Shoot some film!

I've recently rediscovered the beauty of film. It's exciting. I learned on film and shot it for 6 years before finally going digital (honestly, never wanted to go digital, but it has its advantages). There's a look, color, and tonal rendition that are tough to come by digitally. Shooting film also requires great care and discipline with each shutter click. Film and processing cost money so I try not to waste any shots. It makes me think even harder about a composition and makes me more patient, too. I had these shots processed recently and finally purchased a good scanner to go along with it. I wanted to share the product of a week and 36 shots around my house with my boys. I used Portra 160NC, a professional, natural color film. Iso 160 is pretty slow, so these had to be outdoors. Hope this inspires you to pick up your old film camera or buy a used one (you can get them for less than $100 and they'll work with your current lenses).

If you decide film isn't for you, try this: limit yourself to 36 shots for an entire week or even an entire outing to the zoo, park, etc. Don't delete any shots or even review them. Try to get it right in-camera. The discipline and skill it takes are invaluable to good technique and will help you further your technical skills. Hope you try it out. Here's a sample of those shots.

About shooting color film: there's no "auto white balance" so shooting in different types of light will not produce the same color renditions (i.e., shooting on a cloudy day will produce cooler images, etc, when shooting with a daylight balanced film). You'll notice this in the color casts throughout this set. Here is a sample of that roll:

ASSIGNMENT #1: From Above

As The Family Photojournalist grows, we will continue to add features to assist in your journeys in documenting family life!

Our latest addition will be The Family Photojournalist Assignment. The rules are very simple. We will provide you with an assignment and a deadline. You shoot, edit, and send us your favorite photo from the assignment. Photos must be resized to 800 pixels on the longest end (I crop my images to 8x5.33x100ppi in Photoshop). We will feature some of the exemplary examples in a blog post.

The Family Photojournalist Assignment #1 is called "From Above". This is an exercise in composition. All too often we take photos while standing up or on our children's level. This assignment requires you to look at things a little differently. You must take the photo from an above perspective. So get out your ladders, climb balconies, or peek out windows in order to get your shots! Your examples should be sent to thefamilyphotojournalist @ gmail.com by June 22, 2010.

Below are two examples (which happen to be two of my favorite all time images):

1. Ocean City, New Jersey. Neither my wife nor I vacationed as children. So we made a pledge that every year, we would do some sort of vacation with our children. This particular year we did a long weekend stay at a hotel in Ocean City NJ. My wife and oldest child were swimming in the pool as I was lounging on a chair taking photos. I only had a 35mm lens and I wanted a wider shot of them, so I started looking for options to back up. The only option I had was a balcony above me. So I climbed the stairs, observed the scene, and waited for the 'decisive moment'.

2. Ocean City, New Jersey II. We rented a very small 1BR apartment (about 400 square feet) that was ocean front. Our thinking was that we wouldnt spend much time in the house and loved the idea of being on the beach. Well, it rained almost all week! And we were stuck inside more than we hoped to be. This was one of the few moments where my boys were outside. I was sitting in the empty chair snapping shots as my children played in the sand. Again, I thought an above perspective would tell a better story. So I climbed up to the second floor and snapped the photo. I decided to leave the chair in the frame to illustrate where I was sitting.

Have fun with the assignment! We cannot wait to see what you all come up with!

Chuck

Critiquing Chuck

Thought it would be fun to pick two of Chuck's images that I really love and talk about WHY I like 'em. It helps to be able to analyze a shot (that you like or are inspired by) and know what you like about it. If you're able to break a shot down, it will help you to use the same techniques in your own work. I would encourage you all to think critically about the photography you love and use those images to grow your own photography.

Back to Chuck. Here are two of my favorites and my critique of them.

First up: "Five"-chuck has composed the image beautifully
1. the children are nicely spaced, good separation between layers (children, houses, etc)
2. i love how carefully he included aspects that tell us something about the neighborhood such as the stop sign and street signs, houses, cars, etc-he didn't try to hide some of these elements and it adds character and back story to the image
3. the timing is perfect-the bat is cocked back, ready to swing-his little brother is waiting behind him, eager to see candy fall out-chuck snapped at the height of anticipation and it's palpable here
4. the composition is simple and very effective-it places the pinata on the right third, the birthday boy close to center but just to the right and the other children on the right third-there's great spacing around everyone in the frame
5. the wide angle exaggerates the distance between the birthday boy and the other children, an isolating effect, though the shot contains a lot of warmth



