photographers Archives - Infrared Conversions, IR Modifications & Photography Tutorials

Profiled Photographers – Jim Maher

Jim Mahar’s journey into photography started while working as a hairdresser in London’s West End. Jim was fortunate to have worked on some of the world’s most famous glossy publications as a hairstylist for photoshoots. He realised that he was as interested in the photography aspect of the shoot as he was in hairstyling. So his partner at the time bought him his first entry-level DSLR which became attached to him pretty much at all times. While working on the shoots, he took the opportunity to ‘pick’ the brains of some of the world’s best photographers to understand the science behind photography and tried his utmost to soak up as much of their knowledge as possible. He says “from this point on, photography became a major part of my life, developing from an interest to a hobby which eventually became a second job”.

Jim had always had a passion for art and design and would regularly paint and draw. He believes this provided a good basis for his photography. “I believe it gave me a foundation for composition and a basic understanding of how to utilise light. Just like in paintings, it’s how the light hits the subject which creates the tone and feel of the final product. I found that photography works in a similar way, and felt my real challenge was to understand the science (i.e., Aperture, white balance etc) more than the composition and lighting”. Jim spent a long time creating “poor photos” due to his lack of knowledge but kept shooting and every time he made a small gain or mistake, he would remember it, learn from it, and fundamentally grow. “Once I felt confident enough that I could deliver constant consistent work, I started doing small shoots for local businesses, colleges and individuals and also became a contributor for Getty Images”.

Jim, where are you from?

I am originally from Gravesend in Kent.

Where do you currently live?

I live in a small town in Warwickshire called Kenilworth which neighbours Leamington Spa.

What genre of photography do you specialise in?

I mainly shoot landscapes and architecture, but really I shoot a little of everything. I love travel and street photography and enjoy shooting people in their natural environment.

Describe your style of photography?

I would describe myself as a general lifestyle photographer that specialises in architecture, landscapes and people. I love natural lighting over studio lighting, and I use colour during the editing process to bring out the mood and feel of the subject at the time I shot it. Thus allowing people to view the world through my eyes.

What are you working on at the moment?

I am currently shooting multiple events for Coventry’s 2021 City of Culture. This will take me through to the end of the summer.

What is your next project or assignment?

I am about to embark on a tour of the UK’s dark sites to highlight the best spots to capture the milky way. Outside of this, I have multiple events lined up for local businesses and a friend’s wedding.

Are there any photographers whose work/style you admire?

I love Annie Leibovitz, it’s the humanity she brings to her work I’ve always found inspiring. She doesn’t shy away from the less flattering aspects of a subject and uses their imperfections to highlight the hidden beauty and fundamental feel of the moment, in turn making you feel like you’re in the room with her.

The other photographer I admire is Mario Testino. Although he is famous for taking many beautiful black and white shots, it’s his colour photos which I’ve always admired. I love the way he uses colour. I find his stylized colour images cool and I love the artistry involved and how he makes every photo pop.

What is your favourite memory of your experiences?

I have multiple favourite memories, and they all stem around documenting watching my children grow up. I always made a conscious effort to photograph them at their most natural, I never staged photos even if it came at the expense of them pulling undesirable faces or actions as I wanted to freeze that moment in time. My children are growing up fast with my eldest starting senior school next year, and although time is the only commodity no man can purchase, I feel I have frozen it. I view these photos regularly to remind me how far my children have come, but also how much I have changed and evolved as a father over the years. Without the medium of photography, these memories would soon disappear, and for that, I’m eternally grateful.

What’s the biggest photographic challenge you overcame?

I believe it was mastering the dark. When I first started in digital photography my initial camera had a crop sensor and a standard kit lens. The sensor wasn’t a particularly strong one and struggled desperately in low light, while the kit lens had a relatively small aperture. So any ISO setting over 600 was pretty much unusable with the level of camera noise creeping in. Although these points sound negative, they gave me a good foundation and respect for shooting in the dark. I learned the best way to hold the camera securely when a tripod or monopod wasn’t ideal, it also taught me how to maximise aperture, shutter speed and ISO to get as close to the desired effect as possible. Nowadays with the pro-grade equipment, shooting in trickier environment’s has become incredibly easy, but I still keep the same disciplines I learned in past with my more modest setup. This allows me to play with the available light (or lack of) to my advantage.

What’s in your camera bag?

My first camera was a basic Minolta/Sony, within a few years I upgraded to a mid-range Nikon and built up from there. I now use a Sony A7iii so I feel I have come full circle.

I have an early Polaroid SX-70 from the early seventies which I love using, the film is incredibly sensitive, and the camera is manual so in some respects it’s harder to perfect but much more rewarding when you do, all the while giving you full creative freedom. The Sigma Art lenses are amazing and give the famous camera manufacturers top-end glass a run for their money.

My little DJI drone was initially a plaything for family holidays knowing full well that the tiny phone-sized sensor wouldn’t be able to cope with anything more. To my surprise the shots and footage it takes are good, plus the new: Super Resolution feature in Photoshop allows me to blow up the drone photos from 12mp to 42mp+ with no loss (and sometimes slight improvement) of quality. I have used it for paid work, and it’s so tiny it takes up no space in my camera bag, so there is really no excuse not to bring it along.

My camera bag has the following:

Sony A7iii
Polaroid SX-70
Sigma Art 14 – 24mm F2.8
Sigma Art 24 – 70mm F2.8
Sony 35mm F1.8mm
ND filters
Peak Design tripod
DJI Mini 2 drone

What photographic equipment would you never leave home without?

I love my 35mm prime, it’s so small and easy to carry around. I find 35mm so versatile, it is good for street photography, portraits and sometimes it’s just about wide enough for landscapes too. Having a large aperture gives it the freedom to shoot any time of the day. What I also love about a fixed focal length is that it makes you think about your positioning more and stops you from getting lazy by forcing you to move your body to get the right composition.

What advice you would give anyone who is starting out?

Don’t spend silly amounts of money on your first camera, buy a second-hand DSLR or mirrorless camera off eBay and hone your skills first. Then upgrade when you can take advantage of the extra power. Ultimately some of my personal favourite photos weren’t taken on my best cameras. The camera is just a tool, I like to use the analogy of a Fiat vs. a Ferrari, they both drive on the same roads, require the same fuel, and have the same operator, and ultimately the destination is the same too, but one gets there a little quicker that’s all.

Any pitfalls they should avoid?

Don’t be scared to change every setting on the camera, you won’t break it, but you might just learn something new about it!

Lastly… if you weren’t a photographer what would you be doing?

I own a hairdressing salon too, so I’d understandably continue in that arena.

To see more of Jim’s work visit www.jimmaher.co.uk or follow Jim on Instagram.

Interview by Kav Dadfar.

Bare Bones Photography: What Gear Do You Really Need?

What is the end game of photography? To make a photo, right? Not always a print but nonetheless an image of some kind is the final goal of most photographers. The tools needed to complete what can sometimes be a world altering task are simple. At their minimum, you’ll require some type of otherwise light-proof box which has a relatively small opening-i.e. a camera, and some way of recording the incident light which enters-i.e. film or digital sensor. You don’t even truly need a lens(pinhole cameras) to make a photograph but of course that helps immensely.

Now, that list of gear might sound incredibly lacking but when you think about it everything else that we throw into the mix simply expounds on or enhances those basic pieces. There are multitudes of cameras, both film and digital, with equally vast selections of lens and filters for each. Everything else aside, this article will help you if you’re just starting out on your photographic journey in that you will learn what basic photo gear you will actually need…not just what someone might want to sell you.

