to be the best lens on the planet. The D800 changes the game for me and anyone who wants high resolution. Next question, why do you need high resolution?

If you are shooting only for the web, the argument weakens. Or, if you are going to limit your prints to smaller sizes, the argument also weakens. Here are my two main reasons for the higher resolution. First, I like to crop, sometimes I get 2-3 images out of a single frame. It is the way I like to think and create. Secondly, I like big prints, and my printer is an Epson 9900 so resolution is critical for me.

There are likely shortcomings in the D800 I have not experienced besides auto focus. But thus far, after a 3 days of shooting hundreds of images, this is what I think. I'm not a technical guy. In fact, I picked up the camea started shooting before I even corrected the date/time in the camera. I'm a shooter, I judge by the images and because I'm familar with Nikon controls, I just turned it on and began pressing the shutter. And you should have seen the smile on my face when I zoomed in on the first image from the camera back. And bye the way, it is still there.

 

Nikon D4 Images and High ISO

Just getting my hands on a new Nikon D4, I thought to give it a test run in the Grand Dell Saloon at night during the Jam session. I started off with ISO 12800, and here are some examples of the output. All images were shot with an 85mm/1.4 or 200mm/2.0 wide open. So this images was 85mm with an aperture of 1.4 at ISO 12800.

This image was shot with a 200mm lens at 2.o

Below 200mm at 2.0, ISO 12,800

Below 85mm 1.4 at 12,800 ISO

Now we up the ISO to 20,ooo with an 84mm at 1.4(below)

Now below, the ISO is 102,400 with an 85mm at 1.4.

ISO with an 85mm at 1.4. below.

Here is an image shot at 204,800 ISO with an 85mm at 1.4.

This gives you some idea of the low light capability of the Nikon D4. I did a bit of noise reduction in lightroom 4 but as you know, the image softens with noise reduction controls. I tried to keep it within reason, not letting the image melt to avoid noise. For my taste, the image softens too much at these high ISO's to be really usable but certainly workable for some. I did see some erratic light with the D4, could be me not the camera. These shots were right out of the box, set to RAW using the Sony XQD 16gig card supplied with the camera.

I did have some issues with Lightroom 4. I imported using Photo Mechanic, didn't eject the card so Lightroom started by loading the images in cache. I ejected the card but the cache remained as phantom images and kept crashing Lightroom so I had to restart the computer to import the files from my computer. I have never had an issue with Lightroom like that before, so we'll see if that continues.

More on the Nikon D4 tomorrow.

Lightroom 4, my first reaction

I used Lightroom 3 primarily to manage my photo catalogue, keep track of my photos and keep me from going crazy finding an image. It worked pretty well if you have some scheme and stuck with it. However, I didn't find the tools all that helpful, they weren't bad but I used a lot of Photoshop for certain tasks as well as Nik filters selectively. Over time, I do less and less to any given photo, partly because I'm lazy, partly because I have grown tired of that "processed look". Now it doesn't mean I'm not going to process a photo to allow my creative juices to see what I can do. I enjoy this process, and will continue to do that. In fact, when I find something in photo processing that I love, I try to replicate with my camera. For example, I used soft focus today in a portrait shoot. I used a 200mm/f2.o lens and shot at 2.0 with natural light from a distance of about 8-10 feet. With that shallow a depth of field, one eye can be in focus and the rest of the face slightly out of focus. Fun to recreate the soft focus without the software. Anyway, Lightroom 3 had tools but I wasn't overwhelmed with them. What I did like was the ease of use.

Lightroom 4 is a different kettle of worms. Quite a bit more powerful for my workflow especially the brush, not to mention, the "Book", and "Map", etc. I have just begun to explore the all of the options with videos on Lynda.com and Kelby Training. I use the slideshow feature now, find it very useful especially the custom template. It wasn't that easy to figure out, but that's likely me, not the software.

