thefamilyphotojournalist

Framing Elements

2011-09-04T18:33:00.000-07:00

Hey guys. Been a while. I'm trying to get one in before Tuesday--my wife and I are having a little girl that day. So, I'll be out of commission for a spell.

In the last couple posts of mine, I'm sure you noticed that I used images taken in similar environments. This has been intentional and by it, I'm hoping to make the point that an image might be taken in many different ways. Many of our homes are not photo friendly. It can be frustrating, between the clutter and imperfect wall hangings. A good photographer can see beyond that, though, to find order amidst disorder. My photo heroes are able to do this, including Steve McCurry and Sam Abell. We have talked about visual organization before and will continue to because it's elemental in documentary work (or any other type for that matter).

Look for items which might act as natural frames. Simple shapes, non-distracting items, etc. The more simple the item, the less it will detract from your subject (generally speaking). Use this approach to create symmetry.

All 3 shots I'm sharing in this entry were taken in July in my boys' room. Two contain a singular element, which is the Sesame Street painting, the other a portion of the top bunk and curtains. The boys' room doesn't contain many interesting visual elements and I've learned that more is not always better (i.e., just shooting wide and letting the chips fall where they may). When the angle is right, the painting can be a useful element in organizing my shots.

The shot below is a recent favorite of mine. I like the symmetric and boxy feel of this composition. I like my oldest son's eyes, which are barely visible over the safety bar. I like the way he and his brother's bodies lean in to one another, while their gazes are not singularly focused on the same area. This helps draw attention to their closeness while adding a tension to the image. I like the simplicity of it all. The window helps to close out the composition and keep the viewer from straying too far. It's very graphic.

My oldest enjoys using this camera body, which I've "given" to him (a manual minolta body I learned on). Anytime I pull my camera out, he runs to get his as well. He was taking a photo of me. I lined up the painting to his right (rather than directly behind him) and used the edge of the bunk beds to close out the frame. If I left it open, it would still work but would have a looser feel rather than the staunch symmetry afforded by straight, closed lines.

This shot uses that same painting as an element to close out the shot. Again, I like placing the boys to one side of the frame (but still without pushing them to the far edges) and balancing them with a symmetrical element (painting). When you're seeking out a composition, look for those elements which will fill out a shot without becoming busy or "cluttery".

It took me a long time to learn to see natural lines. It takes practice. It takes studying good photography to see how they did it. I hope this is useful, guys. Have a good one.

Daniel

Using Mirrors

2011-08-08T20:10:00.001-07:00

The shot above was my first realization that I could be in my own shots. True, many of us took at least one picture of our feet early in our photo journeys or perhaps a shot into the mirror but everyone does that. It's a virtual rite of passage. But in the shot above, I incorporated myself into the story of the moment in a less direct way than photographing my feet or myself in the bathroom mirror.

This post will look at creative ways to use mirrors and even how to incorporate ourselves into our images. I find both concepts interesting but as with any other technique, moderation is key. I use techniques such as this sparingly and for some reason (perhaps because I see way too much reliance on gimmicks these days), feel the need to say so.

This next shot is a variation in the same living room as the previous image. This is the same couch and the same mirror in the same living room that I sat on and slept on and jumped on since I was a tyke. It has meaning to me. I didn't want to shoot it the way I had before so I chose to frame vertically. I went for symmetry, so that the objects framing my youngest son would be less literal and more abstract shapes. I also was careful to include my wife in the reflection which provides another layer of content.

In this next shot, my cousin is reading to my two boys. Again, same couch, same mirror, etc. I think it's a good illustration of how varied you can make your compositions even with almost all of the same framing elements. I chose to include myself as part of the picture as well.

There is a component of fun in including yourself in shots. My wife decided to take a photo of me and I quickly composed this and fired back. There's a second shot which included my wife's camera flash burst but it seemed too contrived to me. Creative and simple can be adjectives which describe the same shot. It's okay to think simply if you have a handle on the elements of good composition, content and timing. Don't be fooled into the lure of "complex is better."

This shot is an example of finding a composition and camping on it. I pre-composed, pre-focused, and waited for my grandmother to step out of the guest room. Then, it was simply a matter of timing. Knowing angles helps as well.

I believe this shot might have appeared on an early post of mine. My apologies but it's one of my favorite mirror shots.

As always, I hope this is helpful and I hope it finds its way into your photo toolbox, like good spices...used sparingly.

Daniel

Effectively Using Deliberate Motion Blur

2011-08-03T11:46:00.000-07:00

Let's face it, we are at times limited by creating art within a two dimensional medium. Sometimes photos can feel a bit 'lifeless', especially when what we photographed was moving. I've already discussed the technique of panning, which is a tremendous way to add life to your photos (read that tutorial here: http://thefamilyphotojournalist.blogspot.com/2010/02/panning-how-i-roll.html).

But conditions do not always warrant a full pan. Sometimes we just want to show that things were moving when we captured the scene. Doing so is really rather simple. It just requires you to really focus on technique.

First, slow your shutter down to somewhere near 1/25th of a second. Your shutter speed will vary depending on how much movement you want to show. I personally like when the majority of the scene is sharp and just a small part of the photo has motion blur on it. Once you've selected your desired shutter speed, be sure to think about holding still when you press the shutter. Remember, this shutter speed is most likely slower than you normally shoot. So just be aware.

Below are some examples where I've utilized deliberate motion blur:

My son was playing the Wii and I really liked how his hands were moving. So I selected 1/30th for my shutter speed and waited for him to "hit the ball".

Same concept below. This was shortly after Santa brought he Wii.

Later that same night :)

After writing this post, I realize that I need to do this more!

Good luck! Keep documenting!

Chuck

Isolating for Effect

2011-07-18T19:55:00.000-07:00

Hey guys,

I want to talk about isolation in your images. This post addresses single subject isolation for effect.

Any good photo has a subject. (I know, painfully obvious statement.) Sometimes the subject is rather obvious, while it may be less obvious and/or more abstract in others. One of our jobs as photographers is to tell the viewer where to look. Good composition does this.

Now, you've surely seen photographers who shoot everything wide open (widest possible aperture on a given lens) because of the bokeh. Yes, bokeh is nice but it can very easily become a crutch. That's because shooting wide open all the time doesn't require a photographer to carefully consider the background. It's thrown so far out of focus that your eye cannot help but go right to the subject, which is often the only in-focus object. Easy. And sometimes just plain lazy. Whether you shoot wide open, stopped down a couple stops or at "f/8 and be there," you should know WHY you're doing it.

1. Choose your backgrounds carefully. To isolate a subject, the simpler the better.
Here is a shot of my son while on a trip to Texas. His great grandmother had given him a new skateboard and this is all he did for the few days we were there. I stayed back to let him play and used a 135mm lens. I shot from a side angle because I liked the shape of the houses behind him and because the background was uncluttered, he stood out well.

2. Separation.
I shot this is my son while in Texas. The sun was brilliant and warm. I was shooting close to wide open but I still carefully placed him clear of the sign posts and poles.

3. Get close.
Getting close to your subject can separate him/her from the background. Part of this lies in the fact that the closer you are, the faster depth of field drops off, even stopped down to f/4-f/5.6. One of the biggest benefits this has is proximity to the lens often catches the eye of the viewer more quickly. This shot below captures a quiet moment of a cousin with her puppy. She and the dog share a moment, completely separate of anyone playing around her. The image conveys that.

4. Choose your angle.
Below, you see a girl on a slide, alone in her thoughts. What you don't see is the house behind that slide, surrounding trees, other playground equipment or children playing. The low angle eliminated those distractions and set her apart from them all. The result is another quiet, contemplative image.

