3 Exciting Ways To Use Wide Angle Camera Lenses To Capture The Adventure Of Life

Leave a comment March 24, 2021 teachesphoto

My favorite lens is my 24mm-70mm f2.8 Canon Zoom Lens. I use it to create a vast majority of my images and often shoot at either end of its zoom range. It’s my “walking around” lens and the most versatile lens that I own. I tend to keep it set on a wide angle setting which I use more often than the longer focal lengths. Wide angle images are just more fun.

Vineyard photographed with a 24mm wide angle lens at sunrise.

I work with full-chip bodies, meaning the sensor is the same size as original 35mm film, and a normal focal length lens on my camera is 50mm. This covers the same angle of view as human vision and anything with a wider angle of view is considered a wide angle lens. If you shoot a small-chip body, a normal lens is more like 38mm and anything wider is a wide angle lens.

Scenic 24mm wide angle lens image of Monte Alban Archeological Zone near Oaxaca, Mexico, during a storm.

OK. That gets rid of the technical definitions.

Personally, I don’t care about the technology. Everything in photography seems like magic to me. I only care that my equipment gives me the results that I visualized before hitting the shutter button. 

Vista of Landscape Arch in Arches National Park, Utah, using a 28mm wide angle lens.

Wide angle lenses do just what their name implies—they capture a wider angle of view than we can see without moving our head. The only part of this that captures my attention is how can that unique ability of the lens help me to create images with impact and a meaningful storyline? That’s all that matters, right? Let’s see what we can do.

You can break wide angle images down into 3 broad categories with the first being the most obvious—the sweeping scenic. 

28mm wide angle lens view of Badwater and the Panamint Range at sunrise, Death Valley National Park, California

Broad natural vistas such as National Park Viewing Points make beautiful wide angle images. The park terrain and features are dramatic and a wide angle zoom lens allows us to capture as much of the vista as we want. Add in great lighting or weather events and you have a great image. The same can be said for city views or even cloud patterns or lightning storms. This is often the first subject photographer’s capture using a wide angle lens.

28mmn wide angle lens is used to capture Island In The Sky mesa at sunset, Canyonlands National Park, Utah

Because wide angle lenses have “built in” depth of field and most objects are distant in a scenic, it isn’t necessary to stop down very far to get everything in focus. This is another advantage of these lenses.

Scenics, however, are only the tip of the iceberg when it comes to wide angle images.

A wide angle lens makes it possible to shoot inside of a hot air balloon.

Shooting in either a tight space, such as inside a hot air balloon, or in a situation where you can’t back up, such as a church plaza in a city in Mexico, often calls for a wide angle lens. This situation is especially common in architecture where it is often necessary to stop down your aperture further to get greater depth of field to keep everything sharp. 

Photographing a church plaza in Guanajuato, Mexico with a wide angle lens.

Another consideration is convergence. If you can keep your camera lens horizontal, vertical lines run straight up and down, but if you have to tilt your lens up slightly to capture the tops of buildings, vertical lines will converge. 

If this leaning in of buildings is too extreme, then it feels like the buildings are going to fall in on the viewer. Unless that is the effect you want, going to a wider focal length with its wider angle of view and stepping back a ways allows you to lower your lens into a more horizontal position reducing the effect of convergence. Conversely, if I am shooting down on a structure, like a huge multi-storied shopping mall in China, vertical lines will spread apart or diverge.

Shooting down on a mall with a wide angle lens in Guangzhou, China, creates divergence.

My favorite use of a wide angle lens involves the distortion properties of that type of lens. This is where a wide angle is really fun!

Forced perspective view of steam engines at Golden Spike National Historic Site is created with a 28mm lens.

Forced perspective creates the illusion that a viewer can just about reach out and touch the foreground subject. This is especially effective in landscape photography, where desert wildflowers become huge in the foreground, or architecture, where the nearest structure becomes monumental relative to the rest of the scene. 

24mm image of dune primrose in desert.

