This post will be sticky in the “photography” category. Most of my photography these days is either travel or garden/nature. There are a lot of the latter at Tom’s Garden: recommended! At one time I had a photo-specific blog on this site, and there was a lot of travel photography here and there. I will gradually make all of that accessible from this sticky post on the category page.
Category: photography (Page 1 of 3)
I don’t do much portrait photography. Most of my people shots are casual and unposed. The majority are of family, and it seems we are often wearing sunglasses.
But if you want to photograph faces the best way, catchlight is an important element to be aware of. A catchlight is a highlight caused by reflected light on the surface of the eye (as opposed to red eye, which is light reflected from the retina). Eyes without catchlights can look flat and dull, while catchlights add sparks that can seem to animate faces.
They come in all sizes and shapes, and it’s possible to have more than one. Studio photographers often use light reflectors to make sure they get catchlights in their portraits. If they get more than one they are likely to edit one out in post processing. Traditionally, the best positions were thought to be ten or eleven and one or two o’clock. Some photographers will even add these highlights in post if they failed to capture them in making the photo.
In outdoor settings the best way to get catchlights is to focus on a subject who is in the shade facing toward the sun. (Some photographers carry pocket reflectors, which they usually position below the subject’s chin—these would be most useful in posed situations, and I’ve never tried them.) If the subject is looking at you as you take the photo, try to have the sun at your back. Just be aware that you might end up with your own reflection in the subject’s eyes.
Most photographic and print publication work involves operating within rectangular frames. The relationship of width to height is the aspect ratio, expressed as, for example, 1:1 for a square, 1:1.5 for a 6 x 9 book, or 1:2 for a sheet that is twice as wide as it is tall. Conventionally, the width is stated first: that 6 x 9 book is in portrait format, whereas a 9 x 6 book would be landscape, bound on the short side, and most inconvenient to read.
A special case is the golden section or golden ratio, a rectangle with the proportion 1:1.618 (between 3/5ths and 5/8ths). In this rectangle the smaller dimension is to the larger as the larger is to the sum. In other words, 1 is to 1.618 as 1.618 is to 2.618. And as 2.618 is to 4.236, and so on. This relationship, which can be extended indefinitely, was known since classical times, and it underlies the Fibonacci Series and the modular architecture of Le Corbusier, among other expressions. Gustav Theodor Fechner, a German scientist, studied people’s responses to rectangular shapes in 1876 and concluded that the golden section is the most pleasing, though his methodology and results have been questioned. But other aspect ratios also have historic and aesthetic associations.
Recently I visited Sohier Park in Cape Neddick, York, Maine (near Ogunquit). About 100 yards offshore on a small rocky island perches one of the prettiest lighthouses I have seen, called Nubble Light House. The lighthouse was built in 1879, and the original lighthouse and perhaps outbuildings are still standing (though no doubt much repaired and updated). The 41-foot-high lighthouse — built of cast iron lined with brick and equipped with a Fresnel lens — remains in use today.
No. 85000844 on the National Register of Historic Places, the lighthouse is a New England icon: its image was included among the Voyager spacecraft materials so that any extraterrestials the ship encounters can gape at it, just as we do. The day before we visited we were hit by an April Fool’s Day storm that dumped ten inches of snow on us. But when we got to the lighthouse the sky was clear and blue.
The visit to Nubble made me recall a few other lighthouses I’ve visited, some of which I was able to dig up from my photo files. My favorites are two Northern California lighthouses, the Pigeon Point Lighthouse near Pescadero (the tallest on the U.S. Pacific coast), and the Point Cabrillo Light Station near Mendocino.
The Point Cabrillo Lighthouse near Mendocino (and the small community of Caspar) is one of the most complete remaining lighthouse complexes.
I think of this photo as having a bit of a Richard Misrach quality.
Tri-boro Barber School, 264 Bowery, Manhattan, 1935-1939, by Berenice Abbott (1898-1991). Photograph; gelatin silver print, matte. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Photography Collection, The New York Public Library. New York Public Library Digital Collections.
It’s encouraging to see libraries and museums beginning to make public domain images freely available, increasingly providing high-resolution scans or photos for downloading. Historically, they have guarded images of objects in their collections as a private source of income. Count the New York Public Library among the honorable elite who have made their pd images available to be shared. The library has just put up more than 180,000 images in hi-res free for the downloading. Highlights of the collection include photographs from the Farm Security Administration and Works Progress Administration, Medieval and Renaissance manuscripts, Walt Whitman papers (1854–1892), and early film shorts.
Stitching together photos can be great fun in the proper context. I think the Piazza del Duomo in Milan counts as one of these. This photo was taken 5 April 2013 with an Olympus E-Pl2. I stiched the images together with Olympus’s own photo software, called Olympus ib, but I’ve uploaded the result to a new service I found called Dermander, because I like its scrolling and embedding functions. Its a bit bare-bones (I wish it had the capability of selecting where to begin the scroll), but in contrast to Clevr (a service I’ve used before), it does allow full-screen panoramas (click the play icon and then the full-screen icon at upper right).
This version is downsized for web viewing. The original comprises seven large images.
Pixels or sensor size? Consumers have been trained to judge cameras by their pixel counts, But there are other factors that may be more important to image quality, in particular lens quality and sensor size. Recently I purchased an Olympus PEN E-PL2 camera. This is one of the newish breed of interchangeable lens mirrorless digital cameras that have near-DSLR-size sensors in bodies almost as small as those of point-and-shoots. It’s a good camera for me because much of my photography is travel related, and DSLRs tend to be too heavy and conspicuous for travel work (If I had the budget I would upgrade to the newer OM-D E-M5.)