The shot below illustrates isolation at its rawest. Simplicity. White walls, a backwards glance, and nothing else. These moments are always both fortuitous and equally intentional. You can't expect them to fall into line regularly and you can't wait until the stars align. As a photographer, your job is to MAKE it happen.

Hope this is helpful.

Daniel

Which Camera for Family Photojournalism?

2011-07-14T12:23:00.000-07:00

Recently, we received the question: "Can (insert camera here) be used to shoot Family Photojournalism?"

The answer is a resounding YES, regardless of which camera you own or use!

While you may use literally ANY camera, I primarily use a Canon DSLR (1ds2 and 5d2) with an assortment of prime lenses. I choose to use these because it gives me a lot of flexibility when shooting in a wide variety of lighting conditions. For example, I might start photographing my family in my home early in the morning where light is low, but the scene may shift quickly as they move outside. By using a prime lens with a wide aperture setting, I do not have to change lenses when my subjects move into different light.

With that said, ANY camera will work, but there just might be some limitations. My advice would be to understand and work within the confines of those limitations. For example, if you own a Canon DSLR and the standard 18-55mm kit lens, shooting inside without flash will be difficult. Therefore you might want to opt for more outside documentation. Or if you have an old manual focus film camera, you might want to photograph your family when the are more subdued and not participating in an action packed event.

While I do prefer my Canon DSLRs, I occasionally shoot other cameras. I owned two different Leica M6 film cameras with 35mm lenses and REALLY enjoyed them. One of the limitations of the Leica M is that the lenses are manual focus. Additionally, since it is a film camera, you cannot adjust your ISO on the fly. Posted below is one of my favorite sets from last summer. The photos were taken while we were on vacation. We decided to take a late evening beach walk. I only had about a half of the roll of film left in the Leica M6, so these are all the shots from the session. The film used was Fuji Pro 400

So, to recap, any camera will do! Now go photograph your family!

Chuck

Using Multi-Layered Content in Your Family Photojournalism

2011-07-06T19:50:00.000-07:00

All too often, I get satisfied with capturing 'single themed photographs' where there is one major piece of content in the photo. For example, let's say my child is digging for worms in the back yard and the light is perfect. I quickly raise my camera, position my little guy in the frame where I want them...and SNAP....I have a decent photo.

But does this photo tell a story?

One thing I try to accomplish when attempting family photojournalism is to tell a story with an image. As I analyze my own work, I'm finding that singular themed photographs (while nice in many cases) just are not that deep and do not always tell the whole story.

More and more I am attempting to focus on having at least two pieces of content in my photographs. I'm finding that the more I concentrate on this, the 'deeper' my photos are becoming.

Take the photo below as an example. I came home from work and went on the back deck to find my wife feeding our youngest child on the table while my two other children circled her like wild banshees. I was first drawn to my wife feeding our child in his new seat (first time he was in it) but I literally told myself, "eh, thats boring, the light is dull, and I have TONS of photos of my children eating." But there was more there. My other children were riding scooters, so I began to think about how to incorporate them into the scene. I knew that my primary piece of content was my wife feeding my child, but I needed a second piece. I grabbed my camera (1ds2 + 24L) and sat down against the rails of my deck and I waited for my children to pass by the frame. When my middle child entered the frame, he looked at me, I pressed the shutter. Think just how different this photo would be if it was just my wife feeding my child WITHOUT my son looking into the camera, riding a scooter, WEARING A SCUBA MASK!:

As another example, the photo below illustrates how multiple layers of content can add to the strength of an image. My wife was snuggling with our youngest on the couch. I even took photos of them...just her and him...on the couch...boring! But when I stepped back from the scene, there was SO MUCH MORE THERE. My other children were playing the most bizarre game of go fish and were really enjoying themselves. The 1ds2 + 24L was the weapon of choice again. My primary piece of content is my wife and newborn with my secondary piece of content being my older children playing cards. I used a center composition with my older children framing my primary piece of content:

Finally, the image below is really special to our family. My wife was just a few days away from delivering our third child (the little guy pictured above). Our house was a wreck, yet there was still so much to do. My wife worked tirelessly to make sure our little guy came home to a place conducive to raising a child! This was the end of a very long day for all of us. The older children were snuggled up watching a movie, but my wife was busy folding laundry. Think how different this scene would be if I just photographed my wife, or just the kids. Camera was the 5d2 + 24L:

So, my challenge to you all would be to wait before you press that shutter. Look around, try to find something else that is going on so that you can add some depth to your photographs! But be patient, it ain't easy!

Chuck

Low Light Photography and Digital Noise

2011-06-22T12:29:00.000-07:00

When Daniel and I first decided to author this blog, we really didn't anticipate the amount of work that would be involved. Mind you, this work would be in addition to our full time jobs, our part time jobs (both photographers), and our duties as husbands and fathers.

Something had to give. I think we were a bit ambitious in our early planning by trying to post two times a month.

So, from here on out, Daniel and I will post when we can!

A topic that I've been thinking a lot about lately is shooting in low light and dealing with digital noise in images. I have been a member of several internet forums over the years (that's how I learned photography) and have long read about how to minimize digital noise or grain when shooting in low light. Noise is often the result of one of two things: 1) shooting at high ISO values (ie, 1600, 3200, 6400) or 2) underexposing an image and trying to 'push' the exposure in post processing.

Many people advise to avoid setting their ISO values to such high numbers for fear of 'your photo will be all grainy'. You'll read that you should use your flash to avoid the grain. And while this is true, you can shoot at lower ISO values with a flash (because you are forcing more light onto the scene), you will often change WHAT THE SCENE ACTUALLY LOOKED LIKE.

As a photojournalist, I strive to maintain the authenticity of a scene, moment, expression, etc. I WANT the scene to look as it did when I took the photo. For example, if the room is dark and only the TV is on, I WANT my photo to be dark. So if you want to keep your low light scenes 'real', you really only need a fast lens (ie, a prime lens that has a wide aperture such as the Canon 35L f/1.4 or Canon 50mm f/1.4) and the vision to shoot with your ISO above 1600!

Another thing to consider when shooting in low light is your shutter speed. Again, if the scene is dark AND you already have your ISO cranked up, you might be forced to use a slower shutter speed (ie, 1/10th, 1/25th). If you are shooting a wide lens and your subject is static, you shouldnt have a hard time keeping the camera steady...it only takes a bit of practice.

The following examples were shot in extremely low light with slower shutter speeds. Notice, there is a decent amount of 'noise' or grain in them. In fact, I even ADDED some grain in photoshop :)

Movie Night: The only light in the room was the TV. 1/30th, f/1.4, ISO 3200

Movie Night II: Again, just the TV, in our very dark basement. 1/25th, f/1.4, ISO4000

Homework: Only light was the small lamp in the photo. 1/60th, f/2.8, ISO3200

Wii: Only the TV as a light source. 1/40th, f/2, ISO3200

Book Time: One of my all time favorites. Taken with just the light from under the bunkbed. 1/80th, f/1.6, ISO 3200

I really feel like the use of flash would have DESTROYED these images. So, turn your flash off and crank your ISO up! Preserve the authenticity!

Chuck

Critiquing Chuck: 2

2010-10-23T07:58:00.001-07:00

As I often mention, I love Chuck's work. In this post, I'll talk about a few shots I've selected of his and offer my critique on them. Unlike the last "critiquing chuck" post, these were chosen because of a running theme.

On these first two shots (below), the boys are gathered in and around an armchair by the window, focusing intensely. Chuck has shared pictures of his living room (think back to the last post of the couch and frames on the wall, etc) and has even stated himself that it isn't very big. Yet if you study the many shots he's taken there, they don't feel redundant or "tired". How is that?