What You’ll Need

Below is a list of the bare-bones gear that you will need to get rolling in making photographs. Of course there are not real absolutes as you will soon find out but in order to reach the end result, a picture, you will need these few things:

The Most Important Item

The single most important tool you can possess isn’t actually a piece of gear at all but rather the correct mindset. I’m listing this first because everything else is secondary to your ability and to adapt and make the most of whatever camera or lens you have available. When I first started out in photography, eighteen year old me saved $265 and bought a 35mm SLR kit that included one 18-55mm F3.5-5.6. I shot on that one lens for about five years and managed to make some wonderful photographs despite it being a “kit” setup. After I switched to digital photography(I still shoot film as well) the progression evolved much the same way with me beginning with a kit lens and later branching out as I learned more about the craft.

Don’t think that you need incredibly expensive cameras or lenses to get started doing photowork. Granted, there are some things that even the most determined effort can’t make happen without the necessary equipment but you might be surprised how much you can get out of “low end” gear when you approach the problem with creative solutions.

A Camera

The importance of a camera can’t be overstated but that doesn’t mean that it has to be the latest and greatest piece of tech to roll off the line. In fact, if I could back in time I would have spent much less on my first digital camera and much more on the lens. More on lenses in a minute but ironically the camera you use usually plays much less of a role in the final image quality(sharpness/color/contrast) than you might think.

Whether it be film or digital, find a camera that is well built and feels good to you. If you can’t readily handle the camera before you buy then become a review hound and learn everything you can about other users experiences. Luckily, most digital cameras today are so good in terms of ISO performance and build that you won’t really go wrong in most cases. Again, if I can offer a little advice in hindsight, invest more in your glass instead of your camera.

A Lens

The lens is the eye through which your camera sees and there are apparently hundreds of different eyes out there. Like I mentioned earlier, the quality of your lens is a huge factor in the final quality of your photos. If you put a poorly made, blurry and sluggish lens on the most expensive camera in the world you will still get poorly made, blurry and sluggish photos in turn

In short, if you aren’t sure yet which genre of photography you’ll gravitate towards, what’s called a “normal” focal length lens will be the best bang for your buck. The term “normal” refers to a lens approximately equal to the field of view of the human eye which is arguable in the 30-50mm range. Most kit lenses included with cameras hover in the normal range. In any case, find the fastest lens(small F-number/large aperture) that will fit the most situations be it landscape, portraiture or street photography. Fortunately, a fast 50mm lens remains of the cheapest lenses you can currently buy.

Finishing Up

Yes, that really is all you need. While there are a few accessories like film or memory cards that you’ll require the overall basic gear to start making images really is as simply as that.

As you progress you will learn what makes you tick photographically and you can adjust your tools accordingly. Find a camera, find a lens, and start shooting.

A Simple Explanation of Aperture

If there’s one thing about photography that confuses newcomers(and often the rest of us) it’s the idea of aperture. What is it? Why is it so complicated? How does it affect your photos? Well, aperture isn’t complicated or impossible to understand, it’s just unfamiliar. And like most unfamiliar things the more you learn to about it the less intimidating aperture will be.

In this article I’m going to show you just how not complicated aperture can be. You’re going to learn the basics of aperture and how it relates to the focus and shutter speed of your photographs.

Aperture and the Dreaded F-Number

Let’s start off by explaining what aperture is and how it is measured. The idea of aperture in reality is astoundingly simple and there’s honestly only a few things you truly need to know to conquer the subject.

What is Aperture?

OK, let’s just get this out of the way right off the bat…aperture by its very definition is simply a hole. As it pertains to photography, aperture is the hole in the lens where light passes into our cameras. That’s it.

See, not so scary! However, the way aperture is measured is the cause for anxiety in some because, there again, it’s measured in a fashion that most of us don’t readily understand. But don’t worry, much like everything it becomes easy once you understand one fundamental thing….

F-Numbers

Trust me. You are neither the first nor the last person to be completely perplexed when it comes to understanding the way aperture is measured. The notion of ‘F-Numbers”(sometimes called f-stops) has been the source of a lot of confusion because they simply don’t make much sense in terms of how we normally think about our physical world. In short, the F-Number is nothing more than a ratio between the focal length of the lens and the diameter of the aperture being used. So an aperture of F4 means that the focal length is four times larger than the selected aperture. An aperture of F8 means that the focal length is eight times larger and so on and so forth. Now this is where things get a little weird….The larger the F-Number, the smaller the actual opening. The smaller the F-Number the smaller the actually opening. Look at this quick example:

It’s going to be OK…take a deep breath and realize that it actually makes sense mathematically but you’re not going to have to understand anything more in depth than that for most practical purposes. Just know that it the larger the physical opening of the aperture the smaller the F-Number will be.

Aperture and Depth of Field

There are a surprisingly large amount of factors that determine the final depth of field or your image and aperture size is one of them. Generally speaking, the wider the aperture(smaller F-Number) the more shallow depth of field will become. This means that smaller apertures(larger F-Numbers) will bring more of the scene into the range of focus than will larger apertures. Take a look at these Chess pieces and see what I mean.

Not only does aperture play a key role in focusing but it also spills over into your shutter speed. Speaking of shutter speed….

Aperture and Shutter Speed

The relationship between aperture and shutter speed is extremely simple and yet extremely important. Simply put, larger apertures allow more light to enter through the lens. More light means faster shutter speeds can be used. This is where the phrase “fast lenses” comes from because lenses with larger aperture allow for faster shutter speeds.

So, faster lenses with wider maximum apertures are capable of shooting more effectively in low light conditions because they allow more light to pass through them. A lens with a maximum aperture of F2.8 is considered to be “faster” than a lens with a maximum aperture of F4.

Final Thoughts on Aperture

In a way all this might sound like an oversimplification but it’s essentially all you really need to know about aperture. The manner in which aperture selection relates to depth of field and shutter speed will take you a long way in photography. Aperture isn’t scary! Having this simple knowledge will help you better understand exposure, make smarter lens choices and generally control your images much more effectively.

The Case for Black and White Photography

Brace yourself because here it comes…it’s another discussion about black and white photography. Don’t worry, it’s not going to be the same old “which is better?” or even worse, another “how to convert your photos to black and white” type of articles. Admittedly, I have written on both of those subjects extensively before but this time will be a little different.

Today, we’re going to strip down the idea of black and white photography and attempt to locate how this tried and true area of photography has managed to maintain its status in an arguably over saturated(pun intended) world of photographic modernism.

Monochrome and the Film Difference

It’s not secret that the black and white side of photo work is deeply rooted in film. Still, even though it makes for a solid title for this section, the term “monochrome” has been somehow mismanaged to the point where it is widely considered synonymous with black and white. This is wrong. Monochrome means “one color” or essentially an image made of shades of only one color. This color could be anything from black, yellow, red or pink. Grayscale might actually be a more appropriate term for true black and white. Even then the lines become somewhat blurred because it’s incredibly difficult to completely abolish all color toning from a black and white film negative. Take a look at these images of a 4×5 black and white negative(complete with film borders)and I’ll show you what I mean.

The first photo is a color rendition of the negative. You’ll notice that is is toned quite blue based on the development. This is due to a few factors but the point is virtually all black and white photographs aren’t exactly black and white. Rather, they are toned based on the type of film emulsion and the development techniques used. Now, look at that same piece of film after I have digitally converted it to black and white in Lightroom.

See the difference? I say all of that to say this: modern digital photography often paints a one dimensional representation of black and white images. True black and white photographs aren’t usually black and white at all or not even monochromatic. Instead, they are a carefully mapped presentation of tonal ranges. Remember this the next time you click a button to make your photo black and white. Sure, it might remove the color but the work shouldn’t stop there.

