Which Camera for Family Photojournalism?

Recently, we received the question: "Can (insert camera here) be used to shoot Family Photojournalism?"

The answer is a resounding YES, regardless of which camera you own or use!

While you may use literally ANY camera, I primarily use a Canon DSLR (1ds2 and 5d2) with an assortment of prime lenses. I choose to use these because it gives me a lot of flexibility when shooting in a wide variety of lighting conditions. For example, I might start photographing my family in my home early in the morning where light is low, but the scene may shift quickly as they move outside. By using a prime lens with a wide aperture setting, I do not have to change lenses when my subjects move into different light.

With that said, ANY camera will work, but there just might be some limitations. My advice would be to understand and work within the confines of those limitations. For example, if you own a Canon DSLR and the standard 18-55mm kit lens, shooting inside without flash will be difficult. Therefore you might want to opt for more outside documentation. Or if you have an old manual focus film camera, you might want to photograph your family when the are more subdued and not participating in an action packed event.

While I do prefer my Canon DSLRs, I occasionally shoot other cameras. I owned two different Leica M6 film cameras with 35mm lenses and REALLY enjoyed them. One of the limitations of the Leica M is that the lenses are manual focus. Additionally, since it is a film camera, you cannot adjust your ISO on the fly. Posted below is one of my favorite sets from last summer. The photos were taken while we were on vacation. We decided to take a late evening beach walk. I only had about a half of the roll of film left in the Leica M6, so these are all the shots from the session. The film used was Fuji Pro 400

So, to recap, any camera will do! Now go photograph your family!

Chuck

Using Multi-Layered Content in Your Family Photojournalism

All too often, I get satisfied with capturing 'single themed photographs' where there is one major piece of content in the photo. For example, let's say my child is digging for worms in the back yard and the light is perfect. I quickly raise my camera, position my little guy in the frame where I want them...and SNAP....I have a decent photo.

But does this photo tell a story?

One thing I try to accomplish when attempting family photojournalism is to tell a story with an image. As I analyze my own work, I'm finding that singular themed photographs (while nice in many cases) just are not that deep and do not always tell the whole story.

More and more I am attempting to focus on having at least two pieces of content in my photographs. I'm finding that the more I concentrate on this, the 'deeper' my photos are becoming.

Take the photo below as an example. I came home from work and went on the back deck to find my wife feeding our youngest child on the table while my two other children circled her like wild banshees. I was first drawn to my wife feeding our child in his new seat (first time he was in it) but I literally told myself, "eh, thats boring, the light is dull, and I have TONS of photos of my children eating." But there was more there. My other children were riding scooters, so I began to think about how to incorporate them into the scene. I knew that my primary piece of content was my wife feeding my child, but I needed a second piece. I grabbed my camera (1ds2 + 24L) and sat down against the rails of my deck and I waited for my children to pass by the frame. When my middle child entered the frame, he looked at me, I pressed the shutter. Think just how different this photo would be if it was just my wife feeding my child WITHOUT my son looking into the camera, riding a scooter, WEARING A SCUBA MASK!:



As another example, the photo below illustrates how multiple layers of content can add to the strength of an image. My wife was snuggling with our youngest on the couch. I even took photos of them...just her and him...on the couch...boring! But when I stepped back from the scene, there was SO MUCH MORE THERE. My other children were playing the most bizarre game of go fish and were really enjoying themselves. The 1ds2 + 24L was the weapon of choice again. My primary piece of content is my wife and newborn with my secondary piece of content being my older children playing cards. I used a center composition with my older children framing my primary piece of content:



Finally, the image below is really special to our family. My wife was just a few days away from delivering our third child (the little guy pictured above). Our house was a wreck, yet there was still so much to do. My wife worked tirelessly to make sure our little guy came home to a place conducive to raising a child! This was the end of a very long day for all of us. The older children were snuggled up watching a movie, but my wife was busy folding laundry. Think how different this scene would be if I just photographed my wife, or just the kids. Camera was the 5d2 + 24L:




So, my challenge to you all would be to wait before you press that shutter. Look around, try to find something else that is going on so that you can add some depth to your photographs! But be patient, it ain't easy!

Chuck

Low Light Photography and Digital Noise

When Daniel and I first decided to author this blog, we really didn't anticipate the amount of work that would be involved. Mind you, this work would be in addition to our full time jobs, our part time jobs (both photographers), and our duties as husbands and fathers.

