40 Tips to Take Better Photos
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40 Tips to Take Better Photos(http://petapixel.com/2014/01/24/40-tips-take-better-photos/)
Invaluable advice for the beginning photographer
Jan 24, 2014 Lisa Clarke
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Many years ago when I was a starry-eyed undergrad I would ask every photographer I came
across the same question:
How do I take better photos?
I was extremely lucky to have many talented and generous photographers take me under their wing to show
me the ropes. Without their valuable advice there is no way I would have become the photographer I am
today.
Ironically, the number one question I now get asked as an Open producer is How do I take better photos?
So along with some tips that Ive picked up over the years, Ive recruited some outstanding snappers across
Australia to share their own secret techniques about how they take their photos to the next level.
1. Get in close
It was the famous photojournalist Robert Capa (http://www.magnumphotos.com/C.aspx?
VP3=CMS3&VF=MAGO31_10_VForm&ERID=24KL535353) who once said If your photographs arent good
enough, youre not close enough. He was talking about getting in amongst the action. If you feel like your
images arent popping, take a step or two closer to your subject. Fill the frame with your subject and see how
much better your photo will look without so much wasted space. The closer you are to the subject, the better
you can see their facial expressions too.
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2. Shoot every day
The best way to hone your skills is to practice. A lot. Shoot as much as you can it doesnt really matter
what. Spend hours and hours behind your camera. As your technical skills improve over time, your ability to
harness them to tell stories and should too. Dont worry too much about shooting a certain way to begin with.
Experiment. Your style your voice will emerge in time. And it will be more authentic when it does. Leah
Robertson
Leah Robertson is a super talented Melbourne based photographer and videographer, specialising in music
and documentary photography.You can see her work here (http://leahrobertson.com/).
3. See the light
Before you raise your camera, see where the light is coming from, and use it to your advantage. Whether it is
natural light coming from the sun, or an artificial source like a lamp; how can you use it to make your photos
better? How is the light interacting with the scene and the subject? Is it highlighting an area or casting
interesting shadows? These are all things you can utilise to make an ordinary photo extraordinary.
4. Ask permission
When photographing people, especially while in countries with different cultures and languages, it can be
hard to communicate. In certain countries if you photograph someone you are not supposed to photograph,
it can get ugly and rough very quickly if you are not careful. So out of respect you should always ask
permission. I have started shooting a series of school children in Pakistan. These are all posed portraits and
they are looking down the lens. My guide helps me with the language and I limit myself to smiling, shaking
hands, giving hi-five and showing them the image on the back of my camera once it is done. You would be
amazed how quickly people open up. Andrea Francolini
Andrea Francolini is a well known Italian born, Sydney based sports photographer. He is also the founder of
My First School (http://www.my-first-school.org/), as trust which has the aim to facilitate educations in
Northern Pakistan. You can see his work here (http://www.afrancolini.com/).
5. Use flash during the day
You might think that you should only use flash at night time or indoors, but thats not the case at all. If it is an
extremely bright day outside and the sun is creating harsh shadows on your subject, switch on your flash. By
forcing extra light onto your subject, you will be able to fill in those ugly shadows and create an even
exposure.
6. ISO
There are questions to ask yourself when deciding what ISO to use:
What time of day are you shooting? If you are shooting outside during the middle of the day you will need to
use a lower ISO such as 100 or 200. If you are shooting at night time without a tripod you will have to
increase the ISO to a higher number to be able to record the light on the cameras sensor.
Will the subject be well lit? If your subject or scene is too dark you will need to use a higher ISO such as 800
or 1600.
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Do you want a sharp image or an image with more movement in it? Using a high shutter speed to capture fast
movement might mean that you need to use a high ISO to compensate. Likewise, if youre using a slow
shutter speed to capture blur you will need a low ISO to compensate.
Dont forget, increasing your ISO increases the grain or pixel size in your photo. So dont use an ISO of 3200
or 6400 if you dont want a photo with a lot of digital noise.
7. f/4
f/4 is my go to aperture. If you use a wide aperture with a long lens (200mm-400mm) youre able to separate
the subject from the background. This helps them stand out. Works every time. Peter Wallis
Peter Wallis is a sports photographer extraordinaire, working for The Courier Mail in Brisbane. You can see
his work here (http://peterwallisphoto.com/).
