second edition

October 28, 2012 by Kat

Framing a Flower: Another Process of Elimination Example

Happy Sunday! I usurped my usual Exploring with a Camera wrap up post on Friday to celebrate my 1000th blog post (don’t miss the giveaway!), so I’ll finish up this month’s exploration of the Process of Elimination today with another example sequence from my recent trip to England.

First let’s look at the final image, and then let’s talk about how I got there.

Finished Product

It all started as I climbed a steep cobblestone street in Hebden Bridge, and noticed this lonely pink flower. I was attracted to the bright color and the contrast it provided against the brown of the town and green of the foliage. I took 19 frames of this scene in all, playing with the different elements. I won’t share all 19, but I’ll share enough for you to get the idea of what was going on in my head. All of the photos except the final image are straight out of camera, so ignore the exposure and focus on composition.

#1: Flower against the background of the town below.

The background, even with a shallow depth of field, is too busy and doesn’t give the contrast I was seeking. I changed my point of view to capture the flower against the brick and slate of the building. I have four images with various compositions similar to #2.

#2: Flower against the background of the building.

While this image has an uncluttered background (good elimination!) the images seemed flat to me, so at this point I stepped back to get the wider scene I was seeing. There was so much great texture in the hand rails and cobblestones as well. I took four more images with various horizontal compositions, similar to #3.

#3: The wider scene.

I liked the diagonal lines and the textures, but the original reason I was attracted to this scene, the flower, seems to get lost. I tried again with a vertical orientation, which puts more focus on the pot and flower. Closer!

#4: The wider scene, vertical orientation.

From there, I explored including or removing the different elements that remained in the frame. The hand rail posts and the tree were the main elements I was excluding/including, through both the focal length of my lens (zoom) and the angle of view. #5 is one with more of the tree included, while #6 is one with less.

#5: Including more of the tree and handrail at left.

#6: Excluding much of the tree and the handrail at left.

After 10 vertical images, playing with placement of the tree and handrails relative to the pot, I was ready to move on. This was an extremely steep cobblestone road and it was starting to rain, I was worried about slipping on my way back down.

The best image of the sequence was #5 above, and here it is again with the final crop and edit.

Finished Product

What I like about this is the frame created by the tree in the upper left, the slate roof at top, and the handrails at left and right. These elements frame the pot and bring your eye to it, where you (hopefully) see the lonely pink flower pop out in contrast with the surrounding colors and textures.

If I were able to go back in time, I would try a couple of things that might further help the “framing” of the pot. First, I would see if I could get a little more separation between the leaves of the tree and the pot, by moving myself to the left. I would have to balance that with the space between the pot and the right handrail getting smaller, but there appears to be ample room. Second, I would see if I could get a little more separation between the leaves of the tree relative to the slate of the roof, by getting down a little lower. I think the slate of the roof would make a better framing element to contrast with the brick and frame the pot.

Since I can’t go back and try again, I am happy with the end result. Between the exploration I did with composition in the field and the further review and adjustments at home, I have an image I like that successfully conveys what caught my eye. I’ve also learned a couple of things from the exercise, around paying more attention to the framing elements relative to each other, which will stay with me the next time I go out and photograph.

So, what have you learned in this exploration of the Process of Elimination? Can you see how this kind of intention and attention to detail can help your photos? Share a link to your exploration or let me know what you’ve learned in the comments below.

October 12, 2012 by Kat

Exploring with a Camera: Process of Elimination (2nd Edition)

Welcome to October’s Exploring with a Camera! This month I am sharing a “second edition” post, repeating the topic Process of Elimination that I first wrote a little over a year ago. I had already planned on doing a second edition post this month, since I just returned from England on Monday and knew I wouldn’t have time to prepare a new topic. But I hadn’t decided what topic I wanted to repeat yet.

I come back to this specific topic for a couple of reasons. I’m rereading Photographically Speaking to prepare for my workshop with David duChemin next weekend, and came across this quote:

The way we express ourselves first depends on our having intent. No author throws random words on the page in hopes that they will somehow make sense. Yet we photographers do it all the time. We make photographs wtihout fully engaging in the process, without being mindful of our intent for that one image. But if you identify that intent, it narrows your gaze and helps you choose the best lens, the best shutter speed or aperture, or suggests you shoot from a different, better perspective. Intent matters. It is the prime mover. Without it, we are engaging in little more than accidentally exposing light to film or a sensor.