On a recent trip I took both the Olympus and my old Canon A630 (which was more of a photo enthusiast camera than the current Powershot line, which to me is barely an upgrade from an iPhone camera), and I found that I used the Canon point-and-shoot more than I expected to. Among its advantages are its smaller size, which allows it to be slipped into a pocket and whipped out instantly (the Olympus is a little too big for this, except maybe when equipped with a pancake lens), its shorter time lag time between shots, its silent shutter (the PEN’s is fairly loud), and its swivel view screen, all of which make it well suited for inconspicuous street shooting — it draws virtually no attention. The Canon is also good in low-light situations, when I might not bother to pull out the PEN (unlike the more recent but expensive OM-D E-M5 in the same line, low light is not one of its particular strengths).
But how does the image quality compare? Photography sites tend to do comparisons between comparable cameras, which makes sense if you are shopping in a particular segment. It is less common to compare cameras that are significantly different in nature. But I was curious how great the difference would be between such cameras, and I made a quick, unscientific comparison. The results indicate the the larger sensor size and better optics of the Olympus are (as would be expected, or at least hoped) a distinct upgrade from the Canon. (The Canon is 8 megapixels, the Olympus 12.3 megapixels, but I don’t think that is sufficient to account for the difference in these images).
The Canon images are on the left, the Olympus on the right. The first obvious difference is in color. Olympus has the reputation of producing satisfying jpegs out of the camera without post processing (I’m mostly shooting jpg with the occasional raw; these are jpegs), but I’m not sure in this case that the color of the tomatoes is more accurate from the Olympus than the Canon — though I do think the Canon overdarkens the countertop and stove. (These images are reduced in size and sharpened a little to compensate for the reduction but otherwise not manipulated. They were taken without a flash.)
The difference becomes more apparent (even when reduced to the tiny size of these blog images) when we zoom in. Most obviously, the Canon fails to capture detail in the tomato sprigs, while the Olympus captures individual hairs.
There is also a clear difference in the cameras’ ability to capture the quality of the tomatoes’ translucent plastic container (the angles of the shots are slightly different).
Bottom line: no surprises (thankfully), but I think it is interesting to see just what the degree of difference is between a relatively top-of-the-line point-and-shoot and a typical mirrorless camera. For people who want high-quality images from a small camera, I would recommend the Olympus PEN series.
This photo of a jade plant in front of the fireplace was taken with my new camera, an Olympus E-PL2. This is a mirrorless camera in the micro four thirds format (so called for the 1.33 in. size of the sensor, I think). The best thing about the fairly new mirrorless cameras is that they employ near-DSL-size sensors in point-and-short-sized bodies (although eqipped with anything other than a pancake wide angle lens they are not really pocket sized). Within the mirrorless category, the u4/3 system is nice because some major camera manufacturers (notably Olympus and Panasonic) got together and agreed on specifications for the system. This means that within the u4/3 system you can buy a camera body from one company and make use of a lens from another company. The E-PL2 is a couple of years old, but it was offered at a great price, and the lenses are the same as on the current models (such as the OM-D-EM5, which is great but lists for $1300 on Amazon).
For more examples, I have some garden photos like this one posted at Frisco Vista.
And low-light examples like this one from the Asian Art Museum’s Terracotta Warriors show at 7Junipers.
This photo is one of a series of dark, atmospheric photos by Arnaud Labgraph showing the Seine at high water.
Photography is one of the diverse interests of this mainly book publishing-related blog, but I have been largely inactive for a while as I have been at work on nonvirtual projects. I hope to get back to more regular blogging now — we shall see — and what better way than with a post drawn from my colleague Jason Jose’s Faith Is Torment blog?
My author questionnaire and author photo for 1616: The World in Motion are due this week to Counterpoint Press. My daughter Ellen, who is a brilliant photographer, among other things, took this photo from the roof of her apartment overlooking Lake Merritt in Oakland. It was raining lightly at the time, and later that day ice would fall from the sky.
In Tom’s Glossary of Book Publishing Terms the author photo is defined as “Pictorial fiction. Authors always choose photos that emphasize that quality in which they feel most deficient.” So what does this say about me? I dunno — but I will say, as a guy who has been cutting his own hair for years, that I don’t think the hair looks too bad.
While we’re in Verona, here’s a picture from the courtyard of the Castel Vecchio, which is a handsome museum indeed. I don’t know for sure, but I suspect they slyly chose the planting to coordinate with the banner for the Maria Morganti show.
This photo amuses me because the gondolier reminds me of the Eric Blore role in the Astaire/Rogers film Top Hat.
Please bear with me while I post a few photos from my recent trip to the Veneto and Upper Adige.
I travel with a little (maybe 12-inch) tripod, but for photos at dusk like this one I usually just set my camera on something steady, like a trash bin or fire hydrant, in order to get a longer exposure. Usually I’m able to hold the camera steady for quite a long time in such situations.
For the 100-meter-long photo of which the detail above is a part Simon Hoegsberg shot one-hundred seventy-eight people, “in the course of twenty days from the same spot on a railroad bridge on Warschauer Strasses in Berlin in the summer of 2007.” Impeccably stitched together into one enormous photo, the images create something like one of the great narrative scrolls of the East Asian tradition. Check out the full image here.