8. Youve got to be joking
A well timed joke will always yield a more natural smile, than simply saying smile Dean Bottrell
Dean Bottrell is a Emerald based photographer who specializes in portraiture. You can see his work here
(https://www.facebook.com/deanbottrell).
9. Buy books, not gear
Having expensive camera equipment doesnt always mean that youll take good photos. Ive seen some
absolutely amazing images shot with nothing more than a smart phone. Instead of having ten different lenses,
invest in some fantastic photography books. By looking at the work of the masters, not only do you get
inspired, you come away with ideas to improve your own photos.
10. Read your cameras manual
The best way to know what to do with your camera is to actually read the manual. So many people miss this
really important step on their photographic journey. Every camera is different, so by reading the manual youll
get to know all the funky things its capable of.
11. Slow down
Take time to think about what is going on in the viewfinder before pressing the shutter. How are you going to
compose the shot? How are you going to light it? Dont jump straight in without giving it some thought first.
Brad Marsellos
Brad Marsellos (https://open.abc.net.au/openregions/qld-wide-bay-71AY7Fz) is the Wide Bay ber Open
producer. You can see his photos, videos and musings on life here (https://open.abc.net.au/openregions/qld-
wide-bay-71AY7Fz/posts).
12. Stop chimping (checking the photo on the back screen)
Its a bad habit digital photographers can develop. Time and time again I see photographers take a
photograph and then look at the back of the screen straight away. By doing that you could miss all the
special moments. You can look at your photos later. You can miss the shot and it affects the flow of your
work, so just keep shooting! Marina Dot Perkins
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The lovely Marina Dot Perkins is a news, travel and wedding photographer who worked for The Canberra
Times and is now based in Newcastle.
13. Framing
This is a technique to use when you want to draw attention to something in your photograph. By framing a
scene or a subject, say with a window or an archway, you lead the viewers eye to the primary focal point.
14. Shape with light
Never shoot with the sun directly behind you. It creates boring, flat light on the subject. If you shoot with the
light source to the side or behind the subject, you are able to shape with the light, creating a more interesting
photo. Patria Jannides
Patria is not only a talented news photographer, she is also my long term friend, mentor, and personal cheer
squad. She even helped me to land my first job as a paid photographer. Thanks for everything P xxx
15. Watermarks
This tip isnt in direct relation to TAKING photos, but it does affect the look of photos. When it comes to
watermarks, the smaller the better. And if you can avoid using them, do.
Chances are, unless you are a paid professional, theres not much of a chance of your photos getting nicked.
But in reality, they wont prevent your images from getting stolen. They only distract from the fabulous image
that youve created, because once youve slapped a watermark all over it, thats all the viewer will be looking
at. The only way you can prevent your images from being stolen is to not publish them on the internet.
Read Open producer Luke Wongs blog post on watermarks here (https://open.abc.net.au/openregions/nsw-
central-west-95mw7bt/posts/should-i-watermark-my-photographs-on-abc-open-85ir0mi).
16. Be present
This means make eye-contact, engage and listen to your subject. With the eyes lower that camera and be
human. Bring the camera up for a decisive shot. But remember to lower it, like youre coming up for air, to
check in with your subject. Dont treat them like a science experiment under a microscope. Being there with
your subject shows them respect, levels the playing field in terms of power dynamics, and calms them down.
Youll get much more natural images this way. Heather Faulkner
Heather Faulkner is a photographer who convenes the ePhotojournalism major at QCA, Griffith University.
She is also the executive director of The Argus (http://theargus.net.au/), a student-run, visual journalism
online magazine. See her personal work here (http://heatherfaulkner.com.au/).
17. Shutter speed
Being aware of your shutter speed means the difference between taking a blurry photo and a sharp photo. It
all depends on what you are after. If you are shooting a sporting event or children running around in the
backyard, you probably want your subjects to be in focus. To capture fast action you will have to use a
shutter speed over 1/500th of a second, if not 1/1000th to 1/2000th. On the opposite end of the scale, you
might want to capture the long streaks of a cars tail lights running through your shot. Therefore you would
change your cameras shutter speed to a long exposure. This could be one second, ten seconds, or even
longer.
