Timing your photographs - 2

Following on from my previous post about the importance of good timing when taking your photographs, here are a couple of pictures that illustrate another aspect of timing.

Good timing is not only vital in order to capture the precise moment the action is most interesting, but it can also have a profound affect on the composition and atmosphere of the picture.

Compare the two photographs taken of racehorses exercising in the Staffordshire countryside very early one winter’s morning. I was delighted to capture the shot of the horses though the trees and against such strong backlighting. The bare trees, the snow on the ground – everything adds to the atmosphere of that winter morning. The horses are walking quite slowly, not galloping, but still the timing is important. In the photograph above, there are more horses than in the shot below, but less is often more in photography, and by waiting until some of the horses had passed out of shot to my left, the composition became cleaner, and because of that the second photograph, below, has more impact.

Also, the silhouettes of the horses to the right of the first picture (above) are not ‘clean’; they are partly obscured by the trees. This has created a degree of confusion and has become distracting. By waiting until fewer horses can be seen more ‘cleanly’ between the trees in the second shot (below), the visual appeal has been heightened rather than reduced.

After taking the first shot, I did not give way to the temptation to follow the horses in the viewfinder in order to make sure I got them all in as they moved to my left, but, as you can see from the foreground, which has hardly changed, I simply waited until some horses moved out of shot and kept the framing almost identical.

Timing your photographs - 1

No matter how interesting your subject might appear, you will not get the most from it unless your timing is just right. Good timing needs lots of practise and is not something that can be mastered overnight. Sure, if you take lots of photographs and set you camera at 5 frames a second or more, you are going to get lucky some of the time. But if you want the satisfaction of capturing exactly the moment that matters, then anticipation is the key.

I think I may have said before that the best sports photographers are those who have a passion for the sport they are photographing, and who know from constant practise and observation what is likely to happen next. They are literally ahead of the game.

Come to think of it, there can be few better ways to hone the ability to time your shots than to spend some time photographing sport. Most local amateur football teams will welcome a photographer who asks to take pictures of their games. This can be a great way to get started. If, though, you are like me and loathe football and everything about it, maybe you should try something else. Even a sport like crown green bowling, which may seem pretty sedentary, needs very precise timing to capture worthwhile pictures.

The photograph above was taken at the Appleby Horse Fair in Cumbria, England, and was one of many pictures I took for a magazine feature. The boy in the cloth cap flicked water onto the horse several times. After he did it the first time I realised that the best shot would be just as the water was in the air and about the hit the horse. A fraction of a second later was too late. I almost always use single shot for this type of picture simply because I prefer the picture to be taken when I press the button and not when the camera wants to take it. You really can miss pictures that happen between those 5 frames a second.

The strong 'toppy' back light has also helped emphasize the splashes of water and enabled a very fast shutter seed to be used to 'freeze' the action. Backlight always lights up water frome behind and makes it shine white.

Photographing people - smile

Cathy has posted a comment about my post ‘Photographing people – TEN TIPS’. Part of her comment reads…

I've been reading more about street photography on various websites, and the range of advice and techniques on offer seems endless! One site offers advice on what to do when spotted which runs directly counter to your advice, Philip, and which makes me feel quite uncomfortable. http://candids.hervard.net/tips

Well, Cathy, I’ve just taken a look at that site and I have to say I am not in the least impressed by what I see. These pictures remind me of a list. They are mostly just visual records of people. Yes, there are a few interesting expressions – but then there would have to be when you consider how many pictures there are. What are these pictures of people for? I can see very little in the way of composition – most are simply cropped tightly around each subject. I might be missing something here, but, no, I don’t think so. These really are just records of what these people look like

It is not what I like to think of as street photography. I fail to see the visual appeal or merit. No story, no event or interesting moment captured – just records. Why?

I have no doubt that this photographer gets a great deal of pleasure from his photography, good luck to him. But it is definitely not a style I would want to copy. I am convinced that this method of sideways glances and detachment would have got me into a lot of trouble in many of the sensitive situations in which I have been involved around the world.

I am always telling my students that the camera belongs to the eye when they are photographing people in the street – and to press the button again when they are spotted. Then damned well smile!!! Look happy. Talk to people. Make contact. Be human, Do it all from behind the camera if you wish – it can lead to some great photographs and open all sorts of doors.

To illustrate just one situation like this, I have posted a couple of photographs. In the top picture, the main subject had no idea he was being photographed – yet almost everyone else around him could see what was happening. I even mimed to them, by smiling and putting my finger over my lips, to keep quiet and not let him know I was taking his photograph – they shared the joke. Of course it was not long before the man heard my shutter behind him – I was using a 24mm lens so I was very close. When he turned round his face bloke into a big smile – and everyone else joined the fun. I pressed the button again. That for me made a worthwhile photograph with a visual story to tell.

I’ll give you a few more examples of this technique soon.

TEN TIPS on how to photograph children - part 1

Children may be spontaneous subjects, but photographing them needs a little planning on the part of the photographer – plus good camera craft and lots of patience.