The first shot is a bit more complex than the others in this post. There are two equally interesting subjects with divergent lines of interest. There are two distinct expressions and emotions conveyed here as well. The composition is very straightforward but nicely incorporates the important elements, omitting items which would clutter or detract from the scene. The second image is similar but Chuck is slightly farther away from the boys. These two images look to have been taken around the same time with the same focal length (I didn't view metadata, so I might be wrong on this) yet tell two parts of a larger story of a slow morning. The details are wonderful: the object of attention, the game system, is prominent, the over-sized watch, the "bed head", wife beater and boxer briefs.

This image below was taken in the same exact chair as the shots above but from an oblique angle, rather than straight on. I love the blanket which engulfs his little body. I love the light from the large window splashing all over him. I love the squished cheek where his hand meets his cheek from underneath the blanket.

To continue our "one angle of the living room" theme: Below is an older image of Chuck's but there are several things to love about it. Chuck uses the clutter in the room to his advantage. Kids make messes and can be messy. Why try to portray an immaculate house in your images if it isn't ALWAYS truly immaculate? I find these kinds of images endearing, personally, and have plenty of "clutter" images myself. Again, the same chair is in the background (as the other shots) but the angle is slightly different and the composition has a different feel to it. What is most interesting, and should be, are the expressions of those boys, both intently watching the television screen. It offers a quiet moment among the busy-ness and loud natures of most young boys.

What really makes these shots work is not brilliant composition (although, they're well composed images), it's not lighting (hard to beat window light, though), and it's not the gear he used (though Chuck uses stellar gear): what made these shots work is the story they contain and the expressions of his little subjects. They're interesting. They're telling. They're endearing....and they're not even my kids (sadly, i haven't met this famous family).

There are many things that CAN make a great photograph but what consistently makes a good image work is emotion, expression, gestures, etc., things which are telling of the subject. Learn from Chuck. All of the things he does well pale in comparison to his ability to capture genuine emotions and moments which tell a story about his subjects (in this case, family). With all of the terminology and technique and gear relating to photography, it can be quite overwhelming. Chuck's solution for a majority of his shots is the 1ds2 camera body and the 35L. Simplicity. What we should value, above all else, is content in an image. Hopefully, the simplicity and beauty of these images above display that principle well.

Thanks for letting me use your images, Chuck. Hope this is useful, guys.

daniel

Expanding your family photojournalism

2010-10-06T18:02:00.000-07:00

hey guys-something i alluded to a few posts back was shooting outside of your immediate family-we've primarily talked about capturing our own son(s) or daughter(s) but FPJ can include so much more-personally, i enjoy photographing my boys as they interact in places outside of our home-it's a nice change in venue and more family members (as potential subjects) offer opportunities for a range of unique interactions and moments, not to mention more complex and layered images-my family also enjoys my perspective on our family gatherings-just apply the same approach we've discussed in searching for moments, carefully composing, being patient, etc.-it's also great practice to get out and try to create shots-here are some i've taken with my extended family with a few notes:

something i love to do is take a unique angle on an image-their mom wanted them to "cheese" for the camera-I make a very intentional and conscious decision not to ask my children to smile-instead, i took a very different angle with a 50mm lens and waited for the expression i wanted

our family rents a club house (because there are so many of us) every Easter with a playground in back-the girls were playing on the playground and i decided i really wanted a shot as they ascended the stairs-i liked the spacing between the girls and tilted my camera (slightly) to enhance the sense of movement-the moment i released the shutter was important to me here-a second or two earlier and they wouldn't have filled the frame (right to left)-a second later and i would have "amputated" a hand or two

this shot, like many of mine, comes from studying and observing my subjects-i watched her play for a while, trying to position myself well in preparation for a shot-as she climbed through the opening, i saw something and quickly composed-as she grabbed the rail and leaned to her right, i snapped the shutter-you can teach yourself to be in the right place at the right time and to anticipate moments-i highly encourage this discipline

this was at a small gathering for a birthday party-my grandmother is in the foreground-i shot from an angle that layered them and gave each person their own distinctive space in the image-i chose to focus on my cousin here and use my grandmother as a natural framing element, giving both context and interpretation to my cousin's laughter

something i very consciously set out to do and continue is that i take my camera to my grandmother's every time i visit-i want to document her, capture the wonderful personality I've grown up with, and capture the essence of who she is-no small task but i can tell her story cumulatively-one thing i love about her is her sense of humor-i like the composition here, it's simple and nothing advanced or brilliant (though notice that even with a straight forward comp like this, i still tried to keep separation between my grandmother and cousin behind her)-the content is what makes this shot special, the genuine moment of laughter that i've experienced a thousand times

the angle was important to me here-the girls were doing acrobatics on the swing set and a standard, straight forward shot wouldn't convey that as well-i also like the motion blur and softness to the image-it all conveys action and motion and something fleeting that i was fortunate to capture

there are several things happening here at once-i really like that in an image-it tells its own story

something i love about the photography is its ability to stop a moment or an expression, for that matter-there's an intensity in her gaze-in this instance, i don't provide the person she was gazing towards-i like the mystery of leaving out that element-it's open to interpretation by any given viewer-plus, who says only "smiling kid shots" are worth shooting?

i really hope this encourages you to take your photography to your family (not just your camera to someone's house, if that makes sense)-document things that capture your family as they truly are, their quirks, their personalities, etc-we have a unique perspective that can contribute to how people see themselves and how they remember their lives-help shape that-you and your family will greatly value that over the years

thanks for stopping by, guys/gals

daniel

Displaying Your Family Photojournalism

2010-09-29T07:25:00.000-07:00

First and foremost, I'd like to sincerely thank Daniel for stepping up and maintaining this blog over the past few months. Life threw a curveball my way and I had to refocus some energy in other places.

Ok, so you've been reading our blog and I have no doubt that your photos are improving. So what should you do with those great shots?!

1. I urge you to print your digital files semi-reguarly! I had a conversation with the great wedding photojournalist, Evan Baines about the boxes of photographs that we all have from our childhood. Think about it, our parents shot FILM, maybe 24-36 photos at a time. The film was brought to a lab and the end result were PRINTS. When I look through these photographs, I do not judge composition, light, or other technical aspects of the photo. I simply enjoy them. All too often (and I am guilty of this myself) we let our digital files STAY DIGITAL. Or we'll only print our 'best'. Print the middle of the road shots as well! Your children will appreciate them in 20/30/50 years. For great online labs, I can recommend www.mpix.com or www.adoramapix.com (I love their matte finish).

2. Albums. You can go in many directions here: a) Take your prints and buy a 4x6 album and make your own. b) Take advantage of the digital age and create a digital album. Most printmakers offer various digital books. c) Old school. You can take a 12x12 album without the pre slotted plastic sleeves and buy photo corners and archival tape and create a nice, clean, photo album that will be fully custom.

3. Family Photojournalism as ART! Frame your favorite/best photos and make a display! There are so many amazing products on the market now (canvas, acrylic pressed prints, fine art, etc) that you really cannot lose! Chose which ever type of print/look you desire and hang it in your family room!

Personally, I have always loved the look of a gallery style wall. But I was always aware of how costly custom framing is! As a solution, I purchased 12 'decent' 12x16 black metal frames (on sale). But in order to give my 'gallery wall' a custom look, I paid for custom cut mats (each one was around $9) cut to the various sizes of my prints. All prints were made on an Epson 2400 with Velvet Fine Art paper. I tried to print at 'odd' sizes so there was some variety in the uniform look. I would estimate that the total cost of framing/matting the series below was about $300.

This is the current set up. The photos have not been switched out in 4 years. I am in the process of printing new prints.

Thanks all for stopping by!