Something had to give. I think we were a bit ambitious in our early planning by trying to post two times a month.

So, from here on out, Daniel and I will post when we can!



A topic that I've been thinking a lot about lately is shooting in low light and dealing with digital noise in images. I have been a member of several internet forums over the years (that's how I learned photography) and have long read about how to minimize digital noise or grain when shooting in low light. Noise is often the result of one of two things: 1) shooting at high ISO values (ie, 1600, 3200, 6400) or 2) underexposing an image and trying to 'push' the exposure in post processing.

Many people advise to avoid setting their ISO values to such high numbers for fear of 'your photo will be all grainy'. You'll read that you should use your flash to avoid the grain. And while this is true, you can shoot at lower ISO values with a flash (because you are forcing more light onto the scene), you will often change WHAT THE SCENE ACTUALLY LOOKED LIKE.

As a photojournalist, I strive to maintain the authenticity of a scene, moment, expression, etc. I WANT the scene to look as it did when I took the photo. For example, if the room is dark and only the TV is on, I WANT my photo to be dark. So if you want to keep your low light scenes 'real', you really only need a fast lens (ie, a prime lens that has a wide aperture such as the Canon 35L f/1.4 or Canon 50mm f/1.4) and the vision to shoot with your ISO above 1600!

Another thing to consider when shooting in low light is your shutter speed. Again, if the scene is dark AND you already have your ISO cranked up, you might be forced to use a slower shutter speed (ie, 1/10th, 1/25th). If you are shooting a wide lens and your subject is static, you shouldnt have a hard time keeping the camera steady...it only takes a bit of practice.


The following examples were shot in extremely low light with slower shutter speeds. Notice, there is a decent amount of 'noise' or grain in them. In fact, I even ADDED some grain in photoshop :)

Movie Night: The only light in the room was the TV. 1/30th, f/1.4, ISO 3200




Movie Night II: Again, just the TV, in our very dark basement. 1/25th, f/1.4, ISO4000




Homework: Only light was the small lamp in the photo. 1/60th, f/2.8, ISO3200




Wii: Only the TV as a light source. 1/40th, f/2, ISO3200




Book Time: One of my all time favorites. Taken with just the light from under the bunkbed. 1/80th, f/1.6, ISO 3200




I really feel like the use of flash would have DESTROYED these images. So, turn your flash off and crank your ISO up! Preserve the authenticity!

Chuck

Critiquing Chuck: 2

As I often mention, I love Chuck's work. In this post, I'll talk about a few shots I've selected of his and offer my critique on them. Unlike the last "critiquing chuck" post, these were chosen because of a running theme.

On these first two shots (below), the boys are gathered in and around an armchair by the window, focusing intensely. Chuck has shared pictures of his living room (think back to the last post of the couch and frames on the wall, etc) and has even stated himself that it isn't very big. Yet if you study the many shots he's taken there, they don't feel redundant or "tired". How is that?





The first shot is a bit more complex than the others in this post. There are two equally interesting subjects with divergent lines of interest. There are two distinct expressions and emotions conveyed here as well. The composition is very straightforward but nicely incorporates the important elements, omitting items which would clutter or detract from the scene. The second image is similar but Chuck is slightly farther away from the boys. These two images look to have been taken around the same time with the same focal length (I didn't view metadata, so I might be wrong on this) yet tell two parts of a larger story of a slow morning. The details are wonderful: the object of attention, the game system, is prominent, the over-sized watch, the "bed head", wife beater and boxer briefs.

This image below was taken in the same exact chair as the shots above but from an oblique angle, rather than straight on. I love the blanket which engulfs his little body. I love the light from the large window splashing all over him. I love the squished cheek where his hand meets his cheek from underneath the blanket.




To continue our "one angle of the living room" theme: Below is an older image of Chuck's but there are several things to love about it. Chuck uses the clutter in the room to his advantage. Kids make messes and can be messy. Why try to portray an immaculate house in your images if it isn't ALWAYS truly immaculate? I find these kinds of images endearing, personally, and have plenty of "clutter" images myself. Again, the same chair is in the background (as the other shots) but the angle is slightly different and the composition has a different feel to it. What is most interesting, and should be, are the expressions of those boys, both intently watching the television screen. It offers a quiet moment among the busy-ness and loud natures of most young boys.



