BetterPhoto Instructor Insights

Exciting Photography in Venice

by Jim Zuckerman

I just finished the photo workshop in Venice, Italy, and it was one of the most exciting photography I’ve ever done. The costumes of the carnival participants were amazing, and the classic settings that we used to photograph dozens of models made the images outstanding. I took 14 gigs of images, which in only a 5 day period is, for me, an enormous amount of shots. My group of students and I went from one stunning photo situation to another, and we felt like we were on a continuous high the whole time. Each night, we were exhausted from the excitement of it all.

Below are a few of the hundreds of shots I took. I’ll upload more in the next blog, but I haven’t even edited most of them yet. Most of the shots are straight, but I also used zoom blurs, flash blurs, extreme wide angle perspectives, and fill flash.

I'm now on my way to San Marino, a very tiny country within Italy, and then on to Pompeii and the Isle of Capri. One of the places I'm very much looking forward to shooting is the Blue Grotto. It's been photographed by a zillion photographers before me, but I haven't seen or photographed it so it will be exciting for me to see this beautiful water cave.

Photographic Technique: Tips for Sharper Images

Hi Everybody,
The issue of sharper images is one that comes up frequently in BetterPhoto™ online photography courses - well, at least in my classes! Following are some tips and techniques for getting the best sharpness in your photos:

Manual Focus Might Be Best: With extreme close-ups and macro shots, many photographers prefer Manual focus. But if you've never focused manually before, this can be a challenge ... at first. Practice around the house: Simply point to different spots, focus, then quickly point to another. Repeat the process with different focal lengths, different distances, etc. Incidentally, for manual, many (all?) SLR cameras have a guide that lets you know whether you have accurately focused. Of course, this would be linked to whatever sensor in the viewfinder is activated for the particular spot you want sharp.

The Tripod's Companion: For the ultimate in sharpness, use a sturdy tripod whenever possible. But even with a good tripod, it's still possible to jiggle the camera accidentally while taking the picture. The cable release/remote cord is an absolute must-have accessory that attaches to the camera's shutter button or its electronic terminal. With its hands-off operation, the remote release cord helps minimize vibration for telephoto shots, close-ups, long exposures ... actually, I use it routinely with a tripod.

A Tripod Alone Is Often Not Enough: Some SLRs have a lock-up mode that reduces the possibility of vibration when the mirror flips up ... during slower exposures (especially in the 1/15th to 1/4th second range, according to many published accounts), or when using telephotos (the longer the lens, the more magnified the blur from vibration). Still another option for preventing possible fuzziness in your pictures when shooting stationary subjects: the camera's self-timer.

When A Tripod Is Not An Option: At times - i.e., when photographing candids, sports, or wildlife - a tripod may not be practical or even possible. You can create a stable "platform" when hand-holding your camera by cradling the camera body in your left hand ... and then, with your right hand, grasping the camera and shutter button. Press your elbows against your bodyand put the camera right up close to your eye. For even more support, lean against a post or wall. For additional support, place your camera on a railing or other object. Some photographers use a bean bag or tiny table-top tripod. You can also create a nice-and-"natural" low-angled camera support: With your right knee down and your left knee up, place your elbow on your left knee, cradle the camera in your left hand, and use your right hand to activate the trigger.

That's it for now. Enjoy your photography!
Kerry Drager

Creating the Better Photograph

Picture 1. © Jed Manwaring.

As a professional photographer, it’s my job to get the shot. When on location, I have to work decisively, as the light is changing quickly in early morning and late afternoon, my favorite times to work outdoors.

I’ve had to train my eye to see the potential for an exciting photo in a seemingly ordinary scene. I’ve learned to look for details that I can extract from the overall scene, and contrasts, that can use to make a photo that has more impact.

One morning, while waiting to meet with a client in San Francisco, I noticed the golden light on the skyline buildings, sharply contrasted against the crystal clear blue sky. The contrast of the cool and warm colors caught my eye, but the overall scene, while pretty, was too ordinary. (See picture 1 above).

As I looked at the scene, my eyes zoomed in on the old style lamp post against the patterns of the contemporary building. All I had on me at that time was a compact digital camera, with a limited zoom range. At full zoom, the horizontal framing left too much distracting space on either side of the building. (see picture 2)

Picture 2. © Jed Manwaring.