How times have changed. I am fortunate to be of a generation that that could photograph children without being demonised as an evil pervert. Point a camera at a child these days and you will immediately be branded a dangerous monster. This paranoia, fostered and encouraged by official agencies, has even got through to the children themselves and we are all poorer for the loss of beautiful images of childhood.

But let’s not be too negative, there are still many enlightened parents who are overjoyed to have natural, unposed photographs of their children, and you may have children or grandchildren of your own… perfect subjects.

Sensible parents can be a tremendous help by keeping an eye on things (wiping runny noses etc.) but only assisting when asked. It can be very frustrating when mum moves in to straighten clothing just at the moment when the child’s expression is perfect and you press the shutter button. So talk things through in a really informal, friendly way before the photo session starts. Stress that you will all be working together to produce lovely pictures of the children. You need their help.

I went along to photograph Rory and Niamh, whose parents are good friends of ours. I had the advantage that the children knew me and were relaxed in my company. I did go armed with a few carefully chosen presents – the sort of things that would make good props for the pictures. I knew, for instance, that Niamh loved making pictures, so I took along a colouring book for her – and a book for Rory, of course. The plan was that these books could be used not only to occupy and interest the children, but the white pages of the books would act as reflectors, putting light back into their faces. This did work remarkably well. I also took along a golden tiara for Niamh (Rory certainly wouldn’t want one of those), and bubble-making pots for each. These proved unsuccessful – I spent so much time helping the kids make bubbles that a didn’t get a single picture of them blowing bubbles themselves.

Top right photograph: After trying unsuccessfully to get a picture that caught both children at their best, and with Rory’s attention flagging, I decided to photograph the children individually. I gave Niamh her tiara, which she immediately put on her favourite teddy and gave him a cuddle. This made a lovely picture. You simply MUST be ready and waiting to capture these wonderful moments when they happen


Lower left photograph: From behind the camera I asked Rory what he had in his bulging pockets. He continued to look out of the window while distractedly fumbling around in his pockets to find out. This made another natural pose

TEN THINGS TO DO BEFORE PHOTOGRAPHING CHILDREN INDOORS

Talk through your plan with parents
Find a position in good natural light
Try to ‘confine’ your subjects in some way
Check the background for unsightly elements
Take your light reading and set the exposure
Try to set a shutter speed of at least 1/125sec
Set white balance
Have toys or props ready
Drawing books make good reflectors

When all is set, bring in your subjects

Photograph of the two children: The pictures were taken beside a patio window. A large white reflector was placed off picture to the right. Getting the two children in the same frame and with good expressions proved almost impossible. Niamh would always go one way, Rory the other. When they came together it was for a fraction of a second; they were always on the move, and so was the camera. Shooting at 1/45sec at f3.3 without a tripod has taken its toll – and this picture is not quite sharp as a result

Bottom photograph: WRONG! The problem with this sort of set-up is that there is a high possibility that when your subject leans over the book, you will only see the top of his head – like this

Next, in part 2 - TEN TIPS while taking photographs of children

Keep photography simple

I watch with growing astonishment the amount of sophisticated gear my students manage to stuff into their camera bags. There are times when they can hardly lift their bags – rucksacs mostly – onto their backs. I sometimes wonder why all this sophisticated hi-tech kit has to weigh so much. Strangely, I seem to have spent most of my working life trying to reduce the amount of kit I carry about. It is heavy, and is responsible for my bad back. Bear in mind I started at the age of 15 carrying a large wood and leather camera box full of glass plates and a 5x4 plate camera, and I have lugged some sort of camera bag over my shoulder ever since. Have things really progressed?

I am totally converted to digital and could not imagine going back to the old days of film, but I do think there are countless methods and techniques for producing good photographs that are being lost to those photographers who are completely obsessed with kit. All that equipment just gets in the way.

Lots of expensive kit DOES NOT produce great pictures – photographers DO. The camera is merely a tool, and it is right that you should buy the best you can afford if you are keen. But keep it sensible.

The picture here was taken using just a camera on a tripod – no fancy tripod head full of gizmos and knobs to twiddle, just a simple ball and socket job. The lens was an 85mm and the light was from a window reflected with a sheet of newspaper. The quality of the subject, the quality of the light, and the timing made it a worthwhile image that sold. Simple – I like simple a lot!

Photographing seascape and coast - Part 1

Coastal scenery offers unique challenges to the photographer simply because it seems able to perform visual somersaults every few minutes. Partly, of course, this is due to the rise and fall of the tide which can transform a view of rolling breakers into a scene of mud, sand and rock pools within minutes. And of course, there's the ever changing light...

Backlight over a dimpled shiny surface, like these wet rocks (picture above), can create wonderful results just bursting with atmosphere. Again, timing is critical for success. Take several shots to ensure you capture the spray when it is in mid air. There is often a moment when it is almost suspended – that’s the moment to press the shutter button

As with all landscape photography one of the prime considerations is the direction and quality of the light, and the quality of the light along our coast can be spectacular. Sea and sand reflect the light, softening and putting detail into the shadows. I’m lucky enough to live in Galloway on the west coast of Scotland, and as I prefer to have the sun low over the sea and not over the land when I’m taking photographs of the shore, this means I don’t need to get up at dawn to take pictures of some of the coves and inlets along this beautiful coast. I can delay my assignments until later in the day and shoot into the low afternoon sun, or work even later as it sets into the sea.