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18. Charge your batteries
This seems like a simple one, but pretty much every photographer on the face of the planet has been caught
out before. Including myself. The trick is to put the battery onto the charger as soon as you get home from
your photo shoot. The only thing then is to make sure you remember to put it back into the camera after it
has been recharged
19. Focal length
Keep it simple. I shoot with two prime lenses and one camera; A 28mm and a 35mm. For everything. I use the
35mm lens 70% and the 28mm lens 30% of time. It takes some time to get used to it, but once you work it out,
shooting primes is the only way to go. It means you have to work with what you have and you cant be lazy.
Basically, this means more pictures and less fiddling around with zooming and maybe missing moments. It
also helps for consistency. If youre working on a project or a series, keeping the same focal lengths is a
great way to maintain a powerful sense of consistency. Justin Wilkes
Justin Wilkes quit his job in Sydney this year to cover the political and social change in post revolution Egypt.
He has since had his photographs published in The New York Times, TIME magazine, and The Jakata
Globe to name but a few. You can see his amazing documentary work here
(http://justinwilkes.500px.com/#/0).
20. Be part of a photographic community
Like ABC Open (https://open.abc.net.au/explore)! Not only will you be able to publish your photos for the rest
of the country to see, youll be part of an active group that offers feedback on how great you are going. You
can learn new things to help you improve your technique, and you might even make some new photography
buddies.
21. Shoot with your mind
Even when youre not shooting, shoot with your mind. Practice noticing expressions and light conditions.
Work out how youd compose a picture of that scene over there that interests you, and what sort of exposure
you might use to capture it best. Leah Robertson
22. Return the favor
Always remember that if you are shooting people in a different country, they are probably doing you a favor
by posing. So the least you can do is return this favor some way or another.
I often return to the same places year after year, so I bring along prints and look for the people I
photographed previously. In some areas people do not have a picture of themselves. Imagine not having a
picture of you and your family? Strange dont you think? Yet many people dont. So a $0.50 print can really
make someone happy. It also opens doors for more photography further down the track. Andrea Francolini
23. Have a camera on you at all times
You cant take great photos if you dont have a camera on you, can you? DSLR, point-and-shoot or smart
phone, it doesnt really matter. As long as you have access to a camera, youre able to capture those
spontaneous and unique moments in life that you might have otherwise missed.
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24. The golden hour
Shoot portraits and landscapes in the golden hours the light is softer and the colours are more vibrant.
Dean Bottrell
25. Keep it simple
Dont try to pack too many elements into your image; it will just end up looking messy. If you just include one
or two points of interest, your audience wont be confused at where they should be looking or what they
should be looking at.
26. Dont get bogged down by equipment
Weve all seen these types of photographers out and about. They usually have three or four different
cameras strapped around their necks with lenses long enough for an African safari. In reality, theres
probably no need for all that equipment. One body with one or two lenses means that youll be freer in your
movements to capture interesting angles or subjects on the move.
27. Perspective
Minimize the belly-button photograph. This is a reference to Moholy Nagy (http://www.moholy-nagy.com/) of
the Bauhaus (http://www.metmuseum.org/toah/hd/phbh/hd_phbh.htm) movement in photography (which was
all about lines of perspective). In other words, perspectives are more engaging when we crouch down, or lie
down, or elevate our position in reference to the subject. Look at how changing your perspective can change
the visual language and implied power dynamics of the image. Crouching low can make your subject more
dynamic, whereas gaining height on your subject can often minimize their presence in the image. One of my
favorite exercises is to make my students lie down and take pictures, often in the dirt. I am a little cheeky.
Heather Faulkner
28. Be aware of backgrounds
Whats in your frame? So often I see great photos and think didnt they see that garbage bin, ugly wall, sign,
etc? Its not just the person or object in your frame, its everything else in the background that can make or
break a great photograph. So dont be afraid to ask the person to move (or move yourself) to avoid
something ugly in the background. Marina Dot Perkins
29. Shade
Shade can be your best friend. If there is no way you can make the available light work for your photo, shoot
in the shade. Youll get a nice even exposure with no patchy highlights throughout your shot.
30. Rule of Thirds
This is one of the most common tips that pop up when it comes to improving your photos.