Speaking of color…

Is Color Necessary?

Yes, color is needed. Is it always needed? Absolutely not. There are times when a photo is suited to black and white and times when it is not. Well, who decides? That question is also deceptively simple to answer. It’s you, you’re the one who decides. Does the color play a role in the emotion or feeling you mean to convey or does it get in the way? These are most certainly murky waters to wade.

Today, we don’t even have to approach color or black and white photography the same way as we did thirty or even twenty years ago. Take the very site you’re reading this article on right now. LifePixel specializes in infrared converted cameras that brings the world of color into a new realm of creative exchange. Infrared cameras see light differently than our own eyes. As a result, completely familiar colors become foreign and black and white pictures take on a completely new feel. When you think about color and how it relates to photography you must understand that even the things we see are wholly subjective to our own perception.

Some Closing Thoughts…

If you haven’t been able to tell by now the purpose of this article isn’t to promote the merits of one type of photo over another. There’s plenty of room even now for both color and black and white photography. In fact, a lot of it comes down to personal taste and how we perceive the world around us. At the same time, remember to look deeper into your work and find what gives it meaning to you. Does color play a part? Does it make more of a connection in black and white? Whatever direction you choose just make sure that the original intent of the photo shines through.

Speed Up Your Processing with Lightroom Import Presets

We all know about presets in Lightroom and all the great things they can do your post processing. Presets help make your editing easier and make achieving a constant styling much more efficient. The biggest benefit of using presets is that they speed up your post processing so you can get back to making photographs, baking muffins, building model airplanes, or whatever it is you might rather be doing instead of sitting in front of your computer screen. But did you know you can use presets jumpstart your post processing efforts before you even import your photos into Lightroom?

In this article I’m going to show you how easy it is to apply presets to your photos as they import into Lightroom. These presets aren’t even limited to develop presets…oh no. You can even add in metadata presets like copyright information and keywording along with camera and lens profile information. This is the kind of thing that the pros use and you should as well. If you find yourself editing large batches(weddings, portraits, events) of similar photos then you’re going to love using import presets in Lightroom. Let’s get started.

Applying Presets on Import

It all starts here in the Import screen of Adobe Lightroom.

If you look to the right you’ll notice an ‘Apply During Import’ panel.

This is where all the magic will happen. Click on that tab to open up your options. From here we’ll have a few choices.

Develop Presets and Camera Calibration

Applying develop and camera calibration* presets as you import your photos into Lightroom couldn’t be easier. The process is essentially the same as it is while editing your images in the Develop Module. To begin, make sure you have the photos you wish to import with the preset. Next, click the ‘Develop Settings’ drop down. This will bring up a list of all the develop presets you have currently installed in Lightroom.

From here it’s simply a matter of selecting the preset you want to apply to the images you’re importing. After you’ve made you’ve made your choice click ‘Import’ and your photos will be brought into Lightroom with the chosen develop preset freshly applied.

**To apply camera calibration settings to your photos on import simply save them in a develop preset and then use the same steps as above.

Copyright and Metadata

Import presets aren’t limited to develop settings. We can also apply keywording and metadata(copyright information/location/creator) to each and every image we import. This helps to better organize or photos and perhaps more importantly, it allows us to protect them from unwanted use. Adding in keywords is super easy as you can type them right into the keyword box. Alternatively, you can add in keywords alongside your other metadata.

Assigning metadata to images is just as easy as applying develop presets. To start, click the ‘Metadata’ drop down arrow.

Select your preset or to add a new one click ‘New’. This launches the new metadata preset dialog box.

It’s here where you can add in virtually any information imaginable. When you’re finished be sure to name your new metadata preset. In the example above I’ve left the title as ‘Untitled Preset’ (I’m lazy) but it’s always a good idea to title any preset you make in such a way that you can immediately know what it contains. Once you’ve created the new preset it will then become selectable from the metadata preset drop down menu. After you’ve applied it, click ‘Import’. Your new metadata information will automatically be applied to each image you selected to import just as the develop settings were in the previous example.

Some Final Thoughts….

Import presets are a great way to easily jump start your processing workflow. By applying certain develop and metadata presets on import you can yourself a lot of time by having the settings you use the most already applied before any work actually begins. This becomes especially useful when you find yourself editing a large number of photos at once. Not only can import presets making editing a breeze but they can also play a big part in protecting your photos by attaching important copyright information to your photos. If you haven’t already give import presets a try and see just how much they can help you and your photography.

Remembering Why You Shoot

There are times when the most simple of explanations eludes us. When it comes to photography, or more specifically to the point of making strong photographs, we must be fully aware. Not just aware of our settings and camera placement but also our intent. Oddly enough, it’s frightfully easy to lose this awareness during the very process of doing the thing which we love. What I’m so gently hinting at here is this: do you know why you make photographs? Are you aware on an internal level why you you shoot what you shoot?

In this article we’re going to take a look at why we can so easily lose sight of our purpose while making photos. This artistic straying can happen gradually or on a picture by picture basis. Perhaps more importantly we will also examine how you can regain your a creative awareness and become a more deliberate, purposeful photographer.

Obsessing with the Technical

When you think about it there are arguably very few absolutes when it comes to photography. So, why does the pursuit of technical perfection occupy such a large corner of our creative minds? Never place more emphasis on the technical aspects of photography than you do on expressing the feeling of a scene.

How many incredible photographs have you seen that are underexposed? Over exposed? Maybe they are slightly out of focus. The worth of those photographs or any other image doesn’t lie in the balance of a histogram or tack focus. They move us because they were made with intent and show the truth and beauty of a moment. Don’t put so much attention into the way you capture a photograph that forget why you wanted to shoot it in the first place.

Burnout

If you make photographs long enough there will come a dark and wretched day when you simply become tired of it all. It might happen sooner than later or it might take years but to some degree or another you will have to face burnout. When you become tired of shooting there just doesn’t seem to be anything out there to make pictures of that interests you. You just don’t get the joy from the process as you once did.

Don’t worry…this literally happens to us all and it isn’t limited to one event. There are highs and lows throughout a photographer’s journey. The key remedy is somewhat paradoxical, however. To beat burnout you take a break but not altogether stop shooting. Try to take a rest from your camera(and it from you) and breathe for a while without making photographs. When you begin to say “Man, I wish I had my camera with me” you will know you are cured. Do this as needed or as directed by a photo writer….

Self-Doubt

The best way to forget why you make photographs is by trying to make them them exactly the way someone else does. Be mindful that there is an incredibly fine line between inspiration and emulation. Never allow yourself to sacrifice how you want to capture a photograph based on the idea that it’s not the “right way” or just because it might not look like someone else’s version.

There could be an entire book written on this point but I’ll do you the favor of brevity. It’s perfectly alright to absolutely love the way other photographers images might look; that’s great, learn how to make yours in a similar way. But only do this if it fits with your own vision. Don’t do it for ‘likes’, shares, or any other reason that would otherwise cause you to shoot with anything but your own photograph in mind.

Final Thoughts….

Today, it’s easier than ever to allow yourself to forget why you make your photographs. We are constantly bombarded by new and better equipment that make us lose sight of what makes a good photo. Sometimes we simply become tired of shooting and this causes us to forget why we love making images at all. And what maybe be the most common danger, sometimes we doubt our own instincts as photographers. All these reason, and no doubt others, can make us forget our own intent. Luckily, they can all be overcome and if you find yourself in any of the circumstances I’ve mentioned then I hope this article gives you a helping hand. Have fun with what you do and always remember why you do it!