Chuck

Book Review: Sebastiao Salgado

2010-09-13T17:45:00.000-07:00

Something I've been meaning to do for a while is share books that I've found influential. If you don't know who this guy is, you need to. There are many, many photographers that I've studied and continue to study, but one of the most influential photographers for me has been Sebastiao Salgado, a Brazilian documentary photographer. His work covers multiple continents, though much of the book I'm sharing is concentrated in South America and Africa. Here's a short review of his book, An Uncertain Grace, with some insight into what I got out of it myself.

First of all, if you're able to/willing to pick this book up from the library or even off amazon.com (etc), I'd encourage you to read the essays. While the pictures can teach you a great deal about how a photographer approaches his subjects, the way he composes his shots, what he chooses to include and exclude from a photo, and what moments he/she deemed worthy to press the shutter for, the essays will teach you an equally important skill: how to talk and think about photography. This is a skill that is underrated and often neglected to make space for learning Photoshop and Lightroom tricks and blog stalking. Being able to talk about why you like a photo or why you do not can help you to analyze photographs more deeply. It can also aid you in "seeing" in a whole new way. Over time, the language of photography will become inbedded into your skull and you will learn to shoot more from "feel," requiring less thought and analysis during the moment. (Essentially, it will be more/less second nature over time) That's why I read the essays in my photo books and why I would encourage you to do the same. The author's perspective will also help you to appreciate the photos on a level (often) surpassing your own. It often includes insight behind the photos and what the photographer went through to get the photos, though rarely mentioning anything about the technicals.

Sebastiao's work is very raw. He doesn't attempt to glamorize his subjects or their surroundings. He shoots in black and white, which lends itself to an evocative, yet almost surreal quality. Through his work and Sam Abell's, to name a couple, I have grown fond of darker, moodier images and exposures.

Sebastiao's moodiness is accompanied by a quietness, a stillness that seems to reach into the subject's soul and capture something about who that person is. In reading it (and I have several times now), I come away with a sense that I've actually been the places he has. That is another thing to learn by studying this book: how to use context to speak about your subject and how to incorporate setting without allowing it to overwhelm your subject.

If you have the chance to look this book up, I highly recommend it. You never know which photographers will change your life. There are many I like but only a handful that truly changed the way I see. This is one of them. Try it one on for size.

"An Uncertain Grace" by Sebastiao Salgado (I included a few images to whet your appetite)

Thanks, guys

daniel

Summer Vacation Part 2

2010-08-12T22:30:00.001-07:00

As promised, here is part 2 of vacations. You'll notice some similarities between this set and the last, partly due to the fact that this is the same cabin as last year in the Smoky Mountains. Same drill as last week, some shots with some explanation. You'll see a little environmental portraiture in this which is unusual for me.

On the way home, we spent several hours at the Knoxville Zoo, also in East Tennessee. Those shots are interspersed into this set.

Gonna go ahead and get the environmental portraits out of the way.

As much as I dislike the 5d2, I have to admit live view and iso 6400 are quite handy (and clean). This shot was actually taken at dusk at iso 12800 f/1.4 1/30. The goal is to get the shot. Worry about noise and technicals later.

In these next two, you'll notice another recurrent theme, which is basic layering. I frame my boys using both foreground and background elements when there are no other natural frames available. Rather than follow the trend of automatically incorporating tons of negative space, I choose to complement my subject with context. Both can be effective, but negative space rarely tells a story. You'll also notice that I love to capture my boys during a contemplative moment (i.e., lost in thought, distracted, etc).

Again, very basic framing, using the bucket to provide context. To me, the bucket sits there quietly, unused, while the boys dance as the bucket's background.

I love 50mm. I took an angle that allowed the railing to run through the frame diagonally. Even simple compositions such as this can benefit from leading lines that are subtle yet effectively draw the eye to the subject.

As much as I like to layer (and usually do), sometimes I go for symmetry and simplicity instead. In this shot, I liked the animals on the wall and used them to frame my son.

What I like about this is the dynamic of Henry looking across and out of the frame. I framed it and waited for him to do something like that. If he were looking out toward the rhino exhibit (to camera left), his gaze would have led out of the frame along with mommy in the background. Because he's looking back into the frame while she's looking the other way, there is a slight tension to the image and the eye is able to bounce around the frame without ever being "led out" of it.

Simple example of natural framing, using the doorway and the light's rapid falloff which I love.

I like the complexity of this image. If you like complex and dense (but visually organized) street photography, check out Alex Webb. He shoots for Magnum Photos and is an amazing talent. This shot has that type of complexity, while maintaining separation between the multiple subjects and their movements. Also notice that while everyone is moving about, Isaac's eyes are on the camera.

I thought I saw A LOT of shots while in this toy store. There seemed to be myriad opportunities but I never could make it work. I was a little frustrated at my failure. As we descended the stairs, I noticed the spiral from above, quickly framed, guessed exposure and snapped a shot.

Here is another example of a series I tried to shoot and felt I was failing. Carousels are frustrating to shoot because they're so visually busy and during the day, your sensor can't register the dyanmic range between the shadows and highlights. I finally knelt down and tried to simplify things, eliminating many of the issues my other shots were having.

These next two show two ways I approached a similar shot and angle.

A lot of pictures but a busy few days. So, be encouraged to bring your camera more places. Think through your shots and exposures and capture something unique. I'm excited for my boys to look back on these shots in 10 or 20 years from now. Thanks for stopping by, guys.

daniel

Summer Vacation: Part 1

2010-08-12T22:21:00.000-07:00

Well, summer's at an end and school's begun. If we were lucky, we got to take a vacation away from work and the grind of daily life. It might be tempting to leave the camera at home...to "get away." But think what you'd be missing. Documenting a family event or outing can offer a plethora of visual opportunities. There are stories to be told. There is scenery which differs greatly from your living room or front yard. It's a wonderful challenge and a chance to capture images that may never present themselves again. (this applies to zoo trips, park outings, etc., not just vacations)

This post is part 1 in a short series on summer vacation. The past two years, my family and I have traveled to East Tennessee and stayed in a cabin tucked in the Smoky Mountains. This post covers last year's vacation. The next one will cover this year's. The goal is to give you a sample of how I cover/document my family vacations with a few notes and encourage you to do the same.

On the way to the cabin, we stopped in a hotel. The boys weren't very good at being "quiet." The next four shots cover that experience.

This boy fought sleep for about an hour and a half. We were quite relieved when we were able to get him to to go down. Plus, I love sleeping pictures. It's a recurrent theme in my family PJ work.

What to do when your oldest wakes up at 5 AM? How about cartoons and powdered donuts? Notice the very slight tilt to the right. Subtle tilt can add a dynamic quality to an image, if not overused or too obvious or exaggerated.

The tunnel provided an interesting visual but if shot straight on, would appear at a bright circle with rapid falloff. Instead, I shot at a slightly oblique angle so that the tunnel would curve out of the frame and give the viewer a sense of where Henry had come from.

This kind of picture takes itself. Notice the sleeping bear on the other side of the glass.

It was later in the day. We had walked all over a rather large zoo and everyone was bushed. I was able to tell two stories simultaneously. And by shooting a somewhat oblique angle, I provided a little more depth to the image (with two distinct layers of content).

The context makes this shot. I could have grabbed a closeup or head shot but the rocks and brush behind him give the photo a rustic quality and sense of place that I like.

These are the kinds of moments I love to capture. Again, we have a sense of place. It was a beautiful, sweeping area. I would consider this a landscape with people in it.

This shot was easy to capture. I had to choose my angle to show just enough of his face (the eyes are the most important feature) and watch him play. This kind of image is more elemental than literal. By focusing on the context and playful eyes, it becomes an image more about childhood fun, even when it's nothing more than a bathtub.

