A-Photo Mag

Have you ever heard of the technique called ‘Painting With Light’ ? It is a classic photo technique, and you will be happy to know – requires little other than a camera and a prop. The word ‘photography’ literally means ‘a writing in light’ (photos + graph in Latin). The technique you are about to learn will show you exactly how this is so true. You will only need a camera capable of taking time exposures (the B setting). In fact the compact camera that we used to make this image is a Olympus C5000Z, which in fact does not support time exposures, but does however feature a slow shutter speed of 16 sec, which is adequate to at least learn this effect and use it to get some exciting results. Lets begin!

You will need a camera, a sturdy tripod, a still life subject to photograph, and a hand-held battery operated torch. The torch could simply be the ordinary flash lights (as in the UK usage) you probably already own…we used a miniature torch powered by a single cell. In fact it was a key chain light, and the light is emitted by a single bright LED (Light Emitting Diode). What you REALLY need to understand is something basic about photography – the areas where there is light are ‘exposed’ on the image, and those that do not receive light remain unexposed or underexposed. If you were to leave your camera shutter ‘open’ in a totally darkened room, the sensor (or film) wouldn’t register a thing on it, even if you used a time exposure of 8sec, 16 sec or even a minute or more. However, if you use a torch to expose certain areas of the subject during this time frame, ONLY those areas would appear in the photograph, since everything else would remain underexposed or not exposed at all!

Set up your camera on a tripod, and totally darken the room. We used a model of an engine for our shoot, as is evident from the image. We wanted the front of the engine lit up, and a gradual fade out towards the lower and rear regions. For this, we first shone the torch for a few seconds from the front of the engine, making sure the light source remained outside the frame of composition at all times…then, we quickly moved the torch around the top of the engine to create a unique effect. The torch was aimed directly at the camera during this stage , BUT COVERED WITH A FINGER, so as not to allow flare. The redness that you see on the light trail is thanks to the glow of the blood in the fingertip as the light shines through!

We used f/8, ISO80 and a shutter speed (not really affecting exposure) of 16 seconds, for this image. Experiment with different light sources, and incident (the light source within the composed frame) and reflected (the torch focused on the subject from outside the composition area) to get unique results every time!

Now that you’ve learnt what sound photography is all about (PART I), you are ready to take your first few sound photographs. You will need -

1. A Camera with the capability of long exposures, preferably a T option.
2. 2. The sound switch mentioned in the first article in this series
3. A flash unit with connector cable
4. The props – in this case, a glass of water and a few ice cubes

The most important stage in all studio photographs is the initial set-up stage. You get the set-up wrong, and theres no chance you will get a decent photograph at the end of the day. To set up the sound trigerred splash photo, lets start with the lighting. Keep the glass of water stationary with a black background. Make sure there is enough distance between the glass and the background, to get a totally dark black background on your image.

Now, place a light behind the glass, in between the glass and background. Place it so that it is lower than the table on which you’ve kept the glass, to avoid lens flare. Focus the flash towards the glass so no light falls on the background, fire a test shot to see if the lighting is ok – and if it is, you are ready to go to the next step.

You will be dropping an ice cube into the water, to let off the sound switch with the ‘plonk’ sound made by the ice as it hits the water/glass edges. Since this really isn’t a loud sound, you will need to ensure the microphone gets all the sound it can from the glass. It is great to connect the mike to a longer cable, to the circuit. That way you can place it next to or even under the glass, if the glass doesn’t topple over…now the switch should get triggered by the slightest sound in the glass. Try it out by gently tapping the glass with a fork. If it fires, you are ready to roll. If it doesn’t, check the position of the microphone and all the connections (flash to circuit and mike to circuit). Make sure the flash is ON!

Next, we set the camera to time exposure, and use the same aperture that you had for the trial shot. Remember, the shutter speed wont matter since you are going to darken the room. Go ahead and darken the room now. Fire the shutter. Drop the ice cube in the water. The flash should fire with the sound of the ice striking the surface of water. Once this is done, close the shutter. Now, check out the results! You may need to shoot a few images before you get the right splash effect…

We’ve just learnt a technique that allows you to shoot splash images with a cost-effective set-up, without an expensive strobe unit..