Working with Texture in Photography

As a word, “texture” carries quite a few meanings. For photographers, texture is a concept that is often difficult to explain. It’s almost as if it has to be shown instead of merely described. Texture is simply the pronounced visualization of the surface feel of an object which is photographed. Now, you may be thinking “well, everything has texture…”. While this is true, the way in which that tactile nature of whatever you’re shooting can play a huge role in the overall mood and expressiveness your final image. Understanding texture in photography means learning how to recognize the importance(or lack of) the portrayal of the physical surface of a substance will impact the viewer.

I know I know…how boring can you get, right? Just hang in there and read on. You might be surprised just how much incorporating and focusing on textures can strike increased interest in a photo. We’ll talk about how the directional properties of light morph the textural feel of a scene and how you can put that to work for you. Let’s get started!

Communicating Texture

How do you transmit a physical sense into a two dimensional photograph? It all comes down to the type of thing you happen to be shooting and how you position your focus and your camera. Generally, there must be some degree of angle involved between the subject and the camera. This essentially places the surface of whatever your shooting into profile and thereby better displays whatever the irregularities might be into sharper relief. Here, have a look at this. It was shot with the camera directly overhead and perpendicular to the cloth.

This is a rather mundane example but it does a good job at displaying the relationship between camera angle and texture. Notice how with the straight on camera position all the texture within the cloth is muted and visually flat. This next image is made after moving the camera to approximately a 45 degree angle to the subject.

This places all the nonuniform attributes of the cloth at an angle and makes its texture more pronounced. If you want to amplify the texture of a scene, try different shooting positions and avoid photographing the subject from 90 degree angles.

The Effects of Light

Extremely closely related to camera position is the directionality of the light falling on your subject. Shadows are key when showcasing texture. The textures of an image will be enhanced by the addition of contrast which is, afterall, the differences between lights and darks in a photo. The direction of the light will determine how and by how much the contrast of the texture will be determined. The more contrast, the more obvious the texture will become. If you’re ready for another effective yet basic example, you’re in luck. These next two images are of the same floor tile. The first was shot under very diffused natural light from above.

The next photo was shot with the window blinds open which produced a much harsher directional light. And the camera angle was lowered to enhance the lighting effect even more.

All the textures within the tile are brought out due to the shadows produced by the side lighting and camera angle. These were not at all evident with the previous lighting conditions.

Using Depth of Field

Photographs that center around textural elements work well when shot in abstraction and/or with shallow depth of field. The small plane of focus adds contrast to the texture by framing it with foreground and background blur. Here’s an image shot using an aperture of F8.

The entire subject is in focus. And while the texture is evident it’s not readily defined. Next have the the same little pine cone but this time shot at a much wider aperture of F2.8.

The softening around the edges help to focus the attention on the textures of the cone and seperate it from the rest of the frame. While not a rule(what are those?) wider apertures generally work well to isolate and draw focus to the evident textures present in a subject.

Final Thoughts on Texture…

Let’s face it, talking about texture in photography isn’t the most exciting thing in the world. Still, ignoring it completely means ignoring one of the most powerful techniques for adding interest to your photographs. Texture is all around us and can be made the centerpiece of your images if you understand how to put it at the forefront. Using textures effectively will open up so many more shooting opportunities that you might not have considered before now.

The Great Minor White and Infrared Photography

Born in 1908, Minor White was something different in terms of how and why he photographed. He incorporated as much of his own beliefs and philosophies into his work as he did photographic technique. His work is a mix of his mentality and the emotion he felt towards a scene or subject. He injected a part of himself into all the photographs he made. Bestowed by him are such words as “The photographer projects himself into everything he sees, identifying himself with everything in order to know it and to feel it better.” and one of my personal favorite quotes about us photographer’s mentality “…all photographs are self-portraits”.

Minor White-By Imogene Cunningham

It was with the existential mindset that White approached his photographs and perhaps there was none of his work as idealistically surreal as his adventures into the world of infrared. Not only was he a prolific photographer in the artistic and technical sense but he was one of the early practitioners of infrared photography who brought it’s incredible appeal to the masses. The IR images he made, just like his other works, projected a world blended with both the physical landscape and his own personal creativity.

By Minor White, 1958

By Minor White, 1955

By Minor White, 1955

Minor White and Infrared

How did Minor White make his IR photographs? With magic…. Well no, not exactly magic, but it certainly looked that way. Minor White used black and white infrared film, usually large format 4×5, to capture his dreamlike scenes. The infrared or more accurately “near-infrared” light spectrum falls around the 700-1200nm range and infrared film is manufactured to be sensitive to these wavelengths. However, seeing as IR film is also still sensitive to other wavelengths of light, IR filters must also be attached to the camera lens in order to filter out other types of unwanted light that falls in the more visible spectral range. It’s this filtration of the normally visible light and the inclusion of the near IR spectrum which we generally don’t see which gives IR photography their ghost-like quality. Development of the IR is surprising the same as many other conventional black and white films and requires basic darkroom techniques and chemicals.

IR Lens Filters

IR 35mm film

You may be wondering, “So why can’t I just use an IR filter on my digital camera to make IR photos?” And that’s good question. The answer lies in the very construction of most modern digital cameras themselves. IR wavelengths are generally unwanted and in conventional photography and therefore modern digital cameras have a built in IR filter that is placed in front of the image sensor to block out IR light. Even if an IR filter was placed on the lens the resulting transmitted IR light would in turn be filtered out by the camera’s own internal filter. So, how can you enable your digital camera to make IR photographs? Read on….

IR Photography in the Digital Age

As I mentioned earlier, the largest obstacle that stands in the way of making IR images with your currently digital camera is the built in IR sensor filter inside your camera. So if you want to venture into the world of IR photography this filter must be modified through an infrared camera conversion process.

New IR translucent filter being installed

This means that your camera’s sensor is now sensitive to incoming IR light. There are also many other possibilities to expand your infrared horizons with today’s digital camera bodies. Full spectrum, color IR, and a host of other tailored IR imaging effects can be produced depending on the type of conversion and IR lens filter combinations you happen to choose. The benefits to Find out more about infrared conversion possibilities here.

A Final Word About Minor White and Infrared Photography

The work of Minor White was profound, beautiful, innovative, provocative, and at times quite sad. His ventures into the world of IR photography showed us a the wonderment that is all around us, yet invisible all the same. His images speak volumes to the life he lived and to the way he approached the art of photography.

Today, we have so many ways to practice IR photowork whether it is with film and filters or with our digital cameras through a dedicated IR conversion. If you are considering the latter route, be sure to learn as much as possible about the possibilities and limits of digital IR conversions. Make sure whoever you trust your beloved camera to has the reputation for quality that you and your gear deserve. Read more about IR digital camera conversion here at LifePixel and be sure to check out what people just like you have to say about the level of service offered by the LifePixel team!

Review: K&F Concept 58mm Variable Neutral Density Filter

Neutral density filters(ND) are one of the staple components of virtually every serious landscape photographers gear bag(read some outdoor photography tips). The great thing ND filters allow us to do is shoot longer exposures in bright light without overexposure. A good analogy I always like to use is that ND filters are light sunglasses for your lens. Neutral density filters are a great way to remain flexible with your shooting even when conditions aren’t ideal.