To break it down, you cut your frame into thirds by using both horizontal and vertical lines. You then place
your point of interest over the cross sections of the grid.
Check out this article (http://digital-photography-school.com/rule-of-thirds) for further details about using the
rule of thirds.
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31. Exposure
Ive been shooting a lot of protests lately. Basically, theyre just a lot of people really close to one another;
often moving. After having made many mistakes with getting my exposures right, I worked out that if the sun is
behind me and in the face of protestors I will set exposure compensation to underexpose by a stop to bring
out even tonal range. When the sun is behind the protestors I like to over expose just slightly to bring out the
shadow details on their faces. This could apply to street photography when the light is in front or behind your
subject. Justin Wilkes
32. Dont spend too much time post-processing
The key is to get it right in the camera first, so you dont HAVE to spend time editing. Over working a photo in
editing software very rarely looks good, unless you are trying to achieve a super-artsy effect. If it takes you
longer than ten minutes to alter your photo, maybe think about going back out into the field to re-shoot it.
33. Variation
Variation is key. I often use a recipe from Life Magazine (http://life.time.com/) picture editors for building a
story narrative. I look for: over-all shots or scene-setters, interaction, action, portraits, details, medium shots
and of course the signature image. Having this list in my head helps me start photographing a story that
sometimes isnt visually apparent until you get into it. This is great when youre in a crowded or busy place.
Heather Faulkner
34. Become one with the camera
Push the button regardless of the outcome so the camera becomes part of your hand. Dean Saffron
Dean Saffron (http://www.deansaffron.com/) is a photojournalist and an ABC Open superstar. His video The
Spokesman (https://open.abc.net.au/posts/the-spokesman-82kh4lu/in/tags/dean+saffron), has had over
170,000 views. Woah!
35. Hold your camera properly
You might not know it, but there is a right way and a wrong way to hold a DSLR camera. The correct way is to
support the lens by cupping your hand underneath it. This is usually done with the left hand, with your right
hand gripping the body of the camera. This helps to prevent camera shake. If you are gripping your camera
with your hands on either side of the camera body, there is nothing supporting the lens, and you might end
up with blurry photos. To get an even stabler stance, tuck your elbows into the side of your body.
36. Limit your palette
When photos have too many colours spewing out from them, theyre often hard to look at. Unless its a photo
of a rainbow or the Mardi Gras. Try to focus on having one or two colours predominately featuring in your
photograph. It will be more pleasing to the eye and will help set the tone of the image.
37. Get your subject to relax
This applies mostly to portrait style photography. As a press photographer, I spend most of my time doing
one on one portrait shoots. I think its really beneficial to take the time (if you have it) talking to your subject,
asking questions, showing an interest in whatever it is they do. I find it really helpful in relaxing the person
and often theyll say something and that can lead to a better photo opportunity. Marina Dot Perkins
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38. Inspiration from all forms
Take in as much photography as you can online, and in books and magazines. But not passively. Look at
different styles. Work out what you like or dont like about them. Look at the technical elements of pictures
and think about how they were made, and what the photographer is trying to say. The more you take in, the
more arsenal youll have when creating your own work. Leah Robertson
39. Be patient and persevere
With time, patience, and perseverance, you will get better; with each and every photo you take.
40. Break the rules
Now that you know some of the rules, go ahead and break them! Experiment. Have fun. Learn from your
mistakes. Make up your own tips and techniques for taking fantastic photographs. Id love to hear them.
Go forth and shoot!
A special thank you to all the amazing photographers who made this blog post possible.
About the author: Lisa Clarke is a photojournalist based out of the Capricornia region of Australia.
In the past five years Lisa has contracted dengue fever in Indonesia, broken her big toes climbing the summit
of Mt Fuji in Japan, snapped British chef Gordon Ramsey in a Thai transsexual bar, been bed ridden with
bacterial conjunctivitis in Burma, partied with Dennis Rodman, hung out the door of more helicopters than she
would like to remember, thrown up violently with food poisoning in Cambodia, and was detained by the police
in Zimbabwe for practicing journalism without accreditation during the Mugabe reign in 2007.
You can follow her ongoing exploits on Twitter (https://twitter.com/lisaclarkephoto). This article was originally
published on ABC Open (https://open.abc.net.au/explore/05ox3na).