Forced Perspective is a powerful storytelling tool that I use often for impact and content.

Depth of field has a big impact in this kind of image. It is critical to pick the proper point of focus and stop down all the way to get maximum depth of field. Everything should be sharp, but especially the foreground subject. By exaggerating the wide angle distortion, you are telling a viewer that the foreground is the most important part of the image. Make sure you pick a dramatic foreground structure to support this effect. 

Victorian front porches are captured with a 24mm wide angle lens positioned horizontally creating parallel vertical lines.

Practically every camera out there comes with a wide angle to short telephoto zoom lens. The wide angle range is much more than a tool to capture wide open spaces. Use it to create a sense of great depth or produce an image with a dramatic foreground. Work with the distortion and pump up the impact of your images. That is why wide angle lenses are fun, and in my view fun is the whole point of photography.

Try it out! 

Shallow Depth Of Field—Photography’s Most Powerful Technique

Leave a comment October 22, 2020 teachesphoto

Text and Photos by Chuck Place

It has always seemed ironic to me that, as a professional photographer, the technique I use most often is something I can not see with my own eyes. Shallow depth of field is a product of camera optics and I can only “see” it as I previsualize an image and on the back of my camera, of course, after I shoot.

Powwow dancer photographed with shallow depth of field

Shallow depth of field is such a powerful effect that I carry my camera with the lens set to f2.8, no matter what focal length lens I have mounted on my camera. I can always stop down the aperture for more depth of field if I need it—see my previous post—but most of the subjects I like to photograph appear best with shallow depth of field. People, food, flowers, wine—they all “pop” with shallow depth of field. 

Let’s start with “Why” we would use shallow depth of field and then get to the “How To”.

Shallow depth of field separates a vendor from the background of a busy Farmers Market

Shallow depth of field is used to separate our main subject from the background and sometimes even from the foreground. This sharply defined subject forces our viewers to focus on our main subject first and understand that the softly focused environment is secondary in importance to our main subject. It helps create a visual storyline, something I strive to create in all my images. 

If everything in the frame is sharp due to great depth of field, as in a landscape, a viewer tends to wander around the image visually and decides for themselves what is important and what isn’t. Leading lines and forced perspective can guide the viewer to some extent, but the photographer is telling their viewers that everything in the frame has equal importance. 

It all depends on your storyline!

Very shallow depth of field portrait of a young kitten sleeping on a chair

The first step in creating shallow depth of field is setting your lens to a wide aperture or f-stop. F2.8 to f4 or so will do the job and because these settings let in lots of light, a fast shutter speed is often necessary for a proper exposure. This is a bonus when photographing people, wildlife or sports.  

Snowy egrets photographed with a 300mm lens at f2.8

Shooting a longer focal length lens also help soften the background behind your subject. The longer the lens, the softer the background becomes. Keep in mind that wide angle lenses have built in depth of field and it is pretty tough to do a wide angle shot with shallow depth of field, even with your aperture wide open.

Orchids photographed with a 100mm macro lens at f2.8

The last step is rather counter-intuitive but makes sense if you think it through. Move closer to your subject. As the camera to subject distance gets shorter, the camera to background distance becomes relatively greater and the background becomes softer. Try it and see. Keep in mind the focal length should remain the same and because of that you will need to crop tighter on your subject as you move closer.

Roasted chicken photographed with very shallow depth of field to separate it from the background dish

There you have it. For sharp subjects with soft, buttery backgrounds, open your aperture wide, shoot with a longer focal length lens and move closer to your subject. 

Whether you are photographing people portraits at a busy Farmer’s Market, creating the perfect image of a margarita in a crowded restaurant or capturing an intimate moment with the kitten your kids just brought home, shallow depth of field pulls your main subject out of the background with great visual  impact.  

Don’t you wish your own eyes could work that way? Give it time. They will.