Like most photographic equipment, you often get what you pay for…. That doesn’t mean that every piece of budget gear isn’t capable of yielding great results. The K&F Concept 58mm ND Fader Variable Neutral Density Adjustable ND Filter is quite a mouthful to say, but essentially it is a neutral density filter that is capable of shooting at various shades of darkening. This particular filter ranges from ND2-ND400. If we’re speaking in terms of f-stops, then it equates to 1-8 ⅔ stops of light reduction. The version I tested was the 58mm size and I used it with my trusty Canon EF 50mm F1.4.

Build Quality

The filter arrived well packaged and included a nice micro-fiber cloth along with a standard padded plastic filter case.

Overall, I was extremely impressed with the build of this ND filter from K&F. The material of the two elements is listed by the manufacturer as “optical quality glass” with the body of the filter likely being aluminum. Originally I had thought the housing was made from some type of resin but after a scratch test it turned out to indeed be metallic.

I was also pleased to note that both the stock lens cap and lens hood still worked perfectly while the filter was attached.

The filter itself functions by turning the outer ring to the desired darkening setting is reached. This ND filter functioned extremely smoothly with no binding or sticking points.

Optical Performance

As I mentioned earlier, there is most often an unavoidable compromise between cost and quality(with a few exceptions) when it comes to camera gear. The K&F Concept variable ND is a budget ND filter currently retailing for around $20US from both Amazon and Kentfaith.com. The performance of the filter was a mix of great to, well, not so great. When used at it’s lowest optical darkening setting, the results were wonderful for a filter at this price point.

1/100 second

Moving a little darker to approximately 3 stops of light reduction, the results were still great and allowed me to shoot long exposures with no real color tinting or vignetting to speak of from a practical standpoint.

1.3 seconds

Now, moving onto the darkest setting of ND400, or approximately 8 ⅔ stops, we see some extreme problems arise in terms of color tinting and image degradation.

25 seconds

For a $20 ND filter, I was honestly surprised at how well the filter performed up till now. And from a real world point of view, the filtration offered between ND2 and ND400(1-8 ⅔ stops) was outstanding. This lends me to believe that he overall results from this filter are perfectly workable from approximately 1 to 3-4 stops of darkening. Here are three more images showing the progression of image quality across the range of filtration. It’s interesting to note that while the last image shows significant quality reduction, the massively apparent purple tinting observed in the previous example is virtually nonexistent. This is possibly due to the lengthy exposure of 25 seconds used for the image above. The white balance of my camera was set to ‘Auto’.

1/200 second

1.6 seconds

4 seconds

Final Thoughts….

Given the low cost of this variable ND filter from K&F Concept, I have no problem with the limited performance results achieved from my tests.

Pros:

Low lost
Sturdy build
Looks great on the camera
Smooth operation

Cons:

Extreme color tint at dark settings

The fitler itself is well made, looks great, and lends itself to relatively respectable performance for a filter costing around $20US. Beginners will love it for its quality to cost ratio and even experienced photogs could find a place for it in their kit. The K&F Concept 58mm ND Fader Variable Neutral Density Adjustable ND Filter is a low cost option for those looking for a variable ND filter with good performance in the 1-4 stop range of light reduction. The diminished performance at the far end of the filters capabilities are indicative of the cost of the product and expectations should be tempered with that information in mind!

Editing Secrets Revealed!: Five Lightroom Tricks

Adobe Lightroom is one of the most widely used software programs out there. When it comes to editing your digital photos it’s extremely difficult to beat Lightroom when it comes to ease of use, versatility, and powerful post processing tools. It’s safe to say that most of you reading this likely have had some experience using Lightroom but do you know about some of the hidden capabilities of the software? Well, maybe I shouldn’t say hidden. Perhaps “lesser known” is a better way for my point to be phrased.

In this article, we’re going to show you five lesser known tricks to be found in Adobe Lightroom. You might even wonder how you’ve managed without them for so long!

#1: Direct Histogram Adjustments

You know how to adjust exposure using the adjustment sliders in Lightroom but did you know that you can make exposure adjustments directly to the histogram?

Yeah, really! Not only that, but you can work with the blacks, shadows, and highlights independently. To do it, simply hover over different areas of the histogram and pay attention to the bottom left corner of the histogram. This tells you which area of the histogram you will be adjustment. At the far left is the blacks region…

And to the far right will be the whites region.

To adjust an area, click on it and hold as you drag left or right on the histogram.

In the middle areas you will have shadows highlights and overall exposure. All independently adjustable in the exact same way.

#2 Visualizing Spots in Clone/Heal Mode

The clone and healing tools are a great way to remove unsightly dust and dirt specks that show up on your finished digital photo. It’s easy to just make some of those things go away with a click or two.

Did you know that there’s a super easy way to make removing those spots a lot more precise? It’s aptly called the “visualize spots” mode and to access it click…you guessed it, the visualize spots box at the bottom of the view window when in clone/heal mode. You can also use keyboard shortcut (A).

Your image is instantly converted to a black and white relief. Spots show up in white.

You can control the sensitivity of the spot revelation by using the slider.

#3 Sharpening Mask

Don’t introduce unwanted noise by sharpening your entire photo! There’s a smarter way and it’s by using the masking slider when sharpening your images in Lightroom.

Holding down the ‘Alt’ key(Option key on Mac) while adjusting the masking slider sensitivity will convert the image to a black and white relief similar to the visualize spots mode from earlier.

Now it’s just a matter of healing or cloning out the spots!

#4 Developing Video

For some, the downside of Lightroom is that it doesn’t work well with video editing. Video isn’t supported in the Develop Module so you have to rely on quick develop settings and presets to process any of your video files. Or do you? There is in fact a work around to help you edit your videos more precisely in Lightroom. First, make an image capture from your video.

Then make any adjustments to that image capture just as you would a normal photo. When finished, go back to the Library module. Then hold down the ‘Ctrl’ key(Command on Mac) and be sure both your edited image capture AND the video thumbnail are selected.

Now, click on ‘Sync Settings’

A dialog box will appear showing the available settings which can be synced. Make your selections and click ‘OK’. And boom! You’ve just developed your video.

#5 Custom Name Plate

This last trick is possibly the easiest…and the most arbitrary. You can customize the “name plate” in Lightroom along with a couple other things. The name plate is that little bit of text in the upper left hand corner of the view window.

Here’s how to change it. Simply right click on the name plate and choose ‘Edit identity plate’ from the drop down.

This will open the identity plate edit dialog box.

Select ‘Personalize’ from the dropdown at the top left.

Now change the font color, style, and size to whatever you want! You can even upload a custom logo image form here as well!

Final Thoughts…

Lightroom, as powerful as it is, offers some hidden gems if you just know where and how to find them. The secrets of Lightroom aren’t limited to just the ones we’ve shown here! Have your own tricks that you’d like to share with the class? Post them in the comments below!

Real talk: Reasons Your Photography Isn’t Improving

There comes a time when we feel as if our photography has hit somewhat of a creative wall. Our photos seem to have become stagnant. This kind of leveling off of our photo work is frustrating and can lead to self doubt about the quality of our work. In some cases, this self doubt can spiral out of control and leave us questioning our purpose as photographers. But there’s no need to despair! There are so many reasons why our photographs seem to be lacking that same fire they once had or why from a technical standpoint they have become lackluster.

Sometimes the problem with our work is only noticeable to ourselves. After all, each one of is our own worst critic. Whatever the personal reason for the dissatisfaction with our current progress as photo makers I can guarantee you are not the first one to share in the frustration. That being said, finding the cause of the problem requires being honest with yourself and the understanding that you are the only one who can pull yourself out of the rut.

Here a few common causes for why your photographs aren’t of the quality you feel they should be.