TIPS
1 - Check the tide times before you go – do not get trapped by a rising tide.

2 - Time your photo shoot to have the sun low over the sea.

3 - Check the weather forecast before setting out – there are often clear, blustery skies following a cold front - ideal for dramatic sea and sky pictures.

4 - Take a good look at the scene and try to form a rough plan of action. Try to walk across the beach along the edge of the surf if possible. That way you won’t spoil pristine sand with your own footprints.

5 - Keep lens changes to an absolute minimum when working on the sea shore. Don’t change lenses in wind and spray.

6 - Always use a UV or Skylight filter to protect your lens from sand and spray. Keep plenty of lens tissues handy.

7 - Anticipate cloud movements. Have your image framed in the viewfinder and be ready for the moment the sun breaks through.

8 - Wellie boots are far more useful than walking boots – you can get right into the water

9 - Try to capture splashing waves just before they start to fall back into the water – they will be almost suspended in mid-air for a fraction of a second.

Don’t restrict yourself to landscape format. Think vertically for extra impact and crop in closely. This shot was taken with a wide angle lens – remember, your wide angle lens is not just ‘to get more in’. It can be used as a compositional device to accentuate an illusion of perspective and create a feeling of distance within the shot. You must not overexpose photographs like this when shooting almost straight into the light. Let the blacks go black to increase the contrast and add drama. Over exposure will lead to bland, flat uninteresting images

Next, in Part 2. Getting the exposure right

How to photograph a two-headed camel

I show you this picture for no better reason than I hope it raises a smile.

It's genuine, there is no digital trickery involved. I was photographing these camels in the back of a lorry in Cairo when this shot just presented itself.

If there is a lesson to be learned from it - it's keep that camera to your eye every moment the subject is in front of you. That way you will never miss those fleeting moments.

How to photograph sparks - Part 3

For this picture I have used a separate flash unit to add some details to the man’s face. Compare this shot to the one shown in Part 2. That was taken without flash.

The technique I use is desperately simple. If the shutter speed is set to ‘bulb’, or is slow enough (perhaps 1/2second or less), there is no need to connect the flash to the camera by any means – cables or infra-red. You can even hold the flash in one hand, point it at your subject and fire it manually just before you close the shutter. So – open the shutter - fire the flash – close the shutter. This is the way Victorian photographers worked over 100 year ago when they used flash powder… yes, I know, I’m an old git. The technique works just as well today with your electronic flash and digital camera. But the makers of hi-tech gear will not thank me for telling you.

The flash has lit the man’s face. I set the flash to ‘manual’ mode and put it on half power. This was just about right, taking into consideration the flash to subject distance, the f11 aperture set on the camera, and the brightness of the sparks. Experiment with your own flash unit you get the results you want. You can play with your flash guide numbers if you have the patience, but, frankly, to me life is too short.

For the picture of the glass-modeller (left) I used two flash units - one from behind the sitter to separate his dark hair from the black background.

Whatever you do, do not use too much flash power. This will destroy the atmosphere. To be effective, most of the light should come from the sparks themselves.

Sometime I do connect the flash to the camera with an extension cable, radio, or infra-red device. Then I prefer to set a fixed shutter speed on the camera (not ‘bulb’ mode). I also set the flash synchronisation mode to ‘rear’. This fires the flash at the end of the fixed exposure, just before the shutter is closed. The reason for firing the flash at the end of the exposure is to avoid the subject’s movement (they often jump) as soon as the flash goes off.

TIP… It is vital that you brief your subject before you start. The subject’s head must be kept very still during the exposure.

TIP.. To find the ‘bulb’ setting is on your camera, set the camera to ‘M’ Manual exposure mode. Slow the shutter speed down as far as it will go. The ‘bulb’ setting is usually the next setting after 30-seconds.

How to freeze the action

By speeding up the shutter speed – in this case as high as 1/1000sec, the action is almost frozen. You can even read the writing on the cart in the picture of the horse. Blur has been eliminated. Good timing is even more vital with this method of capturing the action because the horse’s hooves must by outstretched. Here, all four hooves are off the ground. This is not just luck – although that always helps - but good timing.

I do not like squirting off several frames a second. I use only single shot for this type of action. I watched the legs of the horse intently as it sped past in order to press the button at exactly the right moment. This does need practice – but surely, that’s part of the fun of photography!

And yes, I did pan the camera as the horse rushed past me.

The down-side of this sort of ‘frozen’ action shot is that it also 'freezes' the background and shows any ugly, unwanted detail.

The backround helps the shot of the beach tumbler (an old picture of mine) because the palm trees are essential to give a sense of context. Once again this was taken with single shot and a shutter speed of 1/1000sec. I did not like the motor-drive of the camera taking one shot just before his hands touched the sand and the next shot just afterwards. Far better to time the one shot perfectly.