Camera Sensor Size And Effective Lens Focal Lengths

Leave a comment September 22, 2020 teachesphoto

Text and Images by Chuck Place

Recently I gave one of my photography classes a lecture on lens focal lengths—their strengths, weaknesses and their creative potential. Because I listed the focal length of the lens used to create each image on a full chip camera body in our presentation, I reminded everyone that the effective focal length of a lens can change with the size of the sensor in their camera, as we had discussed in our first class a couple weeks before. 

One of the great failings of on-line classes, in my view, is that I can’t see a wave of confusion sweep over my class when I make a statement like that.

An email arrived the next day asking for more information on effective focal lengths. I realized I needed to cover the subject in greater detail and felt a new post on my photography blog was the best solution.

Most 35mm cameras contain one of two sensor sizes. Full frame, or full chip, camera bodies contain sensors the same size as 35mm film—24x36mm. Most small chip cameras from Canon, Nikon and Sony come equipped with sensors that are roughly 15x23mm with a crop factor, or magnification factor, of about 1.5X. 

Let’s look at an example of how effective focal length works. 

A 50mm lens mounted on a full frame camera is considered a “normal” lens because it’s angle of view is similar to that of the human eye. A normal lens is also the dividing point between wide angle and telephoto lenses. If we mount that 50mm lens on a small chip body with a crop factor of 1.5X, it is still a 50mm lens, but the angle of view is narrowed by the smaller sensor, effectively creating the equivalent angle of view of a 75mm lens, a short telephoto, on a full frame body. 

50mm X 1.5 = 75mm

If we take that 50mm lens and multiply it by .66, or 2/3, we get the focal length lens that will give us a similar angle of view on a small chip body, roughly 33-35mm. That would be a normal lens and the dividing line between wide angle and telephoto lenses for a small chip body with a crop factor of 1.5X. Essentially every lens focal length gets longer when mounted on a small chip body due to the cropping effect of the smaller sensor.

Knowing how to convert lens focal lengths is useful if you shoot both a full chip body and a small chip body, although most photographers shoot one or the other. It is also useful to be able to equate a lens with a similar angle of view on a small chip body during a lecture like mine where focal lengths are given for a full chip body.

But in any case, we all get used to using certain lens focal lengths for particular effects and subjects. We don’t need to do conversions in the field as long as we stay with one sensor size in our camera bodies and start to anticipate  the way our camera sees the world. 

To avoid future confusion, I think I’ll change the labels on my presentation PowerPoint slides to wide angle, normal and telephoto lenses and get rid of the actual focal lengths.  Simpler.

RAW Files vs JPEG–Photography’s Format Battle

Leave a comment April 14, 2020 teachesphoto

RAW file versus JPEG? Which is the best image format? Well, I have found that it really depends on a number of variables. They both have their strengths and weaknesses. Let’s take a look at both.

Original unprocessed RAW file of image above exposed for maximum data capture

Do you want large prints of your work to hang over the living room couch? Starting with a RAW file and creating a derivative high-res TIFF file will give you the best quality prints.

RAW files capture the maximum amount of raw data that reaches your camera’s chip. Although RAW files are slightly compressed during capture, RAW files use lossless compression so no data is lost. You can’t print directly from a RAW file or post it on the web. They are large files and must be used to create derivative files such as high-res TIFFs for printing or low-res JPEGs for the web.

RAW files provide maximum data for producing large prints

Did you get some great shots of your daughter’s soccer game over the weekend and want to post them to the family Facebook page? JPEGs are the format you want for anything on the web.

JPEG files are also compressed during capture, but the process uses lossy compression. Due to a greater amount of compression, JPEG files are much smaller than RAW files, which is critical for any image posted to the internet. These small files load quickly on the web, but do not have the amount of image information that a RAW file imparts to a high-res TIFF. In addition, image data is lost each time you save a JPEG due to the compression process, so a high-res TIFF is a better choice if you plan to retouch or manipulate an image to any degree.

RAW file of fitness studio processed for edgy, desaturated look

Most cameras come set from the manufacturer for JPEG capture.