What really makes these shots work is not brilliant composition (although, they're well composed images), it's not lighting (hard to beat window light, though), and it's not the gear he used (though Chuck uses stellar gear): what made these shots work is the story they contain and the expressions of his little subjects. They're interesting. They're telling. They're endearing....and they're not even my kids (sadly, i haven't met this famous family).

There are many things that CAN make a great photograph but what consistently makes a good image work is emotion, expression, gestures, etc., things which are telling of the subject. Learn from Chuck. All of the things he does well pale in comparison to his ability to capture genuine emotions and moments which tell a story about his subjects (in this case, family). With all of the terminology and technique and gear relating to photography, it can be quite overwhelming. Chuck's solution for a majority of his shots is the 1ds2 camera body and the 35L. Simplicity. What we should value, above all else, is content in an image. Hopefully, the simplicity and beauty of these images above display that principle well.

Thanks for letting me use your images, Chuck. Hope this is useful, guys.

daniel

Expanding your family photojournalism

hey guys-something i alluded to a few posts back was shooting outside of your immediate family-we've primarily talked about capturing our own son(s) or daughter(s) but FPJ can include so much more-personally, i enjoy photographing my boys as they interact in places outside of our home-it's a nice change in venue and more family members (as potential subjects) offer opportunities for a range of unique interactions and moments, not to mention more complex and layered images-my family also enjoys my perspective on our family gatherings-just apply the same approach we've discussed in searching for moments, carefully composing, being patient, etc.-it's also great practice to get out and try to create shots-here are some i've taken with my extended family with a few notes:

something i love to do is take a unique angle on an image-their mom wanted them to "cheese" for the camera-I make a very intentional and conscious decision not to ask my children to smile-instead, i took a very different angle with a 50mm lens and waited for the expression i wanted

our family rents a club house (because there are so many of us) every Easter with a playground in back-the girls were playing on the playground and i decided i really wanted a shot as they ascended the stairs-i liked the spacing between the girls and tilted my camera (slightly) to enhance the sense of movement-the moment i released the shutter was important to me here-a second or two earlier and they wouldn't have filled the frame (right to left)-a second later and i would have "amputated" a hand or two

this shot, like many of mine, comes from studying and observing my subjects-i watched her play for a while, trying to position myself well in preparation for a shot-as she climbed through the opening, i saw something and quickly composed-as she grabbed the rail and leaned to her right, i snapped the shutter-you can teach yourself to be in the right place at the right time and to anticipate moments-i highly encourage this discipline

this was at a small gathering for a birthday party-my grandmother is in the foreground-i shot from an angle that layered them and gave each person their own distinctive space in the image-i chose to focus on my cousin here and use my grandmother as a natural framing element, giving both context and interpretation to my cousin's laughter

something i very consciously set out to do and continue is that i take my camera to my grandmother's every time i visit-i want to document her, capture the wonderful personality I've grown up with, and capture the essence of who she is-no small task but i can tell her story cumulatively-one thing i love about her is her sense of humor-i like the composition here, it's simple and nothing advanced or brilliant (though notice that even with a straight forward comp like this, i still tried to keep separation between my grandmother and cousin behind her)-the content is what makes this shot special, the genuine moment of laughter that i've experienced a thousand times

the angle was important to me here-the girls were doing acrobatics on the swing set and a standard, straight forward shot wouldn't convey that as well-i also like the motion blur and softness to the image-it all conveys action and motion and something fleeting that i was fortunate to capture

there are several things happening here at once-i really like that in an image-it tells its own story

something i love about the photography is its ability to stop a moment or an expression, for that matter-there's an intensity in her gaze-in this instance, i don't provide the person she was gazing towards-i like the mystery of leaving out that element-it's open to interpretation by any given viewer-plus, who says only "smiling kid shots" are worth shooting?

i really hope this encourages you to take your photography to your family (not just your camera to someone's house, if that makes sense)-document things that capture your family as they truly are, their quirks, their personalities, etc-we have a unique perspective that can contribute to how people see themselves and how they remember their lives-help shape that-you and your family will greatly value that over the years

thanks for stopping by, guys/gals

daniel

Displaying Your Family Photojournalism

First and foremost, I'd like to sincerely thank Daniel for stepping up and maintaining this blog over the past few months. Life threw a curveball my way and I had to refocus some energy in other places.