Did you know that you can synchronize your photography with a sound operated switch? This has many applications – some that are fun, some that are for scientific uses and some that find their applications in advertising photography. It is very interesting, and at the very least – something that you would like to try your hand at, just for the sake of the challenge. This project however, requires you to have at least a basic understanding of electronics if you would like to construct the apparatus required your self. On the other hand, you could always have it made at an electronics outlet or even but a ready made sound switch from something like Radio Shack (which would obviously cost you a bit more). Do keep in mind that this project is harder than anything we’ve covered so far, and is aimed at the advanced amateurs and professional photographers.

The Principle Behind Sound Photography

Have you ever considered the factors that influence your lighting when using a flash unit? Well, the main light source is of course the flash unit itself. It is true that when you use a slowish shutter speed to get a ‘mixed lighting effect’, ambient light does come into the picture. But, when you use a high shutter speed, say for example the flash sync speed of the camera, it is nothing but the flash that has a major effect on your photograph. If you are shooting in a darkened environment, or at night in the outdoors, it is solely the flash that will effect your lighting and nothing else, whatever the shutter speed, even if it is something as slow as 4 seconds or above. When you consider the fact that the duration of flash is much much shorter than the highest shutter speed on most cameras, it becomes quite obvious that this short burst of light can freeze a high speed action quite effectively. If the high speed action is accompanied with a burst of sound (for example, a firecracker exploding, a balloon bursting or an ice cube falling into a glass), the flash can be triggered using a sound switch; to capture the ‘decisive moment’ when the action is at its peak.  Let us look at the construction of the switch…

The Sound Switch

This trigger was constructed using a DIY ‘clap switch’ circuit (readily available with hobbyists). If you are making it your self, do mention at the hobby store that you intend to use it as a trigger and not as a power output circuit. Alternatively, you can get readily available sound triggers dedicate to photographic use, but they would cost you a bit more. In any case, the apparatus would have a microphone one one ‘end’, and a flash connection socket at the other. If your flash unit does not provide an output cable, you will need to invest in a hot shoe adapter and a connecting cable. Connect the flash to the circuit and test it by clapping your hands. If everything is as it should be, the flash should fire when you clap your hands!

One of the most common complaints that amateur photographers have is ‘blurred’ images. ‘Blur’ can be a result of two kinds of errors. One would be an off-focus lens, and the other reason is usually camera shake. Both these errors are commonly referred to by the layman as blur.

As far as off-focus images go, it is usually a result of wrongly set focusing ring on a manual focus camera. If you use a auto focus camera, and still find some images off focus, it is probably because of the fact that your subject was off-center. Most auto focus mechanisms take the center-weighted approach, meaning – they focus on whatever subject is found at the center of the frame. If your subject is off-center, try this simple trick for error-free and in-focus images – get the subject into the center of your frame, and half-press the shutter. When you do this, the lens locks on to the subject, and usually a digital camera will alert you of the fact that the subject has been locked in focus, with a beep. Now, DO NOT take your finger off the shutter button. Keep it half-pressed as you re-compose your frame to the desired composition. Now, you can fire the shutter and get a in-focus image. Alternatively, if you are finding it difficult to half-press the shutter to get the focus lock, switch over to manual focus mode and us your judgment to get the subject sharp and clear. Finally, the smaller the aperture you use, the more of a range would you get into focus (more depth of field). The final technique mentioned (small apertures) should only be used at times when you are in an absolute hurry, since it does not always give you the perfect results you can expect with the former two techniques mentioned.

Camera shake is another cause for blurred images. This is quite different from the former reason of off-focus, and is simpler to understand and simpler to correct as well. Typically, you would get an image with camera shake when the shutter speed was set to too low a value, and the picture taken hand-held. There are more than one ways to correct camera shake. For one, maker sure that your shutter speed is at least the inverse of the focal length used. If you re using a 300mm setting on your lens, your shutter speed would need to be set to 1/300 of a second at least. Next, you should use a tripod whenever and wherever it is possible to do so. Where a tripod is unavailable, use a wall or a tree to rest against, as you fire the shutter. In the absence of such, use your knee to rest your hands on. Also, never jerk down the shutter release but instead, squeeze it gently till the trigger fires, much like a gun is fired! Finally, rest the camera against the side of your face for support. This is critical especially with the heavy digital-SLRs.

There is no real definition of an amateur camera, or an amateur photographer for that matter. The basic difference between an amateur photographer and a professional one is that the amateur doesn’t make money from his or her craft, while the pro makes a living out of it. For the sake of this article however, let us look at some of the lesser priced models, and the compacts and the semi-pro cameras.