About ABC Open: ABC Open invites regional communities to produce and publish photos, stories, videos,
and sound through the ABC.
We all know the media is changing, with more and more people making their own videos, writing stories and
sharing photos and ideas through social media. ABC Open is an exciting initiative which provides a focal point
for Australian regional communities who want to get involved in sharing their experiences through the ABC via
websites, radio and TV.
Image credits: Kearsarge Pinnacles by Moonlight (http://www.flickr.com/photos/jeffpang/6079752728/) by
Jeff Pang (http://www.flickr.com/photos/jeffpang/)
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Feroz Khan 9 months ago
The link to Peter Wallis' website doesn't seem to be the right one (point 7)
Reply
DLCade 9 months agoMod > Feroz Khan
It is, his website is just down at the moment :)
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Feroz Khan a month ago> DLCade
Looks like the link should be http://www.petewallisphoto.com... and not
peterwallisphoto
Reply
Poki 9 months ago
Don't spend more than 10 minutes to post-process a photo? This does definitely not apply to all
types of photogrpahy. I shoot landscapes for years now and spent more than 10 hours on some
photos (for example the one attached here) to fine tune every pixel to my liking, and I wouldn't call
the outcomes as "could be shot better by going out and shooting them again" ...
Though all in all, that's a nice list for beginners.
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Espen 9 months ago> Poki
I don't agree with you. 10 hours?? I don't mind your photo, but if you have to use all that
time to be happy with it you would probably be better of with a scene that was more to
your liking before pushing the button. I also don't mind people using a lot of time fiddling
around with stuff for their own pleasure, but please be aware that you in that case are
feeding your own "OCD" more than adding value to the picture for other viewers.
If you have an idea of the outcome before shooting, or at least before going to post, you
can save yourself a lot of time spent on trial and error wich I suspect you do.
12
Poki 9 months ago> Espen
It's not about adding value 'for other viewers', it's about being happy with what I
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It's not about adding value 'for other viewers', it's about being happy with what I
produce myself. I don't shoot to satisfy others, but to be happy with me. I liked the
scene like it was (took me a few hours to get to the shooting position), and I didn't
add anything in post, it's just about delivering the best photo that's possible for me.
And while I might not be a great photographer, I had fun every minute I spent on
that, or any other photo. Isn't that what it's about for hobbyists?
Edit: And no, no trial and error (I edit photos like this almost daily), but yes, much
sitting and thinking while listening to music.
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Sarpent 9 months ago> Poki
I'm with you, Poki. I am not a photojournalist. I'm trying to create art, and I'll
spend the time necessary to make an image as good as I can. To me, the
real fun begins when the image first hits my monitor.
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Grim 2 months ago> Poki
The problem is at that point you are no longer a photographer. Instead you
are an editor. Because after you spend 10 hours editing it is no longer
about the photo and is actually about the editing. I am not saying this is
bad, it is just different. This article is about taking better photos, not editing
better photos. So of course it is about the taking of photos not the editing
process. Like the commenter below Sarpent who says the real fun begins
when the photo hits his monitor. He, and I suspect you, enjoy the editing
process more then the taking process, which again is ok. It is Just not
what this article is talking about. Because if you edit 10 hours whether you
add to the photo or not it has long stopped being about the photo and
become about the editing. So if you enjoy the editing, edit as long as you
want, but if you want to 'Take Better Photos' like this article is talking about,
then you need to take more photos and spend less time editing.
Reply
Alan Klughammer 9 months ago> Espen
There are obviously a number of approaches to photography, but I think there are
two extremes. For want of better terms, I will call them Journalism and Art.
For Journalism, the purpose is to record a thing or an event. The idea is to keep as
true to life as possible. Many of the tips above lean toward this type of
photography; minimal processing, carry your camera everywhere, etc.
Art photography is more about creating emotion, especially with your viewers.
Post processing becomes a big part of this. Ansel Adams and his contemporaries
spent hours in the darkroom "manipulating" their final images. Andreas Gursky,
who sells some of the most expensive photographs ever, does extensive post
processing.
There is no right or wrong answer. Post process as appropriate for your style and
approach to photography. Don't limit yourself to too little or too much manipulation.
