Be More Detailed Oriented

     Obviously, things like exposure and basic composition are very important in photography. But the little details in a photograph that are less obvious can also make or break a picture. Training the eye to spot those little details in camera while taking the photos instead of when looking back at them a few days later is a vital skill that can take a lot of time and effort to achieve. But when it is attained, it can make your photographs more mature (Peterson 220).

     Little details can be things like a distraction in the background, a slightly tilted horizon line, the subject blocking something in the background, and so on. It's important that photographers have an eye that will "pick up places where just a minor shift may lead to a major and positive change in the photograph's overall appeal" (Peterson 219). In the first image on the left, the horizon line wasn't quite straight. In the second image, the horizon line is rotated a tiny bit so that the whole composition looks straighter and more even.

     Another example of small yet important details are in these two photographs of snowflakes. In the first image, the snowflake is composed on the reflection of the cloudy sky, which doesn't provide a lot of contrast for the snowflake's detail to show up. In next image, I shifted the camera over slightly so that the snowflake would be on the reflection of the tree, which made the snowflake's detail sharper. I also used a vertical composition because it cut out the partial tree on the left, which was a distraction.

What other small changes can be made to a photograph that create a big impact? Let me know in the comments below!

Snowflakes up close and personal :)

It Was Framed!

     When people hang pictures on a wall, more often than not, they will use a frame. But what if photographers can frame their subjects in a photo? Could that be used in place of a frame on the wall? 

     Maybe not, but the technique of framing is still valuable in photography. It can enhance and draw attention to the subject. However, it's important that the frame won't be a distraction (Peterson 206). Basically, the frame should be simple enough that the subject is what the viewer's eye is drawn to.

The flames of the fire in this image draw
attention to the hot coal by surrounding it.

      Framing doesn't have to be so obvious either. Sometimes it can be more subtle, like a suggestion of a frame rather than a clearly cut out one. Doing this "is one of the simplest ways to create both depth and perspective in a composition" (Peterson 205). I used a large aperture and the snow on a fence to create this photo of a snowy swimming pool.

The out of focus snow in the foreground "hides" the swimming
pool, which creates an image that feels more private.

What other kinds of frames can you think of to include in your photography? Let me know in the comments!

An extra picture that shows the difference between a
subject that's framed and one that's not :)

Things Aren't Always Clear

     In everyday life, clarity is something that's emphasized. This is especially true in photography. Most of the time, photographers will look at a photo that is blurry and immediately toss it out. Usually, this is the right choice, but sometimes blur can make a photograph more artistic. Today I will be exploring and embracing blur in my photography.

     One way to capture motion is by using blur. Using "a slow shutter speed... we get a blurry, sweeping, brushstroke effect and a much more active image" (Peterson 268). To experiment with this idea, I moved my camera in the same direction as my brother while he jumped off of a swing. This made his hands in focus, while everything else is blurry and out of focus.

Since everything except his hands are blurred,
there is a sense of motion in this image.

     Using blur can also be a way to show creative expression (Peterson 268). In the image below, I set my camera to a slow shutter speed of 2.5 seconds to create light trails. This is tells more of a story than taking photos of the lights without moving the camera. 

The arches in this image seem to be drawing you in
closer to the depths of the photograph.

Do you think blur can be artistic? Will you try to use it in your photography? Let me know in the comments!

Blur in everyday life :)

Peterson, Bryan. Bryan Peterson's Understanding Composition Field Guide. New York: Amphoto, 2012. Print.

Looking Through the Eyes of a Painter

     If I had to name one thing that can make the difference between a mediocre photograph and a great one, it would be the background. A subject awkwardly placed in front of the background, clutter, and too much going on can all make the photograph confusing, which makes people not want to look at the image. 

     This can be avoided by learning to see what Bryan Peterson calls the empty canvas. In the same way a painter starts with a blank slate, photographers should look for the blank canvas before taking a picture (Peterson 82). This means that paying attention to the background and placing the subject with consideration of the background should be a priority.

     For my first attempt at photographing a blank canvas, I used a strand of Christmas lights against the sky, because "on sunny days you can always turn your attention to the empty canvas of the... blue sky above, and shoot any number of subjects against it" (Peterson 83). The sky on the right creates a clean background for the lights.