Most people who buy cameras for everyday use, intend taking photographs at family get-togethers and portraits. For this purpose, a portable pocket camera that is light and easy to use is the need of the hour. The Olympus MJU series are perfect for this kind of use, are the Canon PowerShot models and the Nikon Coolpix series. As with the professional models, Nikon and Canon lead the markets with compacts as well. Olympus, Fuji and Pentax too make great digital cameras, and are usually lower priced as compared to Canon and Nikon. Casio and Panasonic make some pretty interesting models, Panasonic using Leica lenses and Casio making some very compact cameras that easily fit into a shirt pocket or a purse. All said and done though, it is only your own personal requirement that determines the kind of camera you ought to purchase. If you are completely new to photography and do not want to be bothered with things like focus, exposure and all that, we suggest a totally automatic compact camera. Some of the latest features to hit the compacts include image stabilization and face detect. Image stabilization ensures blur-free pictures even in low light conditions, and face detect ensures that the camera focuses on the subject’s face even if it is located off the center of your frame, giving you in-focus subjects at all times.  

So how about a camera for those who wish to take everyday photographs as mentioned above, but also want some creative control over the settings? Semi-professional cameras offer SLR-like features at a lower price and weight to their big sisters, the SLRs! For example, you may not be able to use interchangeable lenses, but a semi pro like the Panasonic Lumix series will give you a lens with a wide zoom range. Also, a semi pro may give you the advantage of a hot shoe, allowing you to use an external flash (on camera or studio light). And then of course, the semi pro models allow you manual override on focus, shutter speed and aperture to name a few settings. All in all, if you are a traveler who like sto take a few creative photographs on your journeys, or if you are a beginner wanting to learn the craft, a semi pro model will do you good.

Again, it is only your personal requirement that should finally decide the camera you buy. Before you go to the camera dealers, you should at least have an idea of the type of camera you want – a compact, a semi-pro model or an SLR or beyond.

Thinking of getting your self a professional camera? Well, you are reading the right article if you are, and you do not know much about the different kinds of professional cameras available on the market. Most people who are looking out for professional cameras would already have a fair amount of knowledge of them. On the other hand, you may have enrolled in a professional photography course, and want a camera you can learn the craft with as well as use it for your first assignments.

The most common professional cameras today, and the most widely-used are the Digital Single Lens Reflex (D-SLR) models. They are basically similar in design to the much-appreciate SLRs of the 70s and 80s. The basic difference between today’s D-SLRs and the SLRs of yester year is that today we use digital sensors instead of film. An SLR allows you to ‘see’ through the lens, thereby getting a first hand insight into the depth of field and composition. The most sought after D-SLRs include the Nikon and canon models. Nikon and Canon top the list of digital SLRs. In fact, Nikon’s D-700, recently launched, and also the D-90 are the talk of the town today. Canon’s EOS series is on par with Nikon, and Nikon therefore no longer can be called the sole market leader. Pentax, Olympus, Fuji and Konica Minolta are the other makers of digital SLRs. It is interesting to note that Fuji makes SLR bodies that are compatible with Nikon lenses, so if you are looking for an affordable switch from film to digital, and have a series of Nikon lenses, go for the Fuji S-Pro models (which are based on Nikon film bodies in part). Do keep your requirement in mind before you spend a lot of money on a new camera – if you are a hobbyist, you may never use some of the features such as extremely high shutter speeds, offered in the pro models. For instance, the Nikon D-40x, a 12 megapixel camera, is moderately priced, and more than adequate to learn photography with, as well as shoot your basic assignments with.

Did you know that film cameras are still not out of the race? In fact some professionals still swear by film. Digital cameras have more than matched the quality of 35mm SLRs. But what about the medium and large format films used for advertising etc? Fuji recently launched a film camera (photokina ’08), much to everyone’s surprise. This just goes to show there is still a niche market for its users. However, the users are largely made up of advertising photographers who need to make giant-size blow-ups of their images. Mamiya and Hasselblad medium format cameras have remained the favorite with such photographers, to this day. Finally, the large format – 4 by 5 inch sheet film is still the ultimate in resolution, that humanity is able to offer! Sinar rail cameras, coupled with 4 by 5 inch backs and Schneider lenses – an advertising photographer’s dream come true.