By rotating the camera vertically, and placing the lamp post in a strong position within the frame, I was able to create a graphic image from just the two simple elements of building and lamppost. The lamppost, being in shade, stood out strongly against the building, and matched the density of the dark windows. (see picture 3). By the time my client showed up, a few minutes later, the lamppost had sunlight striking it, and the moment was gone. This type of situation proves again and again how important it is to hone your vision and stay open to the possibilities all around you. The more you photograph, the easier it becomes to see the potential in a scene.

Picture 3. © Jed Manwaring.

Have a great week of photography, everyone!

Italy photos

Over the past three days I’ve worked the Cinque Terre coast of Italy. I’ve realized that the direction of the sunrise and sunset lighting that makes these beautiful villages come to life occurs during the summer months, not in winter. So the best shots I’ve been able to get are at twilight, and I’ve put in the back of my mind to return in the future when I can get what I really came to shoot. I’m very pleased with many of my pictures, but disappointed in the quality of the light for this particular location. The first two days were foggy, which I liked, but after that I wanted the sun in the right place at the right time. Too frequently, the cosmos and I don’t see eye to eye on things.

The photos I’m posting here include images of the interior and exterior of the Pisa cathedral (the latter taken from the leaning tower), a letter drop box, and an impressionist interpretation of Porto Venere, one of the villages I visited. I used a 1/6th second and hand held the camera while I moved it during the exposure.

Nature Pictures of Spring Flowers

© Kerry Drager

Hi Everyone,
With the spring wildflower season fast approaching in many areas, it's time to talk about macro photography - specifically, getting down and dirty, and focusing with your toes! I had better explain ...

Getting the right sharpness in the right place is always a challenge when shooting extreme close-ups. In the 1970s and 1980s, the late, great nature photographer Mary Ellen Schultz was one of the pioneers of the selective-focus effect, in which a very tiny spot in the image is crisp and clear, while the rest of the photo is a beautiful blur of colors. In her workshops, she shared this technique:

Set your macro lens for Manual focus. Then turn the focusing ring to a close-up point ... and leave it there. Choose a wide aperture (low f/number) for the narrowest depth of field (which also results in a fast shutter speed ... great for hand-holding). Next, stretch out on your stomach to get a ground's-eye view of the flowers. Use your elbows as a "tripod" (to brace the camera while hand-holding). Finally (and I can almost hear Mary Ellen giving this instruction): Focus with your toes!!

If you'd like to learn more about working in the wonderful world of miniature, consider author-instructor Brenda Tharp's awesome online course: Mastering Macro Photography. Also, my own class, Details and Close-ups, includes an introductory lesson on macro. For specifics, check out BetterPhoto's 4-Week Short Courses program.

That's it for now. Have fun gearing up for the coming photography season: nature pictures of spring flowers!
Kerry Drager

Cinque Terre, Italy

I am currently on the northwest coast of Italy in a region called Cinque Terre. It’s famous for picturesque coastal villages at the base of dramatic cliffs, and they indeed are truly stunning. It has rained for the past two days, so I’ve gotten lots of moody lighting and thick fog. The villages face west, so sunset would be really beautiful. In addition to shooting in rain and fog, I am doing a lot of twilight photography to get the rich colors of mixed lighting. I’ve uploaded four shots for you to see, including a ruins of a fortress enshrouded in fog that I passed today.

Submitting to a Stock Agency

When you first submit your work to a stock agency, I suggest that you narrow the images to a general theme. They don’t have to be too specific, like France or snow skiing, but they should have a common connection. Travel or sports would be an example. If you don’t, an editor won’t really know your specialty or areas of interest, and he or she won’t have a handle on whether or not you will be able to fulfill certain types of requests in the future.

Once you are accepted, you can then submit a much wider range of material. Below are few pictures that were just accepted into my stock agency last week. You can see how diverse they are. I never would have submitted these as an original submission, but after I have established a relationship with an editor, they will always take a serious look at what I send them, no matter how dissimilar the images are to each other.