Using the Process of Elimination to create a more interesting image in Yorkshire.

In the A Sense of Place workshops I taught the last two weekends, we talked about intent. We talked about knowing what you want to say, in order to create stronger images that tell a story. For me, the Process of Elimination is a big part of creating photographs that express what I want to say. I think this is a fundamental concept that all of us should revisit from time to time, so here we go!

Some situational context: When I first wrote this we were still in the process of settling into our home after our move back from Italy.

For the next couple of weeks we are going to focus on the Process of Elimination. Funnily enough, this topic idea came to me several weeks ago, well before our container from Italy arrived last weekend. For the last few days, we have been pursuing a physical process of elimination in our home. We have so much stuff, now that our Italian belongings have been delivered. Trying to figure out what to keep and what to eliminate has been overwhelming at times, but the end result of elimination is always so much better. I can breathe and focus.

There is a great parallel with photography here! I started noticing in the last few months that many of my images and compositions are based on eliminating the elements that shouldn’t be in the image, as much as deciding what should be there. This is one reason I struggle a bit with composition in painting. With a painting, I get to add whatever I want to the composition, which is not how I normally operate. In my photography, much of the image is formed as I take away elements that don’t belong in the picture. The choice of what to take away will depend on what I am trying to convey with my image. What caught my eye? What is of interest here?

Let’s look at some ways to pursue the process of elimination…

Framing

For this exercise, I am going to distinguish framing from cropping. Framing is how you frame the composition in the camera at the time of taking the photo, as compared to cropping which is done in post-processing. Framing is the best way to work through the process of elimination, because you can take multiple shots. You can study angles and changes to what is in your frame real time, making adjustments as you go.

The lead in image I took in Carbondale, Colorado is a good example. The focus is on the bike, and the color/texture of the wall behind it. Blue and white bike, textured blue wall. Those are the elements that caught my eye in this scene. Before getting to that shot, however, I started with this one:

Blah, isn’t it? Bike is in the center, and there is nothing that grabs you about the image. The shadows from the tree just out of the frame on the left are strong and distracting. I consider this a “warm-up” shot, helping me to work toward what I wanted to convey. First step, capture the bike and the wall. Then, use this to help me see where I want to go. For the final image at the top of the post, I worked to eliminate the strong shadows and focus just on the bike and the wall. Magic!

Here is another scene from Colorado, this time Old Colorado City, where I used the process of elimination. This is never how I would present the scene, I took this to set the stage for what comes next.

The contrasting bright colors of the purple flowers and the blue architectural detail caught my eye. This shows the scene I was working with. As framed above, I would get the color, but would the image would not be interesting. So I work to eliminate. I find an angle that focuses on the contrast between the purple and the blue.

Better, but there are still too many distracting elements. The pole and signs as you look down the wall and street on the right are distracting. The water spout in the bottom right is a distraction also. The white details from the door frame in the upper left aren’t helping anything. So, focus in further, change the angle slightly and…

We’ve got all purple and blue contrast, a pleasing composition that keeps the focus on what I saw and wanted to convey, and nothing to distract.

Let’s look at one more framing example. On my last trip to Florence, Italy, I came upon this scene walking the backstreets. Shown below is the angle I originally saw it from.

Look at that fantastic bike, being used as a store display. If you can see the bike in all of the distractions, that is. Between the street signs, graffiti, store door and shaft of sunlight you might not even notice the cool bike. So I moved, I changed my angle on the scene to the other side of the street.

Better. Quite a few distracting elements were gone, but then the new element of the door in the background was added. How to use it became the issue – crop it out or keep it wholly in the frame? What about the entry on the right, and what is that yellow thing, a handle of some cart? This image is still too busy. It was time to try again, really thinking about what I wanted to focus on. It was the bike that caught my eye, and the fact that it was being used as part of the store display. So, changing angles again, and focusing in on the store display aspect, I created one of my all time favorite photos…

Isn’t that a huge difference? From random snapshot to interesting piece of art, by the process of elimination.