This is fine if you don’t do any processing of your image files or if you shoot strictly for your social media, website or blog. These files will also work well for prints in the 11×14 range or smaller. You can go into your camera menu and set the JPEG quality for high, which gives you a better quality file with less compression, and you can adjust the degree of saturation as well. A camera can also capture JPEG files faster than RAW files, making this a good format choice for sports or wildlife photographers working with motion and high-speed motor drives.

JPEG files would be a better format for high-speed capture of the action in a sailboat race

If you have started processing your files in Lightroom or Photoshop, however, shooting RAW files is a much better choice.

The depth of information in a RAW file makes it possible to alter the basic image in a wide range of directions without the image breaking down. RAW files have so much information that you can push those pixels all over the place.

The RAW file on the left and the JPEG on the right, shot at the same time, are quite similar

If you are just starting to learn how to process your images for greater impact, but you still feel more comfortable with JPEGs, open your camera menu and set your camera to capture both JPEG and RAW files for each image. This gives you a finished JPEG to use immediately and a RAW file to process into an image that has your stamp on it. If you are serious about image quality and don’t need to capture multiple images quickly, set your camera to RAW format. You can then create JPEG or TIFF files on demand, depending on the planned use of each image.

Maybe you want a unique “look” to define your style.

This is quite common among portrait or food photographers. Much of their distinctive “look” is created in post-production. Some photographers even sell groups of presets for use with Adobe Lightroom and Photoshop that create certain contrast and toning effects. All of this requires image files that have large amounts of data—a RAW file.

Normally processed RAW file of risotto balls on the left and cooler version using a preset on the right

In many ways, Ansel Adams started this trend with his Zone System. It was essentially a system used to manipulate black and white images. Imagine what he would think of being able to process RAW files in Lightroom or Photoshop? I’m sure he would be fascinated to see the variety of images that can be produced from a single RAW File—essentially a digital negative.

If you are interested in learning more about RAW files, processing in Adobe Ligfhtroom and a whole lot more, please join my free Santa Barbara City College Non-Credit Classes “Digital Cameras Digital Photos” starting May 22 and July 8. This is an online class using Zoom for teleconferencing. These classes are a great way to take your photography to the next level while still sheltering in place. It’s a great use of all this down time and you will have new photography skills to try out when we are done with this virus. Hope to see you online this summer.

Stunning Architecture Photography In Black And White

Leave a comment February 12, 2020 teachesphoto

Text and Photos by Chuck Place©

Architecture is one of those photographic subjects that cries out to be captured in black and white. Composed of shapes, texture and light with little inherent color, architectural images often turn quite dramatic when color is stripped away.

Black and White photograph of Walt Disney Concert Hall at dusk

It’s almost as if the building’s soul is revealed when photographed in black and white.

The choices I make in processing architecture images into b&w are highly subjective, of course. For black and white architecture images, I prefer more contrast than in my landscape images and more emphasis on texture than in my tight portraits.

I’m not trying to sell real estate. I’m selling drama and impact.

The inherent sculptural quality of a structure is what I am actually trying to illustrate. Sometime approaching a building as an abstract object can be interesting, as in the case of Southwest and Pueblo adobe buildings. The texture of the adobe (see above) is as important as defining the massive planes of this traditional style of architecture.

Black and White photograph the church at Rancho de Taos, New Mexico

At the other end of the scale are sleek, modern buildings like the abstract Walt Disney Concert Hall, especially fun while shooting with a Lensbaby, which is designed to distort reality.

Black and white photograph of abstract building detail using a Lensbaby

Often, details of a structure can tell the viewer as much about a building as an overview.

I find this especially true in the case of older styles of architecture, like Victorian, and buildings from other cultures like China. Details can be interesting just because we often tend not to focus on them when visiting a site.

Black and white photograph of the details of a Victorian church

Black and white photograph of traditional Chinese architecture

Whether your favored architectural subject is a lonely church out in the middle of the Western plains or a busy multi-storied mall with levels that look like the ribs of a gigantic creature, converting your color architecture image to black and white will visually pare the subject down to its elemental components and reveal the true personality of a building.