next up: "peepee"-the composition uses the urinals to frame the scene very effectively and doesn't cut into any of them
1. the tiptoes are part of what makes this shot so perfect-it highlights the smallness of his son compared to this adult sized bathroom
2. shots from behind can take on a conceptual quality such as "slices of childhood" that a shot from the front can't do since it becomes a shot about a specific child rather than the idea of childhood things (if that makes sense)
3. he uses the 35L so well here (which is really the best PJ lens every manufactured-so versatile)
4. this shot is wonderfully humorous as well-you can't help but smile at the situation because it's very true to life-that's the beauty of capturing these kinds of unique family images, they're universal and personal at the same time




try this type of analysis/critique on another photographer's work some time-try to figure out what you like about it-is it the composition, the lighting, the timing/moment, or is it just the person who was photographed? or all of the above, of course? have a good one, guys-hope you enjoyed this

daniel

Composition: Layering

This is one my favorite subject to discuss about photography: layering. It incorporates a variety of subject matter into levels and results in more dynamic and complex photos. It incorporate the dynamic of foreground and background elements, rather than a shot of a single subject, alone. There are a variety of ways to accomplish this and we'll briefly discuss them.

The idea is to balance the image, using inanimate and animate (people, animals) things to frame your subject (as mentioned above, in the foreground and background). Here's an example:

In this shot, notice that I was careful to achieve separation between each layer. If I were to overlap my wife or father-in-law with my mother-in-law (who's in the background), I would lose the layering and end up with an unbalanced picture. Remember that as photographers, we can't imply layers or depth, we have to show it. If you're not getting enough separation, change your angle until it's achieved. Separation is very important to achieve true depth in a photograph.



This is very simple layering. Rather than a two-dimensional shot of my youngest crawling outside, I framed him in front of my oldest son. Layering, even when simple, creates a more 3-dimensional look and balances out a composition.





I love complex compositions like this. Each individual is doing something different, looking in a different direction. One of my favorite compositional tools is placing a face or body in the foreground (off to one side) and using that as a natural frame, leading the viewer into the shot and offering some context. (by the way, these are my cousins-we'll touch on expanding FPJ from immediate family in future posts)






In this shot, my oldest (Henry) was eating icicles. Nothing groundbreaking. However, my wife began to photograph him. I chose to take a lower angle, using them to frame one another and tell part of the story of that afternoon through simple layering.





It helps when there are multiple areas of action at once. Layering (or creating levels in an image) is not always enough to take a shot to a more interesting level. Sometimes, the action has to be there. In this shot, you'll see both my son and my wife playing. There's a type of parallel motion between them as well (you'll notice they're both reaching forward with their arms, both leaning to camera right).



I included this shot as an example of using this compositional technique with telephoto lenses. Rather than capture a headshot of my youngest, I chose to frame him with his grandfather behind him, incidentally providing context to where they are and who is present.



This is one of my favorite shots because of the way everyone is spaced. You just have to be ready to capture it when it happens IF you're waiting for it to happen naturally (which as a family PJ, we usually are). I used my youngest (as he looks on) to frame the action in front of him. I also used the doorway to frame them, making this photo more complex than if I had stepped into the bathroom and grabbed a tighter shot of what was happening.



Layering takes time and practice. It takes forethought but the results are well worth it. It's a skill I admire in the most gifted of photographers. By using it, it will take your compositions to a higher level, create a visual dynamic, take images from two to three dimensional, and add complexity to what might be otherwise flat images. Not to say that simple isn't good (I love that, too). As always, thanks for stopping by, guys and girls.

daniel

Using Doorways to Frame Your Subjects

A very simple way to help a composition along is to frame it with an object. As family photojournalists, we are often shooting in our homes; therefore, finding frames for our subjects can be a challenge.

The simplest way that I have found to add a frame to your subjects in the home is by using a doorway! This compositional element is one of my favorite ways to compose a shot. It is simple and very effective.

Try this: Set your child up with a favorite activity by a window in a room with a doorway. Let your child get good and engaged in what he is doing. Step outside the room and frame the subject with the doorway. The major advantage of this is you get a 'real' moment...your child being your child without adult influence.

Here are some examples:

Try it, I think you'll like it :)

Thanks for checking in! Contact us at thefamilyphotojournalist @ gmail.com with any questions or suggestions!

Chuck

Telephotos Can Do the Job, Too

Historically, photojournalists have shot wide to normal focal lengths (ex. 20mm, 24mm, 35mm, 50mm). Things have obviously changed but 35mm and 50mm are still very popular lenses and get a great deal of usage in order to tell a story visually. However, there are times that photojournalists are unable to get near the action or they are unwilling to disturb their subjects. In that case, a longer lens becomes necessary. You might find them limiting and feel they're only good for headshots or portraits. When used the right way, though, you can create some wonderful storytelling images.