Cropping

Let’s face it, we don’t always get the best possible framing in the camera. We may be moving too quickly to study the scene, or might not notice a distracting element. Cropping in post-processing is a fantastic tool for the process of elimination.

There are times where cropping completely saves the image. Consider this example, from Pavia, Italy. I was intrigued by this vintage Fiat on the street, but I didn’t stop to study it. One click and I moved on.

It might be interesting to show my friends the cool Fiat I saw in Italy, but it is nothing exciting. I would never show this here on the blog. I had to focus in on the interesting parts… the vintage license plate, the cobblestone street, and the cool reflection of the Italian architecture.

And there it is! An image that says “Classic Italian Transport” and not “I was wandering around in Italy and I randomly snapped this photo.” The process of elimination worked for me here.

This image from Germany is one I’ve shared before of how dramatic cropping can save a shot. I loved the architecture and the vineyard on the hill behind the building:

There was just too much building and not enough interest, however. Where are you supposed to look? Cropping to focus in on the architectural detail but keep the vineyard behind yields this image:

So much more interesting. Now you know where to look! You can see the details of the bottle-glass window, the timber framing, and the painting under the eaves along with the context of the vineyard behind. A great image to show the classic German architecture of the Rhine River Valley.

Now, cropping dramatically has its consequences. You can lose significant resolution in the image. The final cropped image will not be able to be printed as large as it could have been. You might be surprised, however, just how much cropping an image from a modern digital camera can withstand before you have problems with printing resolution. Since I’m primarily sharing online, I don’t have to worry about it too much, but it’s good to keep in mind.

It is interesting to note that both of these cropping examples are from 2009, very early during my Italian assignment. As I took more photos and improved in my photography, I’ve gotten so much better at seeing and framing my images at the time of capture. All of the examples in the framing section are from the last few months. The practice of cropping in my post-processing over the last two years has helped me learn the process of elimination at the time of framing that I use today.

To be honest, I still crop most of my photos just a tiny bit. While I do most of my framing at the time of capture, what I see through the viewfinder and what the camera sensor captures is slightly different. Distractions may creep in there on the edges. That’s ok with me, I know I will pull the photo in my editing software anyway to make any final adjustments. Cropping is just one of those final adjustments.

Cleaning

One last, rarely-used tool in the process of elimination is cleaning. Cleaning is where I use the clone-stamp tool in Photoshop Elements [update: or spot removal tool in Lightroom] to copy over a distracting element with pixels from another area in the image. I consider cleaning a last resort, because it takes a lot of time and it will not always work. I get the best image at the time of capture with as little distraction as possible, and I know if the distractions can be cropped or cleaned later.

In this example from Burano, I was going for the line of colorful houses and already envisioned some fun processing for color. No matter how I framed it though, I couldn’t get the line of houses where I wanted without that last bit of pole on the right in the image.

Clone-stamp to the rescue! I removed the pole by copying other parts of the pavement onto the area with the pole. Can you see any evidence of it? Not so much at this resolution. You will also notice a slight crop, which removed some of the pole too, making my job easier.

Much better, I think. The focus is on the blue house, and the pole is no longer there to distract on the right.

I captured this great building from the top of the tourist bus, in Barcelona. I liked the repetition of the shapes, light and shadow of the windows. I was at a good angle to building, being high up on the bus, but I couldn’t move from my seat to eliminate the streetlight in the image.

Because of the repetitive nature of the light and shadows, it was easy to clone the shapes and shadows of the balcony and remove the distracting streetlight. This final image was also straightened and then cropped for composition, which also helped to remove some of the streetlight. With a conversion to black and white, it’s all about the repeating pattern now.

It’s important to note that every image cannot be saved this way. Cleaning only works if you have the “raw material” elsewhere in the image to copy over the distracting element. That is not always the case. This is a technique to learn and practice, so that you have a better feel what can and can’t be fixed later in your post-processing.