Grandma calmed him down and rocked him to sleep...with Gus (teddy bear). Her hands were my focus, as the shot is more about her comfort than anything else. The hands and her gaze were the key features that I wanted to capture. The exaggerated wide angle (while being careful not to distort too greatly), makes the hands more prominent.

These are just a few highlights of last year's trip. It's not important to have 50 or even 100 superb shots. 15 good images is plenty IF they're really good (and that's a judgment call, there). Spend time capturing one good image per event. If you get more than that...great! That image will live on as a family classic. Quality, not quantity. Even if you don't take the camera out very much, your family will be able to look back fondly on their past, long after the details have faded from memory.

Thanks for sticking around the blog, guys. Your comments are always welcome and highly valued.

daniel

Dramatic Lighting

2010-08-03T18:03:00.000-07:00

Hey guys,

Been a while since Chuck or I posted and with the summer coming to an end and vacation season ending, I'll be around a bit more.

A quote I really like from Joe McNally goes: "John Loengard, the picture editor at Life, always used to tell me, 'If you want something to look interesting, don’t light all of it.'" It's a pretty basic concept but a little more difficult than it sounds (to do well). He's referring to getting away from flat lighting (lighting EVERYTHING on your subject). Sometimes, flat lighting is inevitable and sometimes, it's right for the shot but for this post, we're going to focus on using small bits of light that help our subjects stand out. It's pretty easy to find (easier with natural light than in the studio) and will often require high iso and slow shutter speeds. Once you find the light and lock in exposure, it's a matter of finding an interesting composition and waiting for the right moment. Here's an example:

The room was dark and lit only by the laptop that my wife and son were sharing. I framed it symmetrically which matched the simple light source. ISO 3200 1/50 f/1.6

In this shot, most of the window light is blocked by the blinds. Henry has opened up a small portion to look out from which allows more light to hit him. The falloff is quick, as is most window light but the small pool (of light) allowed through helps his eyes to stand out. ISO 1600 1/400 f/2.8

This was shot at an alligator exhibit at our city zoo. The room they're standing in is dark and the only light allowed in comes through the windows. As mentioned above, window light has some wonderful falloff and I used it to backlight my boys. I find this to be much more interesting than if the room they were standing in was well lit. ISO 200 1/125 f/2.2

The room was dark and as Henry brushed his teeth, he was illuminated only by the tv. ISO 1600 1/40 f/1.4

Unlike Joe McNally, I didn't light these. I used available light but used it to my advantage. Rather than fake it in photoshop, I found light that had natural falloff and a little drama. It's simple to do once you spot it. Good composition and timing will get you the rest of the way there.

Thanks for visiting, guys. Please keep sharing our site with others if you find it helpful.

daniel

Shoot some film!

2010-06-28T21:08:00.000-07:00

I've recently rediscovered the beauty of film. It's exciting. I learned on film and shot it for 6 years before finally going digital (honestly, never wanted to go digital, but it has its advantages). There's a look, color, and tonal rendition that are tough to come by digitally. Shooting film also requires great care and discipline with each shutter click. Film and processing cost money so I try not to waste any shots. It makes me think even harder about a composition and makes me more patient, too. I had these shots processed recently and finally purchased a good scanner to go along with it. I wanted to share the product of a week and 36 shots around my house with my boys. I used Portra 160NC, a professional, natural color film. Iso 160 is pretty slow, so these had to be outdoors. Hope this inspires you to pick up your old film camera or buy a used one (you can get them for less than $100 and they'll work with your current lenses).

If you decide film isn't for you, try this: limit yourself to 36 shots for an entire week or even an entire outing to the zoo, park, etc. Don't delete any shots or even review them. Try to get it right in-camera. The discipline and skill it takes are invaluable to good technique and will help you further your technical skills. Hope you try it out. Here's a sample of those shots.

About shooting color film: there's no "auto white balance" so shooting in different types of light will not produce the same color renditions (i.e., shooting on a cloudy day will produce cooler images, etc, when shooting with a daylight balanced film). You'll notice this in the color casts throughout this set. Here is a sample of that roll:

ASSIGNMENT #1: From Above

2010-06-08T07:13:00.000-07:00

As The Family Photojournalist grows, we will continue to add features to assist in your journeys in documenting family life!

Our latest addition will be The Family Photojournalist Assignment. The rules are very simple. We will provide you with an assignment and a deadline. You shoot, edit, and send us your favorite photo from the assignment. Photos must be resized to 800 pixels on the longest end (I crop my images to 8x5.33x100ppi in Photoshop). We will feature some of the exemplary examples in a blog post.

The Family Photojournalist Assignment #1 is called "From Above". This is an exercise in composition. All too often we take photos while standing up or on our children's level. This assignment requires you to look at things a little differently. You must take the photo from an above perspective. So get out your ladders, climb balconies, or peek out windows in order to get your shots! Your examples should be sent to thefamilyphotojournalist @ gmail.com by June 22, 2010.

Below are two examples (which happen to be two of my favorite all time images):

1. Ocean City, New Jersey. Neither my wife nor I vacationed as children. So we made a pledge that every year, we would do some sort of vacation with our children. This particular year we did a long weekend stay at a hotel in Ocean City NJ. My wife and oldest child were swimming in the pool as I was lounging on a chair taking photos. I only had a 35mm lens and I wanted a wider shot of them, so I started looking for options to back up. The only option I had was a balcony above me. So I climbed the stairs, observed the scene, and waited for the 'decisive moment'.

2. Ocean City, New Jersey II. We rented a very small 1BR apartment (about 400 square feet) that was ocean front. Our thinking was that we wouldnt spend much time in the house and loved the idea of being on the beach. Well, it rained almost all week! And we were stuck inside more than we hoped to be. This was one of the few moments where my boys were outside. I was sitting in the empty chair snapping shots as my children played in the sand. Again, I thought an above perspective would tell a better story. So I climbed up to the second floor and snapped the photo. I decided to leave the chair in the frame to illustrate where I was sitting.

Have fun with the assignment! We cannot wait to see what you all come up with!

Chuck

Critiquing Chuck

2010-06-07T21:21:00.000-07:00

Thought it would be fun to pick two of Chuck's images that I really love and talk about WHY I like 'em. It helps to be able to analyze a shot (that you like or are inspired by) and know what you like about it. If you're able to break a shot down, it will help you to use the same techniques in your own work. I would encourage you all to think critically about the photography you love and use those images to grow your own photography.

Back to Chuck. Here are two of my favorites and my critique of them.

First up: "Five"-chuck has composed the image beautifully
1. the children are nicely spaced, good separation between layers (children, houses, etc)
2. i love how carefully he included aspects that tell us something about the neighborhood such as the stop sign and street signs, houses, cars, etc-he didn't try to hide some of these elements and it adds character and back story to the image
3. the timing is perfect-the bat is cocked back, ready to swing-his little brother is waiting behind him, eager to see candy fall out-chuck snapped at the height of anticipation and it's palpable here
4. the composition is simple and very effective-it places the pinata on the right third, the birthday boy close to center but just to the right and the other children on the right third-there's great spacing around everyone in the frame
5. the wide angle exaggerates the distance between the birthday boy and the other children, an isolating effect, though the shot contains a lot of warmth

next up: "peepee"-the composition uses the urinals to frame the scene very effectively and doesn't cut into any of them
1. the tiptoes are part of what makes this shot so perfect-it highlights the smallness of his son compared to this adult sized bathroom
2. shots from behind can take on a conceptual quality such as "slices of childhood" that a shot from the front can't do since it becomes a shot about a specific child rather than the idea of childhood things (if that makes sense)
3. he uses the 35L so well here (which is really the best PJ lens every manufactured-so versatile)
4. this shot is wonderfully humorous as well-you can't help but smile at the situation because it's very true to life-that's the beauty of capturing these kinds of unique family images, they're universal and personal at the same time

try this type of analysis/critique on another photographer's work some time-try to figure out what you like about it-is it the composition, the lighting, the timing/moment, or is it just the person who was photographed? or all of the above, of course? have a good one, guys-hope you enjoyed this

daniel

Composition: Layering

2010-05-19T20:33:00.001-07:00

This is one my favorite subject to discuss about photography: layering. It incorporates a variety of subject matter into levels and results in more dynamic and complex photos. It incorporate the dynamic of foreground and background elements, rather than a shot of a single subject, alone. There are a variety of ways to accomplish this and we'll briefly discuss them.