Black and white photograph of solitary church in the West

Photographing a piece of architecture in black and white is rather like creating an insightful portrait of a person, only it doesn’t fidget as much.

Black and white photograph of a modern shopping mall

Check out  Black and White Photography Conversions and  Black and White People Photography on this site and for more photo classes, check out my Spring 2020 class schedules in the Non-Credit Program at Santa Barbara City College. Thanks.

Chuck Place

Black & White Photography–The Journey Continues

1 Comment January 20, 2020 teachesphoto

Text and Photography by Chuck Place©

I am continuing my quest to learn black and white photography through the process of converting a number of my color images to b&w. If you didn’t see my last post converting landscapes to black and white, jump back there and take a look.

Each photographic subject, whether sand dunes or deep forest, has presented its own unique challenges. I have been especially struck by the amount of burning and dodging that was necessary for images that look quite good in color.

Black and white of oaks in fog

It has also been a challenge deciding how much contrast I want, especially in the details. I like some velvety blacks in my images, but it is easy to go too far with contrast—almost like too much saturation in color images.

Let’s see how black and white conversions work with images of people.

My first portrait conversion was almost monochromatic to start with. While teaching lighting at a design school in China, I used the schools lighting kit—two fluorescent lights with umbrellas—to demo beauty lighting. These were tight head and shoulder portraits and I was going for a clean, graphic look.

Black and white portrait of student in China

I chose a student from the first row as a model and had her position her hands to help frame her face. The images looked pretty good, but I wanted a little more impact so I had her close her eyes.

The twin arcs of her dark eyelashes on her pale cheeks worked well and seemed to be a natural for black and white conversion. Using the HSL slider, I darkened her sweater and lightened her skin. The last step was pushing the Clarity Slider to -15, giving her skin a soft glow. Ridding this portrait of color seems to have created a more dramatic yet serene image.

Black and white portrait of server in Avila Beach

Tight head and shoulder portraits seemed to convert well, but what about environmental portraits with all their location details? This, I found, was similar to converting a forest scene. Detail contrast was critical and some of the presets in the Develop Module proved useful shortcuts.

Black and white portrait of a farmer

Subtle vignetting using the Radial Filter helped focus the viewer’s attention but a fair amount of burning and dodging was still necessary, just as it was in the landscapes.

The one thing that changed drastically from the tight portraits was the Clarity Slider. A slight negative Clarity setting smoothed out skin texture, but with less skin and more detail in the environmental portraits, I defaulted to my usual Clarity setting of plus twenty or so.

Black and white of hostess in a wine tasting room in Los Olivos

My “street photography” is often busy restaurant interiors, like the image at the top of this post, shot in the venerable Paradise Café.

Converting this image to black & white seems to pump up the energy of the scene, stripping away the soft mood of warm afternoon light and replacing it with pure vibrance and hard-edged light.

Black and white of an Old West town

I’m starting to actually see the possibilities in a color image before I convert it. Decisions on the processing steps are getting a little more intuitive and the particular “style” of black & white that I personally prefer is also coming into sharper focus.

Black and white of an apple farmer in the Santa Ynez Valley

I’m getting a terrible urge to start printing some of these images, but I know my eye for black & white needs to develop further. A box of archival matte paper is already on my shopping list along with extra black ink cartridges, just in case my willpower fails.

If you are making this exciting journey to black & white along with me, let me know how you are progressing. This is turning out to be quite challenging but also a lot of fun.

For a listing of my tuition-free Spring 2020 Non-Credit classes at Santa Barbara City College, please click here.

A Color Photographer’s Conversion To B&W

2 Comments December 17, 2019 teachesphoto

Text & Photography by Chuck Place©

I have been a photographer for over 40 years and recently have developed a real interest in black & white photography.

Like all photography, it’s a journey and I am inviting all of you to join me in exploring the medium of black and white.