Keep in mind, cleaning takes a lot of time. It is much quicker to capture a distraction-free image than to clean it in post-processing. If you love the post-processing part of digital photography, that may be fine for you. That’s not where I prefer to spend my time.

The Process Works

I hope these examples help you to see how the process of elimination works to create interesting images. Often a great image is hiding inside a so-so image, if you can remove the distracting elements. There was something in the scene that captured your eye to begin with, so focusing in while eliminating other elements will help you tell your story.

Keep these ideas in mind as you practice the process of elimination:

Think about what you are trying to convey in your photograph. What was it about the scene that caught your eye or made you want to point your camera at it? What story do you want to tell? That is what you need to focus on. Eliminate all elements that distract from your intended message.
Move yourself to change your perspective. Will the distractions be eliminated if you move higher? Lower? Left? Right?
Zoom in, with your feet or your lens, to focus on the subject. Or, zoom out to keep the context in the image. If you can’t decide, go back to Step 1. When you are clear on what you want to convey in the image, the decision of subject/context is easier.
Watch and wait if needed. Sometimes the distractions are mobile, and if you wait to click you can create a stronger image.
Crop in post-processing. This is a great tool to eliminate unwanted distractions and learn more about how framing your image makes a difference.
Clean out distracting elements in post-processing. It may be possible to remove a small distraction in post-processing by “cleaning.”

Now, it’s your turn! Share your images using the Process of Elimination, and if you can, also share an image that shows the “before” situation. That will help us see how you eliminated the distractions to create a stronger image.

I’m trying something new this month and instead of using a link tool, you can share a link to images using the process of elimination in the comments here. This way, there is no time limit and you can come back and share later if you have a great example.

Thanks so much for your participation in Exploring with a Camera!

June 9, 2012 by Kat

Exploring with a Camera: Linear Perspective (2nd edition)

I love linear perspective. I just love it. Perhaps it’s because of my engineering brain, the way that lines converge in the distance just fascinates me. It’s so orderly and predictable! Perhaps its because of my artistic brain, and how these lines can be used in interesting ways within the photographic frame. Perhaps it’s because we recently talked about diagonals, and this put lines in the forefront of my brain. Whatever the reason, I’ve been noticing linear perspective a lot lately so I thought it would be fun to pull out a “second edition” post and revisit Linear Perspective for this month’s Exploring with a Camera topic. With a few updates, of course! Enjoy!

Perspective is such a cool compositional concept! It takes advantage of how we see, the optical effects of lines over a distance. I remember learning the concept of perspective way back in my early art classes: Lines, when viewed across a distance, will converge to a vanishing point. Below is an example, from the Barcelona subway. If you were to continue all of the light lines in this photo, they would all meet somewhere at the edge of the tunnel. The perspective of the converging lines brings your eye right through the photo toward the vanishing point in this case.

When drawing, you need to make sure that your lines converge correctly or the drawing will look odd to the eye. In photography, we don’t have to worry about “making” the lines converge – they do that already – we can just take advantage of the effect. I’ll give you a few examples and variations on how to use linear perspective in your photographs.

Leading Lines

One of the simplest uses of linear perspective is as leading lines. In the subway station photo above, the lines all lead to the train emerging from the tunnel. In this scooter photo from back-alley San Francisco, the converging lines all lead to the scooter. In order to create this effect, I got down low to the ground, used a wide angle and moved my perspective so that the lines created by the streets and buildings all met behind the scooter. By moving myself, I was able to capture a point of view that put the scooter at the vanishing point of the lines.

Distance

To use perspective bring a sense of depth, include a long distance in the photograph so that the lines can converge more dramatically. This often means using a wide angle (smaller focal length, i.e. 24mm) instead of a zoom (longer focal length, i.e. 100mm), so that you capture the length of the diminishing lines. In the photo below from the Italian Alps, the diminishing lines of the fence give a sense of dramatic depth even though my depth of field (how much is in focus) is actually quite shallow. If I were zoomed in on the fence without the long lines moving into the distance, the photo would have a completely different feel.

While the lines of the Golden Gate and its shadow are slightly curved, they serve the same purpose. The converging lines lead you into the distance, across the bridge, to the land beyond.