You’re not shooting enough

Practice makes perfect. Or if we’re being honest, practice makes “better”. If you find a way to shoot a “perfect” photograph please let me know! But the truth is, the more photographs you make the better your photographs will inevitably become.

Shooting more frequently will refine your craft not only from a technical and compositional standpoint but also in proficiency with our camera gear. Set a goal for yourself to shoot four or five “keepers” every week to keep your mind fresh and your creativity from growing stale.

You’ve become complacent

We all strive for success through our photography. Even though “success” is defined in many different ways all of us seek for a measure of accomplishment with our work; either personally, creatively, or financially. Oddly enough, the problem arises after we have began to achieve our goals and find success due to the fact we can become lazy.

In our minds, reaching a goal can be a culmination and if we don’t set higher and higher goals complacency can weasel it’s way into our work. Always be humble when you receive accolades for your photography and keep pushing yourself to go farther. Don’t ever feel like you have nothing else to learn, nothing else to do, or nothing new to shoot. There’s always a next level.

Not recognizing there’s a problem

It might seem paradoxical, but never coming to the realization that your work isn’t what it could be is one of the most dangerous pitfalls of all. There’s no shame in understanding that your have more to learn. We all do. We should never blindly believe that we know all there is to know.

Just as with becoming complacent there is no way to move forward with our skill if we feel as if we’ve already reached the highest point we can achieve. Always strive to constantly triage your skills, your gear, and your mindset towards your own work. Again, be honest with yourself and if you see room for improvement actively seek ways to make a change for the better.

In closing….

Pinpointing the reasons why your photography isn’t improving the way you feel it should be begins with being real with yourself. Why do you feel your photos could be better? Are their technical hurdles you need to learn more about? Are you actively applying yourself to your work?

If you do feel like your photos could be more impactful or of better quality don’t be ashamed to admit it to yourself! It’s the only way you can improve. And believe me, every photographer, no matter what their perceived level of skill or experience, always has room to improve some area of their shooting. You are most definitely not alone.

Simple Ways to Improve Your Astrophotography

For eons, mankind has looked up into the night sky in wonderment. All the stars and celestial bodies which hover over our heads have always held a nearly indescribable allure. Since the advent of photography we have looked for ways to photograph all the beautiful happenings of our galactic home.

You might think that making photographs of stars or even our own galaxy requires special equipment or extensive knowledge of mind numbing photography concepts. Nothing could be further from the truth. In reality, it all comes down to a few simple techniques and basic camera gear. In this article we are going to look at a few key points that can help you start making great photographs of the night sky right now!

Use a Tripod

Having a stable shooting platform is always a good idea for any type of photograph. The introduction of sharpness-robbing camera shake is one of the largest hurdles to overcome for any photo maker and it is especially true in astrophotography.

Always use a tripod(like the one from this LifePixel article) so that you can eliminate as much motion as possible in your images of the night sky. Speaking of motion….

Make Use of the 600 Rule

We often forget that even though our cameras seem to be perfectly still they, and ourselves, are moving along through space at around 67,000 miles per hour(30 km per second!). That’s not exactly slow. What this means for our astrophotography is that we are constantly working in a moving environment. Depending on the type of night photograph we want to end up with there is a very simple way to make sure all those stars stay in place. It’s called the “600 Rule”.

This was shot at a 7 min 30 second exposure using a 14mm lens. Note the the visible star trails….

Well, it’s more of a guideline for exposure rather than a rule. Since, the earth is moving so fast, longer exposure times results in “star trails” which is the streaking of starlight due to motion. This can be a good or a bad thing. Luckily, we can estimate the longest shutter time we can use based on our lens so that we don’t see star trails. Conversely, we then know what the approximate minimum exposure time needed so that we do see them. And it really is a easy…I promise. The 600 Rule states that the focal length of your lens, be it 14mm, 50mm, 85mm, ect., should be divided into 600. Here’s the equation:

600/focal length of lens = Maximum Shutter Time in Seconds

See! That wasn’t so bad. There are a few versions of this rule which use different numbers such as 400 or 500. They all yield similar results so use whichever one works best for you. I use 600 but this is simply a preference.

Include Interesting Elements

Make your astrophotography more than just pictures of stars by including elements into your foregrounds. People, buildings, trees, even light pollution(unwanted artificial light) can add wonderfully interesting elements to your astro photos.

The fence and building light in the background works to lead the viewer up towards the beautiful Milky Way.

Make use of your entire environment to bring a unique perspective. Sometimes it helps to see just how small we really are in a wide universe.

Use a Remote Shutter Release or Timer

We’ve already learned that camera motion is our enemy when shooting long exposures. Even a small amount of camera shake can ruin a perfectly composed nightscape. You might not realize it, but the impact vibration of pressing the shutter button can cause enough motion to appear in your photo. To combat this, consider using a remote shutter release. Most cameras today have wireless remote capabilities(even budget cameras) and the remotes like these are cheap.

This wireless remote cost me about $11

No remote? Try putting setting your camera to a 2 second or even 10 second timer. This will make sure your camera is as still as possible.

Closing thoughts….

Astrophotography is an almost magical goal for some photographers. When I first began making photographs one of my personal goals was to make a photo of the full moon. It doesn’t take much to be able to make wonderful images of the night sky. Follow the simple tips in this article and you will see…dare I say…ASTROnomical improvement in your photographs! Photography jokes are fun….

Understanding Basic Lens Anatomy and Terminology

The lens is the eye through which a camera sees. No matter what kind of camera you use, the lens is one of the single most important investments you will make. So in the spirit making wise decisions and minimizing buyer’s remorse the gear-savvy photographer will make it a point to understand the basics of lens anatomy. Not only with understanding the basic ins and outs of your lens make you a better technical shooter, but it will also enable you to squeeze every last drop of performance from whatever glass you happen to be using.

Without a doubt the numbers, markings, and terms often associated with camera lenses can be confusing. The good news is that they don’t have to be! Generally speaking, all those numbers and symbols are actually quite simple to understand. Let’s begin with some terms and names of common lens components you will likely encounter with most camera lenses.

Basic Lens Anatomy

Barrel-The physical outer body of the lens which houses the internal components.

Elements-A term used for the individual internal pieces of glass which make up the optics of a lens.

Bayonet-The end of the lens that attaches to the camera body. Bayonets are designed in different “mounts” based on the camera they are intended to fit.

The bayonet of a Canon EF Mount lens

Zoom Ring-A circular ring which allows the photographer to control the zoom of zoom lenses.

Focus Ring-A ring present on virtually all lenses which allows the shooter to manually adjust focus.

Focus and zoom rings on a modern lens

Aperture Ring(manual lenses)-On fully manual lenses, the aperture ring controls the physical size of the aperture with no selection being made by the camera.

Fully manual lenses often sport an aperture adjustment ring

Basic Lens Terminology

Some of the most confusing aspects about lenses isn’t their physical operation but the terminology used to describe their characteristics. Here is a breakdown of some common terms and phrases you will encounter when talking about camera lenses.

Focal Length-At the risk of oversimplifying the concept, think of this is simply the magnification strength of the lens measured in millimeters. Shorter focal length lenses are deemed “wide-angle” while long focal length lenses are considered “telephoto”.

Prime-When we say that a lens is “prime” it means that the lens is a fixed focal length. Basically speaking, the lens doesn’t “zoom”.

Lens Speed-The speed of a lens is directly connected to aperture. The wider the maximum possible aperture a lens is capable of the “faster” the lens is considered to be. This means that the lens is capable of shooting in lower light situations at faster shutter speeds. Remember, the smaller the F/number of the wider the aperture. Check out “Aperture Simplified” ,another one my articles here at LifePixel, for a nice and simple breakdown of aperture that will help make since of F/numbers….