Ok, so you've been reading our blog and I have no doubt that your photos are improving. So what should you do with those great shots?!

1. I urge you to print your digital files semi-reguarly! I had a conversation with the great wedding photojournalist, Evan Baines about the boxes of photographs that we all have from our childhood. Think about it, our parents shot FILM, maybe 24-36 photos at a time. The film was brought to a lab and the end result were PRINTS. When I look through these photographs, I do not judge composition, light, or other technical aspects of the photo. I simply enjoy them. All too often (and I am guilty of this myself) we let our digital files STAY DIGITAL. Or we'll only print our 'best'. Print the middle of the road shots as well! Your children will appreciate them in 20/30/50 years. For great online labs, I can recommend www.mpix.com or www.adoramapix.com (I love their matte finish).

2. Albums. You can go in many directions here: a) Take your prints and buy a 4x6 album and make your own. b) Take advantage of the digital age and create a digital album. Most printmakers offer various digital books. c) Old school. You can take a 12x12 album without the pre slotted plastic sleeves and buy photo corners and archival tape and create a nice, clean, photo album that will be fully custom.

3. Family Photojournalism as ART! Frame your favorite/best photos and make a display! There are so many amazing products on the market now (canvas, acrylic pressed prints, fine art, etc) that you really cannot lose! Chose which ever type of print/look you desire and hang it in your family room!

Personally, I have always loved the look of a gallery style wall. But I was always aware of how costly custom framing is! As a solution, I purchased 12 'decent' 12x16 black metal frames (on sale). But in order to give my 'gallery wall' a custom look, I paid for custom cut mats (each one was around $9) cut to the various sizes of my prints. All prints were made on an Epson 2400 with Velvet Fine Art paper. I tried to print at 'odd' sizes so there was some variety in the uniform look. I would estimate that the total cost of framing/matting the series below was about $300.

This is the current set up. The photos have not been switched out in 4 years. I am in the process of printing new prints.

Thanks all for stopping by!

Chuck

Book Review: Sebastiao Salgado

Something I've been meaning to do for a while is share books that I've found influential. If you don't know who this guy is, you need to. There are many, many photographers that I've studied and continue to study, but one of the most influential photographers for me has been Sebastiao Salgado, a Brazilian documentary photographer. His work covers multiple continents, though much of the book I'm sharing is concentrated in South America and Africa. Here's a short review of his book, An Uncertain Grace, with some insight into what I got out of it myself.

First of all, if you're able to/willing to pick this book up from the library or even off amazon.com (etc), I'd encourage you to read the essays. While the pictures can teach you a great deal about how a photographer approaches his subjects, the way he composes his shots, what he chooses to include and exclude from a photo, and what moments he/she deemed worthy to press the shutter for, the essays will teach you an equally important skill: how to talk and think about photography. This is a skill that is underrated and often neglected to make space for learning Photoshop and Lightroom tricks and blog stalking. Being able to talk about why you like a photo or why you do not can help you to analyze photographs more deeply. It can also aid you in "seeing" in a whole new way. Over time, the language of photography will become inbedded into your skull and you will learn to shoot more from "feel," requiring less thought and analysis during the moment. (Essentially, it will be more/less second nature over time) That's why I read the essays in my photo books and why I would encourage you to do the same. The author's perspective will also help you to appreciate the photos on a level (often) surpassing your own. It often includes insight behind the photos and what the photographer went through to get the photos, though rarely mentioning anything about the technicals.

Sebastiao's work is very raw. He doesn't attempt to glamorize his subjects or their surroundings. He shoots in black and white, which lends itself to an evocative, yet almost surreal quality. Through his work and Sam Abell's, to name a couple, I have grown fond of darker, moodier images and exposures.

Sebastiao's moodiness is accompanied by a quietness, a stillness that seems to reach into the subject's soul and capture something about who that person is. In reading it (and I have several times now), I come away with a sense that I've actually been the places he has. That is another thing to learn by studying this book: how to use context to speak about your subject and how to incorporate setting without allowing it to overwhelm your subject.

If you have the chance to look this book up, I highly recommend it. You never know which photographers will change your life. There are many I like but only a handful that truly changed the way I see. This is one of them. Try it one on for size.

"An Uncertain Grace" by Sebastiao Salgado (I included a few images to whet your appetite)

Thanks, guys

daniel