Orientation

The orientation of your photograph, horizontal (landscape) versus vertical (portrait), will change how perspective effects the image. In the two examples below from Parco di Monza, note how the horizontal image emphasize the lines of the path while the vertical image emphasizes the height of the trees. Both use the diminishing perspective of the path and the trees, but in different ways. Placing a figure just about in the vanishing point makes for an interesting place for your eye to rest as it moves through the photo.

Composition

You can use linear perspective in so many different ways to get good composition – this is the really fun part! You can move the vanishing point in a photo to get dramatically different effects. Look closely at the examples above and below to see how the diminishing lines are used compositionally.

The photo below is from the Royal Palace in Madrid. The composition is very symmetric, with the lines converging in the center between the left and right. It is not symmetric from top to bottom, however. The focal point of the end of the hall is around the bottom third of the photo.

Here is another photo, this time from Amsterdam, with a left to right symmetry of the linear perspective.

This image from Parco di Monza is interesting – the perspective is symmetric left to right, but the leaf (the real subject) is not centered. The perspective here is not the focal point of the photo, it’s the backdrop for the leaf, but it certainly makes the photograph more interesting.

While a symmetric perspective can certainly bring a sense of peace and order to a photograph, linear perspective certainly doesn’t have to be used symmetrically. This image from the Berrardo museum in Lisbon, Portugal is more asymmetric in it’s lines.

Putting the vanishing point at the edge or corner of an image can make it very dynamic. I love the way all of the lines converge in the corner of this photo from Paris. The contrast of the repeating pattern of the fence provides an interesting counterpoint to the linear perspective. I’ve noticed in many of my photographs using perspective I also use repeating patterns, a topic I covered in an earlier Exploring with a Camera post.

You can also vary the point of view and effectively use converging lines. The lead in photograph of windows in Madrid or the skyscraper from Barcelona below are two examples of linear perspective looking up. The skyscraper below has an asymmetric composition while the Madrid window image at the top of the post is symmetric left to right. (I seem to like that composition!)

Isn’t this fun? Take a look at the world around you and your photos this next week with an eye toward linear perspective. You can link your findings in below through 23-June. Remember, knowledge grows when shared! By exploring and then sharing your findings with us, we all learn something new.

December 2, 2011 by Kat

Exploring with a Camera: Holiday Lights (2nd Edition)

Welcome to Exploring with a Camera! When I moved over to the new site from Blogger, this post from last December was somehow lost. I thought it would be perfect to post it as a “second edition” for the holiday season, since I love holiday lights! Consider this a Part 1 of 2, next Exploring with a Camera I’ll have some new ideas for photographing lights I’ve learned since this original post. Have fun!!

I love this time of year. The nights are long, but they are full of beautiful, bright holiday lights! It makes this month, where you often go to work and come home in the dark, so much more enjoyable. This time, for Exploring with a Camera, we are going to look at different ways to capture these wonderful holiday lights.

City Lights

Here in Italy, every little town has their own holiday lights twinkling above streets and walkways. The central shopping zones are a festive place to visit and photograph. Via Dante in Milan is one of the main thoroughfares, and the lights are beautiful. The lead-in photo above portrays the calm and quiet after the shops and restaurants are closed on a cold winter’s night, with most people tucked into their warm houses. The photo below, of a street in Turin city center, is the opposite. I love the energy and movement conveyed in the photo, you can tell it’s a bustling place, and the lights only add to the mood – you know it’s a festive time of year.

Most towns will have a big Christmas tree in a central location, which can be fun to capture.Try getting back and capturing a scene, to show the tree in the context of location. The tree below in Milan’s Piazza del Duomo would be just another big tree with white lights, but with the Duomo behind, it becomes more interesting and impressive.

Don’t forget to capture the buildings and monuments around, with their pretty dressing for the season. This is Milan’s castle, Castello Sforzesco, which even has a Disney-esque light show to music to show off it’s millions of tiny lights.

Brush up on your night photography tips from the past Exploring with a Camera post and head out into your town to capture the lights of the season.