The idea is to balance the image, using inanimate and animate (people, animals) things to frame your subject (as mentioned above, in the foreground and background). Here's an example:

In this shot, notice that I was careful to achieve separation between each layer. If I were to overlap my wife or father-in-law with my mother-in-law (who's in the background), I would lose the layering and end up with an unbalanced picture. Remember that as photographers, we can't imply layers or depth, we have to show it. If you're not getting enough separation, change your angle until it's achieved. Separation is very important to achieve true depth in a photograph.

This is very simple layering. Rather than a two-dimensional shot of my youngest crawling outside, I framed him in front of my oldest son. Layering, even when simple, creates a more 3-dimensional look and balances out a composition.

I love complex compositions like this. Each individual is doing something different, looking in a different direction. One of my favorite compositional tools is placing a face or body in the foreground (off to one side) and using that as a natural frame, leading the viewer into the shot and offering some context. (by the way, these are my cousins-we'll touch on expanding FPJ from immediate family in future posts)

In this shot, my oldest (Henry) was eating icicles. Nothing groundbreaking. However, my wife began to photograph him. I chose to take a lower angle, using them to frame one another and tell part of the story of that afternoon through simple layering.

It helps when there are multiple areas of action at once. Layering (or creating levels in an image) is not always enough to take a shot to a more interesting level. Sometimes, the action has to be there. In this shot, you'll see both my son and my wife playing. There's a type of parallel motion between them as well (you'll notice they're both reaching forward with their arms, both leaning to camera right).

I included this shot as an example of using this compositional technique with telephoto lenses. Rather than capture a headshot of my youngest, I chose to frame him with his grandfather behind him, incidentally providing context to where they are and who is present.

This is one of my favorite shots because of the way everyone is spaced. You just have to be ready to capture it when it happens IF you're waiting for it to happen naturally (which as a family PJ, we usually are). I used my youngest (as he looks on) to frame the action in front of him. I also used the doorway to frame them, making this photo more complex than if I had stepped into the bathroom and grabbed a tighter shot of what was happening.

Layering takes time and practice. It takes forethought but the results are well worth it. It's a skill I admire in the most gifted of photographers. By using it, it will take your compositions to a higher level, create a visual dynamic, take images from two to three dimensional, and add complexity to what might be otherwise flat images. Not to say that simple isn't good (I love that, too). As always, thanks for stopping by, guys and girls.

daniel

Using Doorways to Frame Your Subjects

2010-05-12T17:44:00.000-07:00

A very simple way to help a composition along is to frame it with an object. As family photojournalists, we are often shooting in our homes; therefore, finding frames for our subjects can be a challenge.

The simplest way that I have found to add a frame to your subjects in the home is by using a doorway! This compositional element is one of my favorite ways to compose a shot. It is simple and very effective.

Try this: Set your child up with a favorite activity by a window in a room with a doorway. Let your child get good and engaged in what he is doing. Step outside the room and frame the subject with the doorway. The major advantage of this is you get a 'real' moment...your child being your child without adult influence.

Here are some examples:

Try it, I think you'll like it :)

Thanks for checking in! Contact us at thefamilyphotojournalist @ gmail.com with any questions or suggestions!

Chuck

Telephotos Can Do the Job, Too

2010-04-26T18:46:00.000-07:00

Historically, photojournalists have shot wide to normal focal lengths (ex. 20mm, 24mm, 35mm, 50mm). Things have obviously changed but 35mm and 50mm are still very popular lenses and get a great deal of usage in order to tell a story visually. However, there are times that photojournalists are unable to get near the action or they are unwilling to disturb their subjects. In that case, a longer lens becomes necessary. You might find them limiting and feel they're only good for headshots or portraits. When used the right way, though, you can create some wonderful storytelling images.

This post will briefly address using telephoto lenses (TLs) to tell stories. Many of the same rules of composition apply with wide angle and TLs. Rule of thirds. Using leading lines and natural frames to draw interest into the photo and then direct the viewer toward the subject . Finding patterns and symmetry and so on. As with wide angle, include any important visuals in the frame that will help tell the story; leave any unnecessary visuals out. There's no right or wrong way to capture a story, so use the lens that will get the job done best. Sometimes, my 85 or 135mm lens is the better choice.

Benefits of using telephoto lenses here:

1. the subject may be less aware or wary of your presence-they may not play up to the camera as much, which will allow you to capture more natural behaviors out of your kiddos

2. compression-longer lenses make things appear closer together than they really are (you may already know this)-consider how this could help you layer your compositions in a more interesting way

3. longer lenses have shallower depth of field (DOF) at wider apertures than wide angles, allowing you to isolate your subject from the background more easily

4. in addition to isolating your subjects using shallow DOF, you can isolate elements that tell the story and simultaneously, eliminate clutter (sometimes, clutter works and sometimes, it's one of those elements you should eliminate)-it's all the judgment call of the photographer

Here are some examples taken with either the 85 f/1.8 or the 135 f/2L lens.

Taken with the 135L at a local fountain. It was nice to be able to frame him against the water from a comfortable, seated position, some 20-25 feet away. The telephoto also compressed the scene, making the shoots of water appear to be closer together than they truly were.

Taken with 85mm.

Taken with 85mm.

Since I used the 85mm lens, I was farther away from Henry than if I had used a wider lens and framed similarly. It gave me more time to wait for the moment I wanted (with a wider lens, he wouldn't been on top of me in a couple seconds), when he looked up at me. I was also able to track him easier at that distance using AI Servo.

Taken at 85mm.

Taken at 135mm.

Here is an example of how short telephotos can still be used to show context. I liked the moment my son and father-in-law were sharing and shooting from afar allowed that to continue, uninterrupted. Taken at 85mm.

Taken at 135mm.

I don't give a second thought to pushing my hands holds to get a shot (this means, I frequently shoot below the suggested shutter speed of 1/focal length). This shot was taken on a subway train and the softness doesn't bother me. The moment's there. Taken at 135mm.

Don't limit yourself to just one lens. Learn to see which lens will work for the shot you envision and grab that one. You'll appreciate the point of view it will give you, which is very different from that of a 24 or 35mm lens.

Email us with comments and questions. We want to cater this blog to our readers. Thanks for continuing to visit us.

daniel

Natural Light Shooting in Backlit Conditions

2010-04-19T07:34:00.000-07:00

Spring/Summer is one of my favorite times of the year to shoot! My children LOVE being outdoors after months of being crammed inside due to frigid temperatures. They are all too eager to jump on a slide, ride a scooter, and play in water. To me, these are the things childhood is made of! On top of it all, the light is fantastic this time of year.

One way I like to enhance these warm/whimsical moments is by shooting in backlit conditions. Backlighting creates such great tones and adds energy and warmth to an image. Backlighting, simply put, is when your light source is behind your subject. So basically, it is when the photographer shoots 'into' their light source.

Backlit scenes can be challenging for the family photojournalist for a few reasons: 1. we are often shooting wide, so if we go by our light meter, we will often underexpose our subject. 2. we have been told to look at the histogram and not to 'blow the highlights'. when shooting backlit with natural light, you will blow the highlights.