1. Don’t use the fill-flash unless absolutely required - it is a fact that in-built camera flashes tend to give a very flat and 2-dimensional appearance to photographs. Avoid using it unless the existing light just isn’t adequate. Try using longer shutter speeds instead. In case of automatic cameras, shutting off the flash (if possible) would automatically ensure longer shutter speeds.

2. Don’t pose people awkwardly - it is ridiculous to see people posed in awkward positions, especially when the subject is a shy person who doesn’t like doing so in the first place. With people like those, it is much better to shoot them candid, or give them a prop to distract their attention.

3. Don’t leave room for red eyes - when using flash, avoid the red eye syndrome. You can do so by ensuring that the eyes are not absolutely parallel and directly in fron of the flash. Try shooting at an angle to the face.

4. Don’t use high ISO levels. Well, not unless the existing light is too low. Remember, the lower the ISO value, the better would be the pixel quality in your files.

5. Don’t allow for cluttered backgrounds. A distracting background can take the charm out of the most pleasant of portraits. Make sure you throw the background off focus if you cannot reposition the subject. Also, you could zoom in as much as possible, to keep your attention (and the viewers’) on the subject’s eyes.

6. Never shoot strangers unawares. Thats what the paparazzi do, and that is why they often get into trouble! Of course, candid photographs are always a special something. But when shooting candid, it is better to do so with people you know.

7. Never jerk down the shutter release. Instead, squeeze it gently until it fires. This ensures you do not allow the camera to ’shake’ by the finger movement. In fact, it is also good to hold your breadth for the second you are firing your shutter, while you rest the camera against the side of your face!

8. Never leave your camera at home! If you are looking for winning images, you need to carry your camera with you everywhere you go. For example, this candid image was photographed on the spur of the moment when the photographer’s friend sat down to rest after a long bike ride.

 9. Never leave batteries in your camera for lengthy storage. It is a pathetic way to lose your camera’s functionality. All batteries leak after a certain period of time, especially the use and throw ones. So, if your camera uses something like AAA batteries, REMOVE them when storing your camera for long durations.

10. Never let your camera get damp. Well, not unless it is one of the more modern water-proof models. Dampness is one of the worst enemies of all cameras, digital cameras in particular. Use a water-proof case for your camera while transporting it.

Positioning and posing people is a vital aspect of every day snapshot photography as well as professional photography. It is true that seldom does the everyday ‘amateur’ photographer have the presence of mind, or the time to ‘wait’ for a natural photograph-friendly moment to occur. More often, we use the camera as a means to capture everyday moments on family picnics and get-togethers with friends. Here are a few tips on how you can pose people for your photography. We hope the article will be of use to you, and that you will soon be able to shoot more appealing images after reading this.

Many professionals feel that posing is more than half the ‘portrait battle’ won! Body language plays a vital role when you position the limbs and head and torso of your model(s). A chin held high spells out confidence. A chin held a little too high could, on the other hand, speak of pride. Similarly, a stooping posture could give the viewer an impression of sluggishness or depression, while a chest held out firmly tells the viewer that the model is confident and content.

Photographing and posing children is of course much more difficult than shooting images of adults, simply because kids do not respond to specific instruction as adults do. So, one needs much more patience and dedication to shoot a portrait like the one shown above. It is a great idea to ’set up’ everything other than the child, and wait for the right moment to begin clicking away. For the above shot, the photographer conveniently asked the child to lean her elbow on the bonnet of the family car, and then began conversing with the child. The hand on the bonnet forced a pose out of the child. Being the exceptionally boisterous child that Tanya is, she was not shy at all, as she laughed at all of the photographer’s jokes with zest!

Of course, it is much more difficult to photograph a child, or an adult for that matter when he or she is camera-shy. In such case it is best to pre-occupy the subject’s attention with a prop of some kind. For extremely shy people, it could well be their favorite book or magazine. In case of children, it could be their favorite toy…

A few things to remember in general - never let the background be too cluttered. Never let poles and trees ‘grow’ out of people’s heads and shoulders. Instead, it is better to lean them against the prop. Also, why not get the person’s hands to do something? Hands tend to go stiff when people are asked to pose for a photo. Again, in the above image, the child’s right hand was forced to get involved in the pose, by asking the child to take her hat off. Finally, shoot more images than you require, and select the best of the lot - to get the right expression on the subject’s face. The above image is one out of about 20 photographed one after another.