6
Chris Walker 9 months ago> Alan Klughammer
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Chris Walker 9 months ago> Alan Klughammer
I agree with you entirely Alan. I feel like that is a tip that depends on the type
of photography you are doing. I personally spend a fair amount of time in
post-processing, I feel like it is an art-form in itself, but I do also understand
the purist idea of wanting an untouched photo, seeing heavy editing as a
sort of corruption.
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JH 9 months ago> Poki
10 Hours? Really?
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Poki 9 months ago> JH
Maybe just 6. Or 7. Don't know exactly anymore. But 10 sound better as it's the
number used in the article.
Reply
Cynical Bloke 9 months ago> Poki
10 hours? Were you painting in the stars?
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Poki 9 months ago> Cynical Bloke
Nope, stopped painting in stars myself two years ago. ;)
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Adrienne 8 months ago> Poki
That is such a beautiful photo! I have been trying to shoot star trails and have been
unsuccessful - I think its due too the light pollution in the area I live (near an army base)...I
am going to keep at it....think they are breath taking photos...
Reply
Christian DeBaun 9 months ago
All the amateurs care about, is the equipment.
All the pros care about, is being paid.
All the masters care about, is the light.
I can't remember where I read that (it was years ago), but it's fairly true. Somehow it stuck with
me.
GREAT article Lisa!
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Rezaul Haque 9 months ago
Excellent list! I've been struggling with the idea of watermark for a while now. I've used a very
subtle small one in the corner of the image, just to tell people I took the picture. Now I'm starting
to doubt the cost of the watermark, if it distracts the viewer from fully enjoying the image.
Thoughts?
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Poki 9 months ago> Rezaul Haque
Might be just me, but I HATE watermarks. If I see a photo with a watermark, I just ignore it.
Somehow, these little watermarks always catch my eye so I can't really concentrate on
the photo itself ...
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kodiak xyza 9 months ago> Rezaul Haque
work hard at coming up with one that leaves a trail of who took the photo, and a web
search can find you,
but minimizes its interaction with the viewer. in other words: don't dial it to "11".
using the watermark as "theft-prevention" is shortsighted, and likely, quite ineffective.
a better strategy may be to upload "small" (say 800 pixels),
and use JPG compression to detract from up-sizing.
many uses of the photos is for reblogging, and most may not remove the watermark,
but that is also not a guarantee.
I personally think of the watermark as a way for someone to trace it back to me,
if they would like to use my services, and not for photo theft prevention:
the way I see it, once in the internets I don't have control over it,
and just let it be hence why I take prevention with the size and compression distortions.
some people will move on at the sight of the watermark... and that is fair,
but then, from my perspective: so what? people should do as they please,
more so when it comes to enjoyment of a photo.
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Vin Weathermon 9 months ago> kodiak xyza
I understand why you think that, and that's why I used to do it too. However; if you
really care about your image, you will present it in the best way possible (online
portfolio, gallery, etc.) Your "selling" of the artist happens THERE if you are trying
to project the most artistic, professional work. And anything detracting from that is
madness. Look up "world's best photographers" on google, and look at how many
of them watermark their images....
Reply
Vin Weathermon 9 months ago> Rezaul Haque
I replied to the watermark comment too; HATE them. They do far more harm than good if
it is important for the image to "look beautiful".
kodiak xyza 9 months ago> Vin Weathermon
@Vin Weathermon : sorry for the spamming of emails due to my posting, but the
post keeps getting deleted, perhaps some quirk from Disqus, or settings so I
reply here, rather than below.
I can care about my photo in such a way... and skip the watermark for
presentation in its true form, and in that sense, I agree with you. damned be the
grabs by people on the internets. (I already do not care for the grabs for people's
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grabs by people on the internets. (I already do not care for the grabs for people's
usage, just trying to leave a breadcrumb, if allowed.)
however, I do not see the internet as the best/appealing way to present my photos.
for me, the internet is a way to: 1) get the photos out and think about them**; 2)
use them for social-currency, which is the most prevalent usage of photos in the
internets; 3) satisfy the demand by close friends to make my work easily
accessible to them***. in some sense, I am not trying to sell myself on the
internets in any proactive way.
there can be some passive activity which comes from watermarking and/or my
sites, and adding tags that would turn up in some searches but this is not
something that I pursue. I personally couldn't care less what the "world's best
photographers****" are doing, regarding watermarking, because I am not trying to
indoctrinate myself into such a circle: I do not know who these people are and I am
not going to follow someone blindly. not really into indoctrinating myself by copying,
and following unknown people on the internet.
thanks for the alternate idea. cheers!