If you are just touching up portraits, Lighroom is likely now the only thing you need. Using the clarity slider to smooth out the skin, the iris enhancer brush to brighten the eyes, the teeth whitener to improve the smile all of which I could do in photoshop with layers but it's much quicker in Lightroom and non destructive.

So, my first reaction this is a winner, worth the few bucks if your time is valuable. As I get more into it, I will comment more. I'm by no means a Lightroom expert, quite the contrary, but I know what an individual photograph needs, and have tools to accomplish the adjustments I want. Lighroom has very recently become one of my tools. Prior to that, I felt it was just too limiting. I don't like overall effects, I like a "light touch" with a brush, and Lightroom now delivers that for me.

Wow, did the Grand Dell Saloon Rock Last Night!

Thursday night is jam night at the Grand Dell. I have written about it in the past, but let me refresh everyone. On Thursday, musicians flock to the Grand Dell Saloon and sign up to play with whatever band happens to be assembled at their rotational time. In the past as many as 55 muscians have signed up and waited their turn. As time has gone on, more and more "named" blues musicans have stopped in to play for fellow musicians. They have fun, and the big beneficiary is the crowd who sits mostly in wonder of the talent. Last night was the same, Aki Kumar, the brain trust of the event, began by singing and playing his harmonica with the first round of the band. Then, one by one, band members switched out, and tried their stuff on the crowd. It's an entertaining evening, band folks play with one another, enjoy each others company and skills while the crowd listens to some great music.

So, last night the main attraction was to be the arrival of Alvon Johnson, former original member of the Hall of Fame band The Coasters, and great blues guitar player and singer. So, we had a line up of great players before the big arrival. But first, Aki reminded everyone of the Tip Jar, and one of my friends deposited the first contribution.

 

The local musicans that show up every week are terrific, but the venue also attracts future bands that plan on playing gigs. For example, these guys just below rocked the house and will be playing the Grand Dell on the 17th of this month. They came to show off their stuff and market themselves. Did a great job of it.

And of course, there are always special moments as Jake Nielsen provided last night. He can play like a guitar god, and sings the blues like he grew up in the Delta. I was left speechless after his sets!

And now for the celebrities that seem to come out on Thursday. Alvon Johnson arrived and really burned the house down with his singing and special guitar. He is definitely in a class with the greats of blues.

and he did play with soul. I was personally stunned because I once worked for a guy that looked like his twin brother and to my knowledge he didn't sing or play.

But Thursday night is always the stage for the unexpected. Last night Terry Hanck, Kid Anderson, and a host of other greats stopped in just to talk and play. As always they join each other on stage.

Early on, Terry joins Alvon and magic is in the air.

Terry is a show in himself, and the music shows all over his face whether he is playing, singing or just enjoying another good musician's work.

After I left, Kid Anderson and a host of others joined in the fun. Seems a gang was recording at Kid Anderson's studio and took a break to stop by the Dell and entertain some blues fans. Yes, the Grand Dell Saloon is a cool, special place where folks that love the blues gather. Maybe next Thursday night, you'll join me at the Grand Dell Saloon.

 

 

 

DSLR Video Workshop Coming!!

Kim Kominich will be teaching a DSLR Video Workshop on video techniques, lighting for video, and audio for video. All three of these are critical for quality video, and who better to do this than a Pulitzer Prize winning photojournalist and faculty member at San Jose State. Kim has shot, edited, and produced award winning videos, taught video, editing, lighting in the classroom and will be giving  limited classes at Hold the Eye Images Studio in Campbell CA. On March 24 & 25, Kim will teach video technique, lighting and audio, limiting the class to 10 students. The following weekend, March 31 & April 1, Kim will teach video editing using iMovie and or Final Cut X. Again the class is limited to 10 students.

The pricing is $399/weekend or $650/ for both weekends. It is Mac only and the editing will be taught on iMovie and Final Cut X. For those attendees at weekend one, shooting a video of your own following the first class will allow you to edit in the second class. For those not shooting or attending the first class, video and audio files will be provided for editing.

The registration will be posted shortly at HTEIW.com, so stay tuned and see you there.