In order to pre-visualize in black and white, I realized that I need to learn b&w processing. I will be doing most of my black and white conversions in Adobe  Lightroom. It is my primary post-production tool for color images and works quite well in b&w. I also have a b&w plug-in for Lightroom called Silver Efex Pro 2. By now I’m sure there is a newer version of Silver Efex, but I’m using what I have.

I will continue to shoot in RAW and convert the color image. When color is stripped out of an image, b&w photographs are all about shapes, contrast and texture. I especially notice the increased impact of texture and contrast without the “distraction” of color. It’s almost as if you can feel the texture of surfaces.

In the B & W Panel, I used the Adjustment Point Tool. The warm orange tone of the face of these dunes in Death Valley National Park was selected and lightened.

Along those lines, I first started converting color landscape images. I started with sand dunes, just like pretty much every landscape photographer in the Western U.S. These dune images become quite graphic and even more sensuous in b&w than color.

Although there are several different ways to approach black and white conversion in Adobe Lightroom, I found a 4-step workflow that gives me lots of choices but can be quite simple if I choose to go that way.

First, make a virtual copy of the original color file. Command ‘ is the shortcut or go to Photo in the toolbar at the top of the screen and scroll down to “Create Virtual Copy”. This keeps the original color image visible which will soon become useful in adjusting the luminance of certain areas. Click on the Develop module and under “Basic” on the upper right, click on “Black & White”.  This gives you a basic b&w version of your color original. You can stop right there if you are happy with the results.

This moody landscape from Redwood National Park easily converted to a b&w image. I increased the contrast a little for texture and lightened the foggy area slightly with the Adjustment Brush. Easy.

My second step is usually to make local adjustments to areas of the image I want lighter or darker using either the Adjustment Brush or the Graduated Filter in the top panel on the right side of the image window. I can also make a more detailed selection by using the B & W Panel, also on the right. Click on the Adjustment Point Tool in the upper left of this panel and drag your cursor across an area of the image that you would like to darken or lighten. The cursor selects the original color of the area and you can use the sliders to change the luminosity of the selected area. https://www.slrlounge.com/understanding-each-section-in-the-hslcolorbw-panel-in-lightroom-4/

In the B & W Panel, I used the Adjustment Point Tool. The warm orange tone of the face of these dunes was selected and lightened.

The next step I try is a shortcut of sorts. I see how my image looks using one of the Presets located in Lightroom. There are quite a few. I also check out the Presets in Silver Efex Pro. In either case, a preset allows me to get close to how I want the finished image to look. https://nikcollection.dxo.com/silver-efex-pro/

One of the B&W Presets in Lightroom was chosen to bring out the texture in these sandstone cliffs in Canyonlands National Park.

Lastly, I’ll fine tune contrast using the Shadow and Highlight sliders in Lightroom’s Basic Panel and dodge and burn specific areas with the Adjustment Brush. https://www.youtube.com/watch?v=qGUKd_FV-y8

It actually takes longer to read this than to perform the 4 steps necessary to produce a successful black and white image. In many ways it reflects the traditional steps of shooting a b&w negative and making a final print. Less messy but very similar.

As I convert existing color images to black and white, I am also getting a feel for what works well in b&w and what doesn’t.

As Ansel Adams commented, “The single most important component of a camera is the twelve inches behind it”.

I’m working on that twelve inches and pretty soon I may actually start pre-visualizing in black and white. That’s my goal at least.

Check out my upcoming classes this Spring at https://www.chuckplacephotography.com/Workshop&Classes/Classes/

 

3 Photographic Techniques For Creating Beautiful Direct Sunlight Portraits

Leave a comment September 17, 2019 teachesphoto

Text and Photos by Chuck Place

One of the most challenging lighting environments a photographer will face is creating portraits in direct sunlight. This light source has a strong specular quality that produces harsh shadows and strong highlights. The contrast range is often greater than your camera can capture and the portrait is anything but flattering. There are, however, several techniques that allow you to modify the sun’s light to create beautiful portraits with softly diffused, directional light.