What the heck is this symbol ⌀ anyway???-You will likely find this symbol located around the outside front of your lens along with lens speed and focal length information. Fear not, that little guy is just the indication of what circular filter(polarizer, neutral density, etc.) size your lens accepts. It will be accompanied by a measurement in millimeters. If you see a “⌀77” then you will need a 77mm filter. What’s more, if you lose a lens cap, that is also the size for the replacement.

The face of a modern lens showing aperture, focal length, and filter size information

And always remember….

Your lens and camera work as one piece of gear along with you and your creative spark.

Understanding how your lens functions and the basics of lens anatomy will not only make you a better photographer but also a more competent when it comes to acquiring the gear you need. Arm yourself with all the information you can and build on the basics. Knowledge is power when it comes to lenses.

Profiled Photographers – Morgan Phillips

Professional US adventure and lifestyle photographer Morgan Phillips got into photography after he took a class with a friend. He was introduced to film photography and once he purchased a digital camera he didn’t look back. For Morgan, the journey really took off when Instagram gave him an easy platform to share his photos with the world. He doesn’t know how he got to this point and says “I honestly don’t know how I got here, I just liked taking photos and things kind of worked themselves out.”

Morgan’s passion is in the outdoors, and his images convey his life on the road. Whether that is snowboarding through Wyoming or hiking in the remote parts of the Canadian Rockies, the one thing that remains constant is his passion and skill for capturing the environment around him in a unique way. Every photo tells a story which is why, over the years, Morgan has worked with the likes of Lincoln Motor Co, LG, Canada Tourism, Twitter, Ebay and much more.

So Morgan, where are you from and where do you currently live?

I’m a native of Birmingham, Alabama, but I live in Seattle.

What genre of photography do you specialise in?

My speciality is adventure and lifestyle, as well as commercial photography.

Describe your style of photography?

My focus tends to be on adventure oriented landscapes.

What are you working on at the moment?

My next big project is that I am about to climb Mount Baker (in the North Cascades of Washington). I’m looking to get into mountaineering and taking photos of that.

Are there any photographers whose work/style you admire?

I like the work of Alex Strohl (a Madrid born, French photographer who specializes in outdoor and adventure photography). I also admire Dan Tom and Cody Cobb.

What is your favorite memory from your experiences?

I once camped on a frozen lake with friends. It was 0 degrees Fahrenheit but so much fun, and an amazing experience.

What is the biggest photographic challenge you overcame?

That would have to be understanding that I will take bad photos and accepting that it’s OK.

What’s in your camera bag?

My kit comprises of: Nikon D810, Nikon 24-70 2.8e, Nikon 24 mm, Nikon 50 mm, Batteries, memory cards, a tripod and other accessories.

What photographic equipment would you never leave home without?

Being an outdoor person, that would be a good pair of hiking boots.

What advice you would give anyone who is starting out?

The biggest advice I can give someone is to just keep shooting and find their own style.

Any pitfalls they should avoid?

Not to try and compare themselves to other people.

Lastly… if you weren’t a photographer, what would you be doing?

Probably selling pizza

To view more of Morgan’s work or get in contact with him visit www.MorganPhillips.co or follow him on Instagram or Twitter.

Interview by Kav Dadfar.

Profiled Photographers – Oscar Simon Navarrete

It wasn’t until digital cameras arrived that Spanish photographer Oscar Simon Navarrete got into photography. He was so fascinated by the photos that he saw on the internet that he purchased a Nikon 2 megapixel camera. He wanted to capture the images he saw online himself and started to practice by photographing sunsets. He caught the photography bug and eventually purchased a Canon 450D.

Since he bought his Canon 450D he made friends with people who shared the same passion in photography and spent more and more time travelling. But his focus has always been on capturing the perfect light within his photos. His journey has led him to this point in his life and he isn’t quite sure how he got here. He says “In my mind, I don´t really know how I got here but I can say that over the years I have studied and found that photography makes me feel full”.

So Oscar, where are you from and where do you currently live?

I’m originally from Malaga in Spain but I have lived in different cities. For the last 12 years I have been living in Zaragoza in Spain.

What genre of photography do you specialise in?

What I really love is landscape photography and especially at night. As much as possible I try to combine my landscapes with night photography.

Describe your style of photography?

I hope to try and transmit the passion that I feel when I´m in the mountains or anywhere wild through my photography. For me it’s not just the scene that is important, but also the light. It is the key component that I try to look for every time I pick up my camera. I try to combine the scene and light in my photographs.

What are you working on at the moment?

Right now I´m working on my latest set of photographs from my recent trip to Iceland. I spent 10 days there and have to spend some time in post production on them.

What is your next project or assignment?

With a friend of mine, we have founded a company called WorldPhotoXperience. The company was born with the idea that other photographers who see some of our work may want to travel to those locations which are often difficult to get to. We take care of everything so that the only things our clients need are their camera gear and a basic knowledge of photography. We cater for all levels from beginners to advanced and keep our group sizes small – no more than 12. We have trips from cities like London and New York to places such as Iceland and Lofoten and have new destinations such as the Arctic and Canada coming for 2017.

You can find out more by visiting WorldPhotoXperience

Are there any photographers whose work/style you admire?

I admire some great photographers. Ted Gore, Ryan Dyar, Serge Ramelli, David Martin Castan and Guillermo Garcia Delgado have all had great success with their work. I love their style and mood and I spend hours looking at their photographs.

But for me it’s not just famous photographers who can make great photos. There are so many talented photographers out there who can capture great images and we can all learn from them. The key is to pay attention to what they have to show us.

What is your favourite memory from your experiences?

The first time I travelled to Iceland, on the second day we went out with our gear to try to catch the northern lights. This was the first time I saw them and I felt very special and fortunate to be able to see this magical phenomenon. That feeling has always stayed with me when I do any photography.

What’s the biggest photographic challenge you overcame?

Two years ago me and some friends decided to go to the Pyrenees mountains in winter to catch the light at an altitude of 2100 meters. The night temperature was -13ºC (8ºF), but the effort and cold was worth it as I captured some great images.

What’s in your camera bag?

I use a Canon 5D MK2 with several lenses. I have a Canon 16-35mm f2.8, Canon 24-105mm and Canon 50mm that I usually take with me on my travels.

What photographic equipment would you never leave home without?

I love with my Canon 16-35mm lens, so I never go anywhere without that and my Canon 5D MK2. More than 80% of my photographs are taken with this combination.

What advice you would give anyone who is starting out?

I think I still have much to learn to be someone who can give advice to others, but if I was to give advice, it would be to keep looking for your own style. Never forget where you want to be and don´t think you have learnt everything. There is far too much out there to see and learn.

Any pitfalls they should avoid?

Not to feel too down when you have bad comments about your work. The internet is full of people who don’t make constructive comments but instead just try to become notorious, so don´t pay too much attention to them or to social media.

Lastly… if you weren’t a photographer what would you be doing?

If photography wasn’t in my life I think I would be doing something creative but I don´t know exactly what.

To view more of Oscar’s work or get in contact with him visit www.oscarsimon.com or follow him on Facebook, Instagram or Twitter.

Interview by Kav Dadfar.

Profiled Photographers – Dragan Todorović

Dragan started photography back in the 80’s through watching his uncle creating his own black and white photos in his darkroom in his hometown of Belgrade in Serbia. He was around twelve and his first camera was an extremely low-tech, fully manual plastic box which was capable of taking surprisingly decent photos. He has been taking photos ever since.