 

Never leave home without........what?

Clean underwear, was my mother's requirement. She wasn't a photographer, but that's what she said. So what does a photographer always need regardless of camera, weather, location, or shooting purpose? My "one thing" has nothing to do with gear or anything material. A compass, bubble level, extra memory cards, batteries, rain gear, water, are all important and can be critical, but not my "one thing". Here's my one thing that you should never leave home without.

Whenever I leave with a camera, my "one thing" is to come back with a new image, something out of my comfort zone, that I didn't expect but I'm proud of. That's right it is an image that requires me to be on the lookout for something special. Now it's not something easily for me to see. That would be much to consistent with my personal style. No, it needs to be something totally different, the finding of a new perspective, a learning experience for your photographic eye. Now that seems to create a high bar, but it's simply attitude and curiosity gone wild! You try lots of different things, have some fun, abandon rules, and see what works. It sounds whimsical, but it's a learning process. You will pick up something, maybe an angle, maybe a technique, or perspective. The learning comes from experimentation not from success in capturing a special image. That's right the goal is to learn something and the technique is an attempt to capture a special image outside of your comfort zone that you will be proud of. The technique ensures your full skill set at work.

Photography can be solitary at times, but comparing your images with others is useful. I'm not talking about a photo contest of the "best" image since that's a matter of taste. I'm speaking of seeking the perspective of different eyes, exactly what I have been writing about in the previous paragraph. You can use the eyes of others to help in this quest for something different. Go out with a group, but then look collectively at what was captured. Pick the most unusual images, do they have potential? Talk about what they need.

So there you have the one thing every photographer should take with them on every outing with a camera. The quest for something totally different, the addition of a new skill for your photographic eye. Sounds like a simple idea and it is. But it takes purpose and challenging your existing style of photography, getting out of your comfort zone to accomplish. Now every image I capture is not different, in fact I like my personal style. But I do try to push myself to something different as a way of learning. It's one of my goals on every shoot. I believe it is one technique that helps me improve my skills. I enjoy the seeing other photographic perspectives. I always remember the old management saying "when everyone thinks alike mediocrity always wins".

Top Question That I get Asked?

The number one question I get, "what's the best thing I can do to improve my photography?". The immediate answer is take more and more pictures. Sounds simple but it is so true. You can not spend your way to better photography on gear, software, or tutorials. All of these elements play a role but pale in comparison to the good old hard work of snapping the shutter. I know, I have said this many times before, but I fall prey to not shooting enough on occasion. I think of shooting like exercise, needs to be done every day and worked into your schedule. Like exercise, doesn't have to be a full on production, shooting a few images at lunch, grabbing a couple of images while walking the dog or even photographing something in the kitchen. Any of these activities make you exercise your photographic eye, help you with camera knowledge, and make you stop, pause and think photography. The key ingredient being the exercise of your photographic eye and learning to use your camera as a second hand. Both take lots of practice.

The footnote to all of this is the axiom, "always carry a camera". If you always have a camera with you, grabbing a few shots, looking for something special, becomes second nature. This instinct is what you are trying hone. The ability to see something special, a person, a design, an event, where most would simply pass by. Part of this gift may be natural but a small part. You have to be an observer to "see", and powers of observation require work. The difference between great photographers, good photographers and .....well PWC's, is the all elusive gift of the eye. A gift that can be developed with exercise, but like muscle weakens with idleness. Learned shooting skills will leave you if they are only exercised on infrequent trips. Now, I'm not trying to discourage the photographer who uses his passion to escape the pressure of everyday activities but does so infrequently. I did the same for quite a few years, escaping into my photography whenever I could even though it was sporadic. In hindsight, I should have carried a camera with me all the time although the cost of film may have limited my random shooting.

Do these comments mean, you don't need to learn photoshop, use the right camera? Of course not, but learning to see the image in your mind's eye before you take out or pick up your camera is the holy grail of photography. It only takes effort, costs nothing but time, and pays dividends on a scale that money can't buy.