~
** my thoughts are of the internet as part of my "workflow" are on my blog
*** this is why I prefer sites with no social passive-aggressive comments, nor
social quid pro quo required (faves, likes, etc.)
**** I have yet to see a collection on the internet of the "world's best
photographers",
in that their attitudes are caring about things I don't, and/or the curator of such a
list really does a poor job of it. often, they are replications of one or two
photographers on the list. the ones that I have seen is just a circle jerk, and hype
inside a bubble.
Reply
Vin Weathermon 9 months ago> kodiak xyza
No worries (about spam..) I would prefer to never have any of my work
compared "side to side" with thousands of other images (so I can relate to
your comment on the best place to view them.) I guess my main point
about saying "worlds best" was that whether you agree with those titles or
not, their images do look better without watermarks. The reason the
majority of very high-end photographers don't watermark is because it
cheapens the experience. I figure if they don't do that, why should I?
good shooting,
vin
kodiak xyza 9 months ago> Vin Weathermon
I figure if they don't do that, why should I?
yeah, I cannot think that way. it may be that I come to the same conclusion,
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yeah, I cannot think that way. it may be that I come to the same conclusion,
but the internets is still a weird place for wisdom from any one group. it has
been more informative on doing the opposite, than following suit. I am
reminded of the snark-slogan that makes fun of the Elvis Presley album
title, and it goes: 50,000,000 flies can't be wrong: eat caca .
watermarks are a distraction, and they can only be minimized at best, but
always a distraction. more so in the case of the internet-popular
bright/sharp/saturated photos.
cheers!
Reply
kodiak xyza 9 months ago
The key is to get it right in the camera first, so you dont HAVE to spend time editing.
unrelated, in that editing should be about the vision/idea of how to present the photo,
and that should take as long as it needs; spend the time required.
getting it right in the camera can still demand a bit of editing:
if one uses the camera as a recorder that maximizes what one wants to get,
versus using a "Straight Out of The Camera" mantra that can limit the results.
yes, yes, the idea is not to let sloppiness cause more editing time for that sloppiness:
but isn't that obvious for everything one likes to do well?
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don_travis 9 months ago
One important tip is left out. The half press. You half press the shutter button and verify you have
the camera focusing on what you want focused, and the verify settings the camera has decided
to use for this shot. Then very lightly squeeze down the rest of the way on the shutter button. This
is especially important on many less expensive digital cameras that don't process their settings
in nano-seconds and have enough of a delay between initial press and actual photo that a person
could press and then move the camera slightly before it is done - and wonder why it is blurry.
Hence the second step, of a slow squeeze and not a "snap" shot. Pushing it quickly does not
make the shutter work faster, it only introduces camera motion, even if very slight.
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Felix Flatter 9 months ago
Well, I like the list, but there is one thing that does not really come out in the first point. Yes, Capa
said that sentence, but he actually did not mean the physical distance to your subject, but your
emotional involvement in the action. If your images do not look like you want them to look, or they
do not tell the viewer what you want them to tell, you need to get a closer relationship with your
subject.
Of course, in most situations it is better to get also physically close, but sometimes you may
need some distance.
3
Vin Weathermon 9 months ago> Felix Flatter
I think he means exactly what he says; if you are taking "human interest" photos, being
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I think he means exactly what he says; if you are taking "human interest" photos, being
with humans makes them more impactful. You may do this with long lenses, etc. but you
have to consciously move in to be a part of it. It takes guts, and practice.
Reply
yopyop 9 months ago> Felix Flatter
"but he actually did not mean[...]" : there is a great need of proof on this. I'm not saying
you're wrong but it is still debated and always a question of feelings and opinions, never
about facts. Is there anything solid to support this point of view ?
Reply
Espen 9 months ago
should have added the ten golden rules of lomography on the list. Sometimes overthinking a
picture completely destroys both the picture and the fun making it.