Don’t settle for bad lighting—modify it.

The most commonly used, and easiest solution, is to shoot your portrait early or late in the day. Sunlight is softer at those times with a rich, warm color temperature and a definite direction—perfect for portraits. Early and late sunlight creates drama in a portrait that adds an extra layer of emotion to any image.

Late in the day sidelight with a warm photographic reflector

For many years National Geographic Magazine has used this technique to set their photography apart from other publications.

Direct afternoon sunlight with a small photographic diffuser panel

The second technique is used while side lighting your subject during the day, but modifying the light with a diffusion panel. Diffusion panels come in a wide range of sizes, from big “silks” large enough to light a car to small, folding models that can be carried in a camera bag all the time. I myself carry a diffusion panel and a reflector on my camera bag, each of which is 8 inches across when folded and opens to 23 inches wide.  They essentially weigh nothing.

Diffusion panels are placed between the sun and your model and the larger the panel, the softer the light.

I have also found that the closer to the subject I place the diffuser, the softer the light becomes. Diffused light tends to fill in shadows and wrap around a subject, creating smoother looking skin. A bonus in portraiture!

Afternoon backlighting with a large photographic reflector

A reflector or flash fill can also be used to control the contrast of direct sunlight, but I personally prefer the look created by a large reflector. By moving the reflector, I can easily shape the light on my subject and create a strong three-dimensional feel in the image.

Heavy backlight with a photographic reflector to help fill in the shadows

The final technique is one of my favorites—back lighting. Often when I photograph portraits in bright sunlight, I position my subject so that the sun is behind them and I expose for the shadow side of their face.

Heavily backlit subjects are exposed for the shadow side of their faces

This approach has several advantages when shooting in direct sunlight.

Backlit subject with a photographic reflector

The first is contrast control. The shadow side of your model, as well as everything else in your image, is the same exposure. Backlighting also produces a bit of a bright halo around your subject, helping to separate them from the background. Your subject can also keep their eyes wide open. There is no squinting when your model has their back to the sun. Lastly, as you adjust your exposure for the model’s shaded side, the background becomes brighter relative to the subject. This gives your image a bit of a high key feel, especially with a shallow depth of field.

Admittedly, avoiding lens flare and dialing in the proper exposure is a little trickier than front lighting. You can find an earlier post on that subject at

With just these 3 techniques, you can create beautiful, striking portraits out in direct sunlight. Mastering some simple equipment and positioning your model properly can lead to startling results. Control the light and then connect with your model. A portrait is, after all, a partnership between you and your subject. Have fun. That will always show in the final portrait.

Fill The Frame For Greater Visual Impact

Leave a comment August 29, 2019 teachesphoto

Text and Photography by Chuck Place

Famous war photographer Robert Capa once said, “If your photographs aren’t good enough, you’re not close enough.” I came across that quote early in my career and soon realized the truth of that statement.

Snowy mountain peak cropped tight with long lens.

Adapting that approach to my own work, I have found that to increase impact, crop tighter.

Original beach sunset before cropping.

Sounds simple, right? But what about all that other stuff you want to keep in the frame? Do you really need all that? Does it make your message stronger? Sometimes less is actually more, as they say.

Cropped beach sunset for greater impact.

Often, I find my students loosely cropping an image. When asked why, I find they aren’t totally sure what constitutes the main subject. Another famous photo quote, this one by Ansel Adams, is “There is nothing worse than a sharp image of a fuzzy concept.”

Farmers Market vendor with lots of produce.

The first step in creating any image is knowing what you want to say about a subject or location. Be clear in your own mind what is important and what is secondary. Then make it clear to your viewer by cropping out most of the secondary material.

Farmers Market vendor cropped tight in camera.

Cropping tight and filling the frame increases the impact of your image and makes it easy for your audience to “read” your message about the location or subject.