So how do we shoot backlit scenes?

1. Expose FOR YOUR SUBJECT. I shoot in M (manual) mode 95% of the time. So I will often times get really close to my subject (fill the frame with your subject) and dial in the exposure using my in camera light meter. When you step back to recompose your scene, your light meter is going to lie to you! It is going to read that the scene is overexposed. But we know that our subject is exposed perfectly!

2. Work the sun! We are generally shooting into the sun. However, you can place the sun just off to the side so that its just outside of the framing of the photo. Also, I like to put the sun just behind the subject's head. A lot of time this will yield lens flare. Sometimes this is desirable other times it is not. So it really depends on your intentions! So move the sun around in the frame to play with different effects.

3. Post processing a backlit shot. Shooting backlit will often cause your subjects to be less contrasty. I try to capture back some of that loss of contrast in a few ways (I use Photoshop CS4): a.) Using ACR (Adobe RAW Convertor), I will often increase my blacks from a +5 (the default) to about a +10. Obviously, this is arbitrary and will vary from image to image. b.) Using ACR, I will often adjust the clarity to about a +10 (again, vary from image to image). c.) After any editing I do to an image, I will often 'dodge and burn' the photo for any 'local' tonal adjustments (to see how I dodge and burn, go to my tutorial on 'seeing in black and white').

Below are a few examples of shots in backlit conditions using the techniques above:

Quick recap: Meter your subject, not the background. Position the sun in various locations. Recapture some contrast in post processing. Have fun with it!

Thanks for stopping by! Contact us at thefamilyphotojournalist@gmail.com if you have any questions!

Chuck

Using Flash

2010-04-05T17:56:00.000-07:00

While most everything Chuck and I shoot utilizes natural light/ambient light only, there are times where flash is called for. Flash can be used for numerous reasons: fill (fill in the shadows), main (light light, overpowering existing ambient lighting), or blending (a mixture of flash and ambient). While you may not use flash often, as I don't, it's certainly a skill that is vital to getting the shot no matter what the circumstances. After all, f/1.4 lenses are great but not everyone can afford them and even if you can afford them, they may not be enough. This post will be the first in a series (will post on flash from time to time) about on-camera hot shoe flashes. We won't discuss built-in flashes, since there's very little you can do creatively with them.

Most times, when I pull out my flash, I'm shooting impromtu, informal shots of my boys. Here are a couple examples:

But The Family Photojournalist is about more than just portrait documentaries, though this is certainly a reasonable aspect of it (see Steve McCurry's head shots of Afghanis, etc). Flash can be used to light or augment your subjects in a very pleasing way. One negative is that the burst of flash can draw attention to you, but if you are careful with your compositions and take your time getting the shot, you shouldn't be firing away every few seconds anyways.

First, let's discuss bounce. Shooting on-camera flash is usually frowned upon and for good reason. It's flat and dull. Anyone with a point and shoot can do this. You bought an SLR, why not enhance them with flash instead of kill them? By bouncing your flash off a side wall, for instance, you turn your living room wall into a giant softbox. Example:

This shot was taken by bouncing my canon 580 exII off of the far wall, directly to camera right (which is about 15 feet away). The quality of light improves dramatically, rendering a softer, more pleasing light on your subjects. Also, by bouncing it from the side, it shapes my wife and son's faces nicely. By shaping, I mean that it creates pleasing shadows which outline the face and add a more 3-dimensional aspect to it.

Side note: Light modifiers have their place but if you can find a place to bounce your flash, you won't need a modifier (I never use one).

Here's another using side bounce off our front door, which is white:

Flash is also great for shooting in your house at night. Overhead lights cast those raccoon shadows. By bouncing flash, you get to choose the quality and direction of the light. In other words, you decide which direction your light is coming. Instead of overhead or from a nearby lamp, it can come from the side, from 45 degrees up, etc.

My usual settings will vary depending on how I want the image to look but generally, I'll get an ambient reading and then underexpose between 2/3 to 1 2/3 stops and allow the flash to fill in. This keeps makes the flash the main light but allows some of the ambient light to remain. The more you underexpose, the more subdued your ambient light will appear. I usually use full evaluative metering mode and overexpose the flash exposure by 2/3 to 1 full stop. Remember, though, that flash exposure works the same as a camera meter (exposing for neutral gray) so consider if your scene is mostly light or mostly dark which will change things.

Things to consider when bouncing flash:

1. lighter walls are preferred-colors such as white, light blue, yellow, and even tan provide a good bouncing surface-darker colors will eat up your flash
2. be careful of white balance when bouncing-if you shoot black and white, as chuck and I often do, it won't be much of an issue but if you're shooting for color, your flash will take on the color properties of the wall itself (and it's tough to fix)
3. watch the direction of your bounce-you usually can't go wrong when pointing the flash directly to the left of right-avoid pointing it straight up at the ceiling, which results in shadows around the eyes (i.e., raccoon eyes)-you can even point your flash 45 degree up and behind you (which allows you to use the ceiling but the light does not hit the subject from directly overhead)

Here's an example of the 45 degree flash position (I actually used this same 45 degree position to light the shot below):

4. if you don't have a wall, look for something to bounce flash off of-it could be someone's white shirt (that they're wearing), white furniture, window blinds, etc-try this sometime, you'll be surprised that it works (esp. when you don't have another choice)
5. experiment-learn how to use your flash-you can read all you want but if you don't slap on your flash and use it a bit, it won't be worth using when you need it

I wouldn't recommend one flash brand over another for family photojournalism. I use Canon professional flashes since I shoot professionally as well. It makes sense for what I do. There is also the Sigma DG series (which i used to own and liked), Sunpak series (which i've also owned), and others. The important thing is that your flash has E-TTL capabilities (meaning, it can sync with your camera which helps it determine how to properly expose the shot) and has tilt and swivel capabilities (for bouncing flash off stuff).

One other benefit of using a hot shoe flash is that it provides an AF assist beam, which helps the camera focus in very low light. You can get focus on something in near darkness with that beam and that can come in very handy.

Even though this shot has been posted before, it's the only shot in the birth series that used flash and I felt it was appropriate for this post.

I hope this has been useful. Please send us emails if there are things you'd like to be explained better or want us to go into more depth. I don't plan to go into technical stuff like lighting patterns, etc., but I'm glad to help you via email if I can. Your thoughts and ideas help us shape upcoming posts and the emails we've received so far are greatly appreciated, guys.

daniel

Email Us!

2010-03-28T17:51:00.000-07:00

We have an email address! We hope to continue to provide top notch information as The Family Photojournalist grows, so do not hesitate to shoot us an email with your questions, criticisms, and suggestions!

thefamilyphotojournalist at gmail.com (instead of the 'at' use the @ symbol). I wrote it this way to avoid spammers.

Daniel and I would love to hear from you!

Chuck

Keepin' the Mood!

2010-03-28T17:19:00.000-07:00

"YOU MUST HAVE DETAIL IN YOUR SHADOWS AND HIGHLIGHTS," the book says. "YOUR HIGHLIGHTS ARE BLOWN AND YOU COMPLETELY LOST YOUR SHADOWS," says the internet critiquer.

I read statements like the ones above when I first started shooting and felt like I was failing at photography because it seemed that no matter how hard I tried, I was often blowing highlights and/or losing detail in my shadows. Many of my images would often look good to my eye, but it seemed that everything I read told me that what I was doing was wrong.

The easiest way to see if your highlights are blown or your shadows are lost is to check your levels (in photoshop, image > adjustments > levels). If the chart spills past the right, your highlights are blown. If it spills of the left, you lost detail in your shadows.