Unlike other photographers, Dargan doesn’t specialize in one genre of photography, but rather tries to break from that mould to create images which rely on different elements to work in harmony with each other. He views his images as “…book jackets for stories I have not written, and never could have written, because they are not stories that can be told in words.”

His images have a certain elegance and almost dreamlike appearance that capture the viewer’s attention and thoughts. They are works of art that don’t conform to society’s normal views and set-ups of photographs.

Dragan, where do you currently live?

I live in Belgrade, Serbia. This is also where I’m from.

What genre of photography do you specialize in?

None, I’m trying to replace the monotony of a genre and style with polyphony, or even better, sometimes a formal polyphony using devices from literature and philosophy.

Describe your style of photography?

My desire is for the photograph to not only convey a story about itself, but also about the person who took it, as if each photograph could be a mirror. The benefit of picking a style and staying consistent (and I hate consistency, I love to confuse people) is that having a distinct style is just easier to market. That’s all. And I’m not doing photography to be famous or to sell things and so I don’t try to limit my expression to one voice or tone.

What are you working on at the moment?

I’m currently in the process of setting up my own studio.

Are there any photographers whose work/style you admire?

I’ve admired the works of Vadim Yusov and Aleksandr Knyazhinsky. They were cinematographers but their work with Andrei Tarkovsky made me love the world of pictures. I was profoundly affected by the photography in his films, more than anything else I had seen before.

What is your favourite memory from your experiences?

Without question, that would have to be developing photos in the darkroom.

What’s in your camera bag?

I use a Fuji X-T1 with set of different lenses.

What advice you would give anyone who is starting out?

I would advise them to read Camera Lucida. It is a short book published in 1980s by the French literary theorist and philosopher Roland Barthes. It was one of the most important early academic books of theorization on photography.

Any pitfalls they should avoid?

To avoid bad literature.

Lastly… if you weren’t a photographer what would you be doing?

I’m not a professional photographer but I would have to say an artist of any kind.

To view more of Dragan’s work or get in contact with him visit his website.

Interview by Kav Dadfar.

Profiled Photographers – Lennart Bader

Semi-professional, German born photographer Lennart Bader, was only 14 when his classmate bought a Canon 30D camera. He was so impressed by the pictures it produced, he purchased a Canon 350D himself soon after. He spent the next few years photographing mainly during the holidays but without really experimenting with his photos, and because his friends didn’t enjoy having a camera around, it stayed at home most of the time.

It wasn’t until 2015 that he decided to revive his forgotten hobby during a time when he was changing a lot of aspects of his life. He started by contacting some local models in his home town of Cologne who were starting out and did his first shoot in April 2015.

After he finally had the courage to publish his pictures on Facebook and Instagram, the feedback of the community was incredibly overwhelming and his social streams grew fast. He originally shared his work without any big expectations, but photography is now a huge part of his life and even a mentionable source of income. One year on, he is still astonished by the progress he has made.

Lennart, where do you currently live?

I’m studying and living in Aachen, which is quite close to my hometown Cologne.

What genre of photography do you specialize in?

My favourite genre is a mixture of portrait and lifestyle pictures, I also love photographing travel-documentaries.

Describe your style of photography?

I love capturing moments instead of constructed setups. I don’t need a perfectly posed model, what I need is an authentic person in front of my camera and a vivid background. I love placing people in interesting environments. As I almost always shoot at 35mm and f 1.4, the background plays a big role in my pictures.

Someone once told me that I should capture moments, but how you feel them, not how you see them. I like that description.

What are you working on at the moment?

I recently photographed a summer campaign for a German watch-producer and I am still in post-production with those images.

What is your next project or assignment?

This summer is going to be all about travelling for me. I want to go to Asia and travel around without any distractions. My camera of course will always be with me. I hope to create a nice travel documentary and maybe be able to do some shoots with local models.

Are there any photographers whose work/style you admire?

I don’t really have one or two favourite photographers. I like so many styles and many photographers. At the same time I don’t even think I know most of the important photographers that you really should know if photography is your passion… For me, names are not that important. If I like a picture, I like it no matter who took it – not the other way round.

What is your favourite memory from your experiences?

Last year I went on a road trip through Portugal with my friend André Josselin, who is also a photographer and one of my biggest inspirations. The days were so magical. We were a perfect small group of people that, although we didn’t really know each other before, became very close and had a wonderful time.

You can view my photos here.

What’s the biggest photographic challenge you overcame?

Shooting a summer campaign at 4°C with a windy sea and trying to make it look like 30°C.

What’s in your camera bag?

I shoot with a Canon EOS 5D Mark III.

I also have several lenses (24-70mm, 70-200mm, 15mm, 35mm, 50mm, 85mm), but more than 90% of my pictures are shot with my favourite lens – the Sigma 35mm 1.4 ART. Whenever I take my other lenses with me for a job, they usually stay in the bag!

What photographic equipment would you never leave home without?

That would be of course my favourite combination, my Canon EOS 5D MK III and 35mm 1.4 lens.

What advice you would give anyone who is starting out?

As I still see myself as a newcomer, I don’t really feel comfortable giving big courage or advice speeches. What I have learned in the last year is a well said phrase; “Do your thing!”

I regret that I didn’t revive my passion for photography earlier. Just grabbing the camera and capturing these special moments that I love, gives me so much that I can’t really believe how I could have lived without it for such a long time. If your friends don’t get your passion, don’t let them hold you back. Look for people who share your passion and exchange with them – that is the best source of inspiration and support.

Any pitfalls they should avoid?

Don’t pay too much attention to social media numbers. Likes, followers and so on, don’t mean anything. They’re just numbers, plain and simple. The social media photography communities are a great source of inspiration and exchange, but in the long run it is all a big bubble that you should leave every now and then to focus on yourself.

Lastly, if you weren’t a photographer what would you be doing?

Right now I’m still doing my masters degree in industrial engineering. As my photography ‘career’ is getting more and more serious, I don’t really know where and at what point I’m going to be in one or two years time. But as I am an opportunist, I’m really excited about the years to come and look forward to my next challenges.

To view more of Lennart’s work or get in contact with him visit his website.

Interview by Kav Dadfar

What You’ll Need

The Most Important Item

A Camera

A Lens

Finishing Up

Aperture and the Dreaded F-Number

What is Aperture?

F-Numbers

Aperture and Depth of Field

Aperture and Shutter Speed

Final Thoughts on Aperture

Monochrome and the Film Difference

Is Color Necessary?

Some Closing Thoughts…

Applying Presets on Import

Develop Presets and Camera Calibration

Copyright and Metadata

Some Final Thoughts….

Obsessing with the Technical

Burnout

Self-Doubt

Final Thoughts….

Communicating Texture

The Effects of Light

Using Depth of Field

Final Thoughts on Texture…

Minor White and Infrared

IR Photography in the Digital Age

A Final Word About Minor White and Infrared Photography

Build Quality

Optical Performance

Final Thoughts….

Pros:

Cons:

#1: Direct Histogram Adjustments

#2 Visualizing Spots in Clone/Heal Mode

#3 Sharpening Mask

#4 Developing Video

#5 Custom Name Plate

Final Thoughts…

You’re not shooting enough

You’ve become complacent

Not recognizing there’s a problem

In closing….

Use a Tripod

Make Use of the 600 Rule

600/focal length of lens = Maximum Shutter Time in Seconds

Include Interesting Elements

Use a Remote Shutter Release or Timer

Closing thoughts….

Basic Lens Anatomy

Basic Lens Terminology

And always remember….

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