Chinese tourist films Forbidden City in Beijing, China

Don’t get me wrong. Sometimes the environment around a subject is as important as the subject itself. I would hate to crop out the Forbidden City in the above image. But if you feel like some of your photographs seem a little flat or dull, try cropping tighter in post-production. Experiment with it and if you like the results, you will soon find yourself cropping tighter in-camera. That’s when you will realize that your work has taken another big step up in mastering the power of photography.

New Travel Photography Class at UCSB Extension, presented by Chuck Place

Get Creative With Alternative Photographic Processes

Leave a comment May 15, 2019 teachesphoto

Text and Photography by Joyce Wilson,

I read something rather strange recently, and I could certainly relate.  It has been discovered that time actually moves faster the older we get. I’m considered an elder so I can testify to this as a reality.  I promised to write an article every other month for this blog post. My last post was December 2018 and I’m shocked that it is now May, 2019.  Time flies when you’re having fun and I’m always having fun, photographing, making art, sharing life with loved ones and sharing my LOVE of photography and art with eager students.

Cascade Begin with black and white image and paint with beeswax to achieve the color image. Each image becomes one of a kind and unique.

I still embrace the straight photographic image, but I’m always looking for a way to go beyond the ordinary and create personal work with the mark of an artist.

Modern technology blended with the techniques passed down through centuries gives us a powerful tool for experimentation and creating art, and one such tool is encaustic wax.

Enkaustikos – The word means “to burn in’.  Three thousand years ago, a few enterprising Greek shipbuilders discovered a new use for the beeswax they used to caulk hulls.  By adding pigments for color and resin for hardness, they created a painting medium with an unmatched depth and luminosity.  Before long, encaustic art could be found everywhere, from painted ships to depictions of everyday life on urns.

Adornment Image above was heavily painted with wax and wax was dripped over the surface to create the layered appearance over face and throughout the figure.

A thousand years after the Greeks discovered it, painters in Egypt resurrected the medium, crafting exquisite portraits to decorate the mummies of their patrons. The modern resurgence of encaustic began in the 20^thcentury.  Mexican muralist Diego Rivera began painting with the medium in the 1920’s and in the 1950’s artist Jasper Johns further popularized its use. In the 1990’s encaustic became a process for fine art photographers to set their work apart and it’s an exciting and fascinating medium.

There are two methods to work with wax and images on paper.

One method is to work directly on the paper without a support and apply the wax in thin coats.  The initial coat can be applied with the print placed on a hot griddle, and using a wide brush, apply the melted wax evenly across the print.  After this first coat has settled, wax with color pigment added can be brushed randomly for effect.

Phoenix Black & white print

The other method is to glue the photograph to a birch board using Elmer’s glue or an archival book binding glue.  This method allows the hot wax to be poured over the image, or brushed on to build up a heavier layer with texture.  This is a simple explanation of a process that takes about 8-10 steps to complete.

The equipment involved is relatively inexpensive and there is no need for a photographic darkroom.

Phoenix Black & white print painted with pigmented encaustic wax

I had the pleasure of visiting MOMA in San Francisco in April and was blown away with the exhibition “German Art After 1960”.  I have been a long time fan of Gerhard Richter and Anselm Kiefer.  Both artists use photography in various techniques combined with metal, oil paint, and collage.  The images were stunning, and a great topic for the next blog…Inspiration vs. Imitation.

In the meantime, keep that camera focused and if you are ready for new adventures, join me in an upcoming workshop, or sign up for one of the Ernie Brooks Foundation Workshops and keep taking the classes offered through Santa Barbara City College.

Contact:   Joyce Wilson – jw@joycewilson.com  805-682-2955  joycewilson.com

 

June 27, 28, 29, 30     Imagine…a workshop beyond the ordinary

July 27, 28, 29             Kozo Paper, Gold/Silver Leaf and Resin with Photographs

August 10                    EBF Workshop – Alternative Photography Techniques

August 24, 25              Encaustic Wax with Photographs

 

KNOWLEDGE IS POWER