While the histogram is a great tool to use, sometimes I do not want all tones to represented a scene. Sometimes, if we expose for all tones in a scene, it will absolutely destroy the mood and we will end up with an image that does not look like the scene we shot!

So I encourage you trust your eye and disregard the histogram (sometimes)! Keep the mood!

The images below have severely flawed histograms but I feel have a mood to them and represent what the scene actually looked like:

My youngest minutes before he fell asleep. The only light was from a hallway light coming through a crack in the door:

My nephew's 7th birthday. Candles were the only light in the room. If I shot for a balanced histogram, it would appear that the lights were on in the room!

Halloween. It was DARK (1/20th, f/1.4, ISO3200).

Birth of my youngest child. The dramatic lighting was caused by the spotlight that the surgeon was using. If I used a flash to balance out the background, this image would not be as dramatic.

Ditch the histogram and trust your eyes!

Thanks for checking in!

Chuck

f/1.4 & Family Photojournalism

2010-03-15T15:35:00.000-07:00

Again, a special thanks to Sam Hassas for stepping in last week! Great post, Sam!

One of the principles of family photojournalism is including context/surroundings for your subject. So using the widest aperture settings for your lenses is not always best. In fact, sometimes, using a very wide aperture can lessen the impact of a shot. However, there are times when shooting 'wide open' (at the maximum aperture of a lens) is necessary to get the shot. Other times, you might just want to isolate your subject in order to highlight they way they looked that day.

I shoot almost exclusively with lenses that have a maximum aperture of f/1.4 (Canon 24L/35L/85L). I generally use f/1.4 for two reasons: 1. In low light when I do not want to use flash. 2. To isolate my subject from a distracting background.

f/1.4 IN LOW LIGHT: I shoot in low light A LOT...like MOST OF THE TIME (my house is small and dark)! So for me, lenses with an f/1.4 opening is almost necessary. Shooting available light allows me I to capture the mood of a situation by shooting with the existing light of the scene. Often times, the result is how the scene actually looked.

There was very little light in this scene...in fact, it was just a small sliver of light that was peering through the curtains. I metered for that light and exposed at 1/50th, f/1.4, ISO1600. 35L.

Lit by one single overhead bulb. My youngest 'reading' before bedtime. Exposure was 1/40th, f/1.4, ISO 1600. 35L

Only light in the room was the TV. I wanted a slower shutter speed on this one to capture the motion of the Wii play. Exposure was 1/40th, f/2, ISO3200. 24L

Early morning light coming through my front window. Exposure was 1/125th, f/1.4, ISO1600. 35L

Only light source was the overhead light in the bunk bed. VERY dark. Exposure was 1/80th, f/1.6, ISO3200. 24L

f/1.4 TO ISOLATE: Sometimes the background is UGLY! Using a lens that opens to f/1.4 can help!

I wasnt a fan of all of the trees in the background of this one, so I opened my aperture in order to isolate the subjects. Exposure was 1/500th, f/2, ISO800. 35L

Loved the halloween outfit, so I wanted to show it off a bit! Exposure was 1/100th, f/1.4, ISO800. 35L

Busy background :( Exposure was 1/4000th, f/2, ISO200. 35L

Lenses with a maximum aperture can be expensive, BUT they do not have to be! Most camera manufacturers make 50mm options with a f/1.4 opening that are affordable. Also, check out the Sigma 30mm f/1.4 lens.

Thanks all for checking in!

Chuck

Working A Composition

2010-03-13T21:26:00.000-08:00

Sometimes, I'm guilty of hastily composing a shot, snapping, and putting the camera away. After all, I work and want to spend time with my family. But when I look back on the shots, I'm sometimes disappointed. I see subtle changes that could've made the shot work better (a change in composition, poor timing, something i want to change with exposure, etc). This is easily remedied by taking your time and being deliberate about how you capture an image. I want to encourage anyone who shoots family documentary or FPJ to be patient. Find a composition that works and "sit on it." Wait for the moment to develop and unfold before you. I always encourage other photographers to find new and interesting angles. Please, do that too. But sometimes, you find a composition you like. Work that, don't let it go until you come away with something you value. You won't always have time to do this, but if you wait for the moment to come, you won't be disappointed that you waited.

Quick side note: This tip may not be easy to apply on day trips such as the zoo, museums, etc. But there may be times where your child/children interact with a specific toy/animal/exhibit long enough for you to work the composition.

It's not about machine gunning your way to a moment--taking 30 or 40 shots at once, hoping to get just one that's decent. Once you're in position, observe your children and the action taking place. Try to anticipate when someone might laugh or smile or do something interesting. Be ready and then get the shot. It takes discipline not to click the shutter 50 times hoping for that moment. Try to trust yourself and you will begin to develop greater discipline and intuition (anticipate moments). Here is a series of seemingly similar shots. I found a composition of my son playing in his room which I liked. I wanted to capture his interactions with the toy. Here is a sample of what I chose to shoot and the type of moments I was looking for. They were taken over a period of around 10 minutes (1ds2, 35L, iso 3200, 1/60, f/2.2)

I enjoy these shots for different reasons, in part because there's a subtle range of expressions and action and they're all genuinely Isaac.

Here's a second, shorter series of my older son just messing around while watching tv (1ds2, 35L, iso 1600, 1/80, f/2.8).

Thanks for stopping by.

daniel

The Broken Arm, by Sam Hassas

2010-03-03T17:45:00.000-08:00

We are very grateful to have the ridiculously talented image maker/story teller, Sam Hassas, guest blog this week on The Family Photojournalist. As we have mentioned before, effective family photojournalism documents moments (even the ones that hurt) as they happen. Sam's entry below is one of the best examples I have seen in this category.

I strongly urge you to check out his website...but be sure carve out an hour of time before you do so....yes, his photographs are that good! Sam Hassas Website

THE BROKEN ARM, BY SAM HASSAS

While on a shoot during the summer last year, I get the call all parents fear. "Your son's been hurt, he's broken his arm."

I've never had to cancel a shoot while in mid action but that day I did. I bag all my gear, toss it in the trunk and head down to the emergency ward at Good Samaritan in San Jose. It's about a 30-minute drive and these are my thoughts. I've never been the type of photographer to carry my gear with me everywhere I go. Vacations, Holidays and work is about all. Today was different. Against my natural feelings of leaving my camera in the bag, I brought it with me. Now, looking back over these images 2 dozen times the past 8 months, I have never doubted in my choice to document since.

I arrive to a worried mother and an ambulant son. Up till now, he has been given no meditation. He's scared. In pain? I'm not sure. Perhaps the adrenaline rush is coving the pain. Ex-rays are taken...we sit and wait.

Greeted by a doctor, he informs us that Ethan has a compound fracture. The bone was completely broken and was protruding through the flesh. He speaks in high valuating doctor gibberish for about 5 minutes. We understand the procedures needed only slightly. My son understands nothing. The doctor walks out and begins preparations.

Ethan has a nervous look on his face and feels the inevitable.

"daddy, what happen to my arm?"

"you broke it bubba"

broken voice "can you fix it?"

I wiped lots of tears while looking through the lens, almost to the point of setting the camera down. Here’s Ethan's story:

This is the scene I walked in on.

my mommy, my lizard

boy socks.

protected. resilient.

companion

the break

the parent

the inevitable

the relief

Post surgery. He see’s light at the end of the tunnel and his first smile appears.

the return

This shot is very special to my wife and I. 4 years ago she was wheeled out of this same hospital door with a brand new Ethan to introduce to the world.

the endurance

the next day while we are at home. The fan fair is over and the trail towards healing is paved…..not without it’s pain however

the “good” arm

Ethan

The only shot I chose to show in color. It seemed fitting.

Ladies and Gentlemen, we have