The diagonal line the lights create between the sky 
and the roof adds to the strength of the composition.

     But blank canvases don't have to be so generic. Anything can be an empty canvas if the photo is composed correctly. In this image I used a person's hand as the empty background and a small teacup as the subject. This created a simple yet compelling photograph.

A hand worked as the blank canvas because it didn't
cause any distractions from the subject.

What else can be used as a blank canvas? Do you agree that the background is just as important as the subject? Let me know in the comments!

Bonus picture of using the ground as a blank canvas :)

Peterson, Bryan. Bryan Peterson's Understanding Composition Field Guide. New York: Amphoto, 2012. Print.

What the F(Stop)

What is an F-Stop?

An F-Stop is also known as the aperture of a camera. This is the size of the opening in a camera when taking a picture, and usually ranges anywhere from  f/1.4 to f/36, with the larger the number the smaller the opening. Cameras usually come stock with a lens around f/3.6, and any lens below that cost more money, the lower the aperture the more money the lens generally costs. Having a lower F-Stop, thus a larger opening, allows more control over the depth of field of the picture and allows pictures to have a shallower depth compared to higher F-Stop lenses.

Basically, it means you can focus on something up close with the background all blurry, which can be very beneficial depending on how you use it. This is why it is very desirable for aspiring photographers (and professionals), because it can allow you to create greater quality pictures and can also broaden the limits the restrict you with a higher F-Stop lens

Recently, I purchased my own 50mm F/1.8 lens, which I believe has been very beneficial to me and has allowed me to create a lot of work that I previously could not. I believe that anyone could improve their photo skills with the simple purchase of a low F-Stop lens. The fact that lenses can be pricey is one of the main things preventing many photographers from going beyond what they believe they can do. The highly recommend to any aspiring photographer to save up and get out of their comfort zone, which many are scared of doing but it can also create very nice and surprising things. The book Art and Fear, by David Bayles and Ted Orland, often talks about the things that prevent people from reaching their full potential when it comes to any form of art. They say that "the dilemma every artist confronts, again and again, is when to stick with familiar tools and materials, and when to reach out and embrace those that offer new possibilities." This means that every artist at some point in their career has the moral issue of when to reach out and explore new things with new equipment, and when to stick with what has been working for you. I believe that it would be very beneficial for people to try new things and get out of their comfort zone, because most of the time you learn things about yourself and may in fact surprise yourself and produce work better than what you used to make.

You Need a Contrast Filter

     I've always been drawn to cameras and photography, but it was only two and a half years ago that it really became a hobby. Since then I've learned how to use manual mode, read a ridiculous number of photography books, taken a Photo 1 class, signed up for a Photo 2 class, and had one of my photographs on the Seattle Times website. Now, I want to take my photography to the next level and make meaningful and deliberate compositions.
    
     For a long time, contrast was never something I looked for when taking pictures. If I took a photo with good contrast, it was always a happy accident instead of a conscious choice. That's why I decided to focus on creating contrast in my first blog post.

     To create contrast in this photo, I used one red apple in a basket of green apples. Since red and green are complimentary colors, the green apples made the red apple stand out. Most of the time, the eye is drawn to the part of the photo with the most contrast. Then it's assumed that that area is the subject of the image, which is correct (Peterson, 130).

Without the red apple, this image would have very little contrast,
which would make it a sub-par photograph.

     Next, I used a single red leaf in a completely green composition, because "the use of a dominant color or tone is a great way to exaggerate the main subject" (Peterson, 142). By using green fabric and green apples, the one red leaf was the only spot where the color changed, so naturally our eyes go to that point first.

The contrasting color of the leaf against the other parts
of the photo make the image more interesting.

     Another way this photograph has contrast is in the distinct textures in the composition. The apples are smooth, while the leaf has jagged edges. This difference draws attention to the leaf.

     Do you think contrast a vital part of photography, or is it better to focus on other aspects in your pictures? Is color or texture contrast more important? Let me know in the comments below!

And here's a bonus picture,
just for fun :)

Peterson, Bryan. Bryan Peterson's Understanding Composition Field Guide. New York: Amphoto, 2012. Print.