Effectively Using Deliberate Motion Blur

Let's face it, we are at times limited by creating art within a two dimensional medium. Sometimes photos can feel a bit 'lifeless', especially when what we photographed was moving. I've already discussed the technique of panning, which is a tremendous way to add life to your photos (read that tutorial here: http://thefamilyphotojournalist.blogspot.com/2010/02/panning-how-i-roll.html).

But conditions do not always warrant a full pan. Sometimes we just want to show that things were moving when we captured the scene. Doing so is really rather simple. It just requires you to really focus on technique.

First, slow your shutter down to somewhere near 1/25th of a second. Your shutter speed will vary depending on how much movement you want to show. I personally like when the majority of the scene is sharp and just a small part of the photo has motion blur on it. Once you've selected your desired shutter speed, be sure to think about holding still when you press the shutter. Remember, this shutter speed is most likely slower than you normally shoot. So just be aware.

Below are some examples where I've utilized deliberate motion blur:


My son was playing the Wii and I really liked how his hands were moving. So I selected 1/30th for my shutter speed and waited for him to "hit the ball".




Same concept below. This was shortly after Santa brought he Wii.




Later that same night :)




After writing this post, I realize that I need to do this more!

Good luck! Keep documenting!

Chuck

Isolating for Effect

Hey guys,

I want to talk about isolation in your images. This post addresses single subject isolation for effect.

Any good photo has a subject. (I know, painfully obvious statement.) Sometimes the subject is rather obvious, while it may be less obvious and/or more abstract in others. One of our jobs as photographers is to tell the viewer where to look. Good composition does this.

Now, you've surely seen photographers who shoot everything wide open (widest possible aperture on a given lens) because of the bokeh. Yes, bokeh is nice but it can very easily become a crutch. That's because shooting wide open all the time doesn't require a photographer to carefully consider the background. It's thrown so far out of focus that your eye cannot help but go right to the subject, which is often the only in-focus object. Easy. And sometimes just plain lazy. Whether you shoot wide open, stopped down a couple stops or at "f/8 and be there," you should know WHY you're doing it.

1. Choose your backgrounds carefully. To isolate a subject, the simpler the better.
Here is a shot of my son while on a trip to Texas. His great grandmother had given him a new skateboard and this is all he did for the few days we were there. I stayed back to let him play and used a 135mm lens. I shot from a side angle because I liked the shape of the houses behind him and because the background was uncluttered, he stood out well.




2. Separation.
I shot this is my son while in Texas. The sun was brilliant and warm. I was shooting close to wide open but I still carefully placed him clear of the sign posts and poles.



3. Get close.
Getting close to your subject can separate him/her from the background. Part of this lies in the fact that the closer you are, the faster depth of field drops off, even stopped down to f/4-f/5.6. One of the biggest benefits this has is proximity to the lens often catches the eye of the viewer more quickly. This shot below captures a quiet moment of a cousin with her puppy. She and the dog share a moment, completely separate of anyone playing around her. The image conveys that.




4. Choose your angle.
Below, you see a girl on a slide, alone in her thoughts. What you don't see is the house behind that slide, surrounding trees, other playground equipment or children playing. The low angle eliminated those distractions and set her apart from them all. The result is another quiet, contemplative image.




The shot below illustrates isolation at its rawest. Simplicity. White walls, a backwards glance, and nothing else. These moments are always both fortuitous and equally intentional. You can't expect them to fall into line regularly and you can't wait until the stars align. As a photographer, your job is to MAKE it happen.




Hope this is helpful.

Daniel

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