When photographing in the outdoors, one needs to work with ambient light as the main light source (generally). In such a scenarios you can obviously not have much of a control over the lighting conditions. You need to work with the existing light, which is affected by the position of the sun, the clouds and the relational positioning of the subject. Obviously we cannot have a control over the position of the sun or the clouds. That leaves us with positioning the subject as our most versatile tool.

The classic rule of outdoor photography tells us to keep the subject in front of the sun, meaning keep your back to the sun and position the subject in front of you. The subject would be well-illuminated in this case, and moreover you would eliminate the risk of lens flare (which occurs when the light source is in front of the lens behind the subject). This is a fail safe method to get good exposures. However, make sure that if you have a large area of the sky behind the subject, you lock focus on the subject by half-pressing the shutter before you fire. Also, the exposure can go haywire if the camera was focused on the sky instead of the subject. In such case, you would get a well-exposed sky and an under-exposed subject. To take things further, that is exactly what you should do if you want to photograph a silhouette!

If you wish to experiment with outdoor lighting further - well, wel need to break the rule we just taught you! Lets say we are shooting a portrait. Have you ever seen outdoor portraits where the sun creates a kind of halo effect in the hair of the subject - the classic ’sunshine in your hair’ look? If you want to shoot such a portrait, wait for the time when the sun is low on the horizon. Twilight is too late, around 4pm should do fine in most countries. The sunlight should have started to turn yellow by then, but still bright enough for a good exposure - and just NOT bright enough to create a lens flare. So - we have a light source-subject-camera arrangement here. Look through the viewfinder and position the camera-subject combo in such a way as to catch that light in the hair. This works very well for brown and blond hair. Also, zoom in as much as you can. Not only are longer focal lengths better for portraits in general, but they provide just the right effect for the sunshine in your hair effect.

If you wish to shoot outdoors at night, you have no option but to either use flash lighting, or long exposures. In case of the latter, you will need a tripod, or a support of some kind to place the camera upon. Using natural light in the outdoors, is however the best light source you can have. Just as long as you can either wait for the right time (for the right lighting), or position your subject to suit your photo idea.

A sunset in Goa, India

The red eye syndrome on photographs is a common problem. If you do not know what it is, it is the bright red appearance of the pupil or both pupils, in certain photographs where flash light was used to illuminate the subject. There are a few ways around this problem. Let us understand first, what causes the red eye. In low light conditions, the pupils of the eye expand much like the aperture of your camera’s lens, so as to allow more light to fall on the retina. This forms a brighter image where light levels are not sufficient to do so on the ‘film’ of the eye - the retina. When the eye experiences brighter light, the pupils contract (like a smaller aperture) to accomodate the increase in light, and therefore this expansion and contraction of the pupils is constantly taking place as we experience varying light intensities. Now, the flash on the camera is obviously used in low light levels. Keeping in mind that the pupils of the eyes of the subject were already expanded in such a scenario, the eyes are not prepared for the unnatural burst of light. In such case, if and when the flash and the eyes are near-parallel or parallel to ach other, the flash light hits the retina, and bounces off it to create the red eye. The redness is of course, thanks to the color of blood within the retina. A little bit on how it can be avoided -

Solution 1:

Try and NOT have the eyes and the flash parallel to each other. In other words, do not shoot directly into the subject’s eyes while using flash. Chances are, you will have a red eye effect on your photograph if you do.

Solution 2:

If you already have an image with red eyes, do not worry. We have Photoshop to the rescue as usual. Open the image in Photoshop (File>Open). Select the red area in both eyes using the lasso tool. Give your selection a sufficient feather effect. Now, simply play with the Hue/Saturation/Lightness option (Image>Adjust>Hue/Saturation) to remove the red eye, in a most natural looking fashion.

Solution 3:

Certain cameras have a built in red eye reduction feature. This simply means that the camera’s flash fires one or two times before the shutter release/final exposing flash. The reason for this is, the initial bursts of light tune the eyes of the subject into the bright light levels condition. Thanks to this, the pupils contract, and the eyes are no longer taken by surprise when the final image is photographed. More often than not, this method does not leave room for the red eye. However, in some cases, when the camera flash and the eyes are parallel to each other, a speck of red eye may still be visible. But do keep in mind, this method also consumes more battery power thanks to the extra bursts of flash per image.