Light Bokeh

Holiday lights are a classic time to capture light bokeh! You get bokeh when you have: A shallow depth of field (from a wide open aperture or low f-number), and a subject or focal distance that is close and distant point light sources. This year I played around with capturing bokeh for this Murano glass ornament photo below. Let me tell you, this was harder than it looks, with those energy-efficient LED lights!

A few tips, after my experience with capturing this photo:

1. You can’t have the ambient light too bright, because it washes out the lights behind and you want that light bokeh! I turned off the room lights and moved a reading light, which was much dimmer, to point at the ornament to get enough light to illuminate it without washing out the lights on the tree behind.

2. While a wider open aperture will give bigger and rounder circles of light bokeh (you can see the flat sides on the bokeh in my photo), it also didn’t allow for enough of the ornament to be in focus to be appealing. I had to experiment with different settings and found f/2.0 was about the best compromise to have most of the ornament in focus and nice light bokeh, for this photo.

3. You will probably need a tripod or your camera on a steady surface for this work. Even with a wide open aperture and bumping up the ISO somewhat (I didn’t want to go above 800), the light was really low and the shutter speeds were much to long to hand hold without camera shake. I could have bumped up the ISO more and handheld, but I was at home and had the tripod available, so I figured why not use it.

4. Play around with the distance of your subject from the lights. Too far and the lights are just tiny dots, if you can even see them. Too close, and you don’t get much of the “bokeh” effect. Also, varying the distance of your camera too the subject can change things. It takes some playing around, I discovered!

Here’s another ornament photo with some light bokeh on the tree. You can see that not all of the lights are bokeh circles, because they are in the same focal plane as the ornament. They need to be out of the focal plane, to get the bokeh. This one was handheld. In fact, do you see me reflected in the ornament?

If you are using a point and shoot camera without manual control of aperture, try setting the camera to “Portrait” or “Macro” mode and turning the flash off. The camera will then choose the lowest f-number it can to blur the background, which is how you’ll be able to get some light bokeh.

Twinkle Lights

Another fun thing to try when you are capturing holiday lights is making them “twinkle” – you know, when the lights look like little stars? This is done by the opposite aperture setting – closed down aperture or a high f-number. You will definitely need a tripod for this work, because as you close down the aperture you limit the amount of light that gets into the camera, and you have to compensate with longer shutter speeds than are possible to hand hold.

Here is a picture of the tree in our home in Oregon, several years ago, using this technique. The aperture was set at f/22 with a shutter speed of 1.6 seconds. You can’t hand hold that! My son was sitting really still for this photo, by the way. Click on the photo to see it larger, if you can’t see the twinkle at this size.

Here’s another, of some the gifts under the tree, with the same settings. I also adjusted the color cast on these two photos in Photoshop Elements, out of the camera they had the usual yellow tone of incandescent lights.

With a point and shoot, use the “landscape” setting, which should set the aperture to the highest possible f-number for the camera, and turn the flash off.

Reflections and Shadows

Where there is light, there are usually shadows too. As we set up our holiday decorations this year, I noticed that the candle we had near this little wooden tree was casting a very cool shadow. I played around with different angles, moving both the candle and the tree as well as the changing my composition with the camera. This one was my favorite, and I ran the Pioneer Woman “Seventies” Action on it to give a vintage feel.

In this photo, another older one from our home in Oregon, I liked the reflection of light on the blinds, it created interesting lines.

Trees and lights are often placed by windows, which give wonderful light reflections at night, and create a nice compositional effect. Do you see the “light echoes” in this photo, above the window and tree? Those were not there in reality and have been annoying to me at times as I worked on night photography. I recently learned these were coming from the filter on my lens. Remove the filter if you find you are getting these, and you will likely eliminate them.

Are you ready to capture the holiday lights now? I am! Last year, I wanted to capture as many holiday lights as I could, in my last holiday season in Italy. Now I’m looking forward to capturing the lights in the US! I can’t wait to see what you find, using these techniques. Link in below or share your images in the Flickr pool.

FYI - Links will be moderated. Please use a permalink, ensure that your linked image is on topic, and include a link back to this site in your post through the Exploring with a Camera button (available on the sidebar here) or a text link. Thanks!

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