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Norshan Nusi 9 months ago
I have some thoughts over some of the list...
12. Stop chimping (checking the photo on the back screen)
Using a fast lens, I have to chimp. Had to zoom in to check the area in focus. I don't trust the
camera LCD screen all the time, a lot of slightly blurred pictures look sharp on the camera LCD
screen.
35. Hold your camera properly~
Use "one-over-the-focal-length" rule to ensure sharper picture, combined with image stabilization,
you can go a few stops lower and still get that shot in low light.
4
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Friedrich 9 months ago
Yeah, a list for people who've never picked up a camera. And #32 is flat out WRONG. Post
processing is just as important as capturing the image in the first place.
7
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Alan Klughammer 9 months ago> Friedrich
There are a few of these I don't agree with.
1
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James 9 months ago> Friedrich
Yeah I thought the same. Sounds like someone shoots Jpeg.
Vin Weathermon 9 months ago> Friedrich
The point was to not OVER PROCESS, not spend the appropriate amount of time
rendering a raw file. If you spend more time practicing, getting the shot to be "excellent
without post processing" then your post-processing will be minimal. I have spent way too
much time trying to make an image into something that in the end I probably should have
just chucked and reshot later. Mistakes take lots of post processing....and if I make fewer
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just chucked and reshot later. Mistakes take lots of post processing....and if I make fewer
of them I'm having more fun in post.
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Omar Salgado 9 months ago
"If your photographs arent good enough, youre not close enough." This is all way misunderstood.
It is not about "filling the frame" or "[t]he closer you are to the subject, the better you can see their
facial expressions too." No way. It is about an epistemological distance on the subject, not a
spatial one. Indeed, it is about knowing your subject well in its inner aspects and its contextual
aspects too. This knowledge can only be accessed by time and relationship, not by distance.
You may get those "expressions" and even those wrinkles by filling the frame, but never ever a
"true" representation of the subject apart from what you want, desire or need.
The best advice I can give is: learn Art (as well as the very technical aspects of the apparatus).
Photography will naturally improve.
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Poki 9 months ago> Omar Salgado
Thank you for that explanation! First time I read an explanation of the famous quote that
actually makes totally sense.
2
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kodiak xyza 9 months ago> Omar Salgado
well said.
photography-by-aphorisms, which usually are deprived from the context of what the
famous photographer was doing, is a problem with quick-by-the-numbers articles to teach
the masses about photography or any art/craft.
then again, it is the responsibility of the reader to assimilate what is read, and not to go
and make a list and check it twice.
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Omar Salgado 9 months ago> kodiak xyza
Sometimes I think it's hard to interpret an artist's words/work for the very reason
you mention: "usually [...] deprived from the context of what the famous
photographer was doing." This all leads to "quick-by-the-numbers articles to teach
the masses about photography". I couldn't have said it better. But I recognise I
introduced myself to learning photography by those articles. I think they're great for
newbies, but very limited in all aspects, and this last thing is what we must
recognise; they're just a launchpad.
yopyop 9 months ago> Omar Salgado
"This is all way misunderstood." As I disagree with you I'd want to say that it is, maybe,
over-intellectualized and that maybe Capa was more about a litteral meaning rather than a
figurative one. I am still personnaly waiting for a solid source that would give me a straight
and definitive answer about that.
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and definitive answer about that.
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Omar Salgado 9 months ago> yopyop
You'll never find that "solid source" as long as you consider distance in a literal
way; it must be a metaphorical one since what we are dealing with is art. Maybe
for snapshots the literal reading can be applied.
Just think about this: most of the advices you find on the web use the words of
Capa to promote shots filling the frame and even exluding the background by the
use of bokeh. The guideline is to flatter the subject, but that only excludes the
whole of it; aesthetics is what we perceive by the senses in a work of art, not mere
beauty. When you take that approach in a metaphorical way, you're not only forced
to know your subject, but also to relate to it and to what it relates to.
If I were to give you a "solid source", this would be this: learn and master Art. My
"solid sources" are books by the way of art, hermeneutics, semiotics and
philosophy. I'm not bragging on myself, it's just that I try to see things the same
way their authors intended, and this inevitably leads one to tweak. But again, I think
if the literal approach is useful to someone, then it may be.
1
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