People Photography: Shooting the Perfect Picture

Hi Everyone,
Are you shy about approaching strangers for a picture? Many photographers are. But at BetterPhoto.com's™ online school of photography, we have courses that can help you overcome this fear, get some great people shots, and maybe even make some new friends along the way. Here are a couple of classes that are filled with valuable tips and techniques:

Street Photography ... Master photographers Susan and Neil Silverman describe their awesome course as learning to shoot "from your heart and not from your camera manual. Street Photography is for those who see what is happening around them and wish that they could capture that 'moment'." In Street Photography, you'll not only learn how to see a potential photo happen, but also learn how to make your camera "another part of your spirit". That way, you'll be able to seize the moment that is happening right before you.

People Photography Up-Close and Personal ... Photographing people from afar with a long lens is one thing, says instructor and photojournalist David Bathgate. But, he quickly adds, "making images of them at conversational distance is a whole step further. The first yields work that often seems impersonal and remote. The second delivers images that powerfully deliver the message."

That's it for now. Enjoy your photography!
Kerry Drager

© Susan & Neil Silverman

© David Bathgate

Tips for Better Travel Photographs

Camel Market, Egypt © Brenda Tharp.

I’ve just returned from leading a photo tour in Egypt, with wonderful memories and some great photographs. I've just had time to size them for this blog, and have many digital images to process this week!

In Egypt, when something is old, they really mean it! It’s a country filled with astounding ruins from the days of the Pharaohs, and touring these sites with an Egyptologist team was the best way to learn more about the gods and goddesses that the Pharaohs lived and ruled by. A land of contrasts, the contemporary often exists side by side with the ancient traditions. Once such tradition we experienced was a camel market. We arrived at dawn, a foggy morning with a chill in the air. Walking through the gates, we entered a world where the practice of buying and selling camels had gone on for a thousand years or more., relatively unchanged. We saw no cell phones, only men with great faces and wonderful robes and turbans. We witnessed the ‘bank’, three men who made change for buyers and sellers in the market while sitting on a decaying stone bench outside an equally decaying bldg. No ATMs to be found there!

Money Lender, Camel Market, Egypt. © Brenda Tharp.

As part of a Mentor Series workshop for American Photo, it was my job to provide students with ideas for how to capture this fascinating situation.
I talked about what they might see - although I had never been to camel market in my life. Yet a market is a market: it’s where goods are bought and sold, where transactions occur and the sharing of the news occurs.

Smoking the Shisha Pipe, Egypt. © Brenda Tharp.

Considering those basic activities, I gave them these tips, that truly help in any travel photography situation:

1. Go it alone. Even though we were 60 students and three mentors diving into that camel market, walking around alone meant you could capture a candid moment before being seen, when the moment was pure and unaffected by your presence. You also had a better chance of one-on-one connection with the men, for portraits.

2. Turn on your observation skills: Walk around with your eyes tuned to all gestures and actions. There was more our market than just a bunch of camels standing around. Think about what you might expect to see. For us, the answers were bartering, inspecting a camel’s mouth/teeth, bringing a camel into the auction ring. In addition, there were other activities - general greetings amongst the men, smoking the shisha - tobacco pipes.

3. Look for elements that help express a sense of place. Atmospheric conditions can often help convey a mood, and the light itself can also do that. architecture, native dress - all of these things add to a sense of place. In our market that morning, hazy sunlight added a neat mood, and the decaying walls and the traditional clothing of the men added texture and color to our scene. We used these elements to express the feeling that this was a market that was very old, very traditional.

Wherever you travel, these three simple ideas can help you create stronger travel pictures, visual memories to bring home to share with others.

Have fun this week, everyone.

Winter Workshop

by Jim Zuckerman

I completed my second winter workshop in Montana for Betterphoto™, and the second group of participants got some truly amazing pictures. On the morning of the first day, we went to a ranch where it had snowed the night before and the conditions were ideal for photography. Actually, they were magical. My favorite lighting situation is white on white, and that’s what we had. To take advantage of this special environment, we photographed four animals in three hours: mountain lion, bobcat, cross fox and red fox. Everyone in the group were overwhelmed by the experience.

Later in the afternoon, we also took pictures of a wolverine. I had never photographed one before, so it was great to add this species to my collection. I suggested to all the students that to make the shots more impressive, we had to shoot from a low perspective. This creates a more intimate portrait and it gives the animal greater stature. Wolverines are very close to the ground, and that meant that we had to shoot from the prone position. The temperature had warmed up and the snow was starting to melt, so we all got wet. But we also got exceptional shots.