This post will briefly address using telephoto lenses (TLs) to tell stories. Many of the same rules of composition apply with wide angle and TLs. Rule of thirds. Using leading lines and natural frames to draw interest into the photo and then direct the viewer toward the subject . Finding patterns and symmetry and so on. As with wide angle, include any important visuals in the frame that will help tell the story; leave any unnecessary visuals out. There's no right or wrong way to capture a story, so use the lens that will get the job done best. Sometimes, my 85 or 135mm lens is the better choice.

Benefits of using telephoto lenses here:

1. the subject may be less aware or wary of your presence-they may not play up to the camera as much, which will allow you to capture more natural behaviors out of your kiddos

2. compression-longer lenses make things appear closer together than they really are (you may already know this)-consider how this could help you layer your compositions in a more interesting way

3. longer lenses have shallower depth of field (DOF) at wider apertures than wide angles, allowing you to isolate your subject from the background more easily

4. in addition to isolating your subjects using shallow DOF, you can isolate elements that tell the story and simultaneously, eliminate clutter (sometimes, clutter works and sometimes, it's one of those elements you should eliminate)-it's all the judgment call of the photographer

Here are some examples taken with either the 85 f/1.8 or the 135 f/2L lens.

Taken with the 135L at a local fountain. It was nice to be able to frame him against the water from a comfortable, seated position, some 20-25 feet away. The telephoto also compressed the scene, making the shoots of water appear to be closer together than they truly were.



Taken with 85mm.



Taken with 85mm.



Since I used the 85mm lens, I was farther away from Henry than if I had used a wider lens and framed similarly. It gave me more time to wait for the moment I wanted (with a wider lens, he wouldn't been on top of me in a couple seconds), when he looked up at me. I was also able to track him easier at that distance using AI Servo.



Taken at 85mm.



Taken at 135mm.



Here is an example of how short telephotos can still be used to show context. I liked the moment my son and father-in-law were sharing and shooting from afar allowed that to continue, uninterrupted. Taken at 85mm.



Taken at 135mm.



I don't give a second thought to pushing my hands holds to get a shot (this means, I frequently shoot below the suggested shutter speed of 1/focal length). This shot was taken on a subway train and the softness doesn't bother me. The moment's there. Taken at 135mm.



Don't limit yourself to just one lens. Learn to see which lens will work for the shot you envision and grab that one. You'll appreciate the point of view it will give you, which is very different from that of a 24 or 35mm lens.

Email us with comments and questions. We want to cater this blog to our readers. Thanks for continuing to visit us.

daniel

Natural Light Shooting in Backlit Conditions

Spring/Summer is one of my favorite times of the year to shoot! My children LOVE being outdoors after months of being crammed inside due to frigid temperatures. They are all too eager to jump on a slide, ride a scooter, and play in water. To me, these are the things childhood is made of! On top of it all, the light is fantastic this time of year.

One way I like to enhance these warm/whimsical moments is by shooting in backlit conditions. Backlighting creates such great tones and adds energy and warmth to an image. Backlighting, simply put, is when your light source is behind your subject. So basically, it is when the photographer shoots 'into' their light source.

Backlit scenes can be challenging for the family photojournalist for a few reasons: 1. we are often shooting wide, so if we go by our light meter, we will often underexpose our subject. 2. we have been told to look at the histogram and not to 'blow the highlights'. when shooting backlit with natural light, you will blow the highlights.

So how do we shoot backlit scenes?

1. Expose FOR YOUR SUBJECT. I shoot in M (manual) mode 95% of the time. So I will often times get really close to my subject (fill the frame with your subject) and dial in the exposure using my in camera light meter. When you step back to recompose your scene, your light meter is going to lie to you! It is going to read that the scene is overexposed. But we know that our subject is exposed perfectly!

2. Work the sun! We are generally shooting into the sun. However, you can place the sun just off to the side so that its just outside of the framing of the photo. Also, I like to put the sun just behind the subject's head. A lot of time this will yield lens flare. Sometimes this is desirable other times it is not. So it really depends on your intentions! So move the sun around in the frame to play with different effects.

3. Post processing a backlit shot. Shooting backlit will often cause your subjects to be less contrasty. I try to capture back some of that loss of contrast in a few ways (I use Photoshop CS4): a.) Using ACR (Adobe RAW Convertor), I will often increase my blacks from a +5 (the default) to about a +10. Obviously, this is arbitrary and will vary from image to image. b.) Using ACR, I will often adjust the clarity to about a +10 (again, vary from image to image). c.) After any editing I do to an image, I will often 'dodge and burn' the photo for any 'local' tonal adjustments (to see how I dodge and burn, go to my tutorial on 'seeing in black and white').

Below are a few examples of shots in backlit conditions using the techniques above:



























Quick recap: Meter your subject, not the background. Position the sun in various locations. Recapture some contrast in post processing. Have fun with it!


Thanks for stopping by! Contact us at thefamilyphotojournalist@gmail.com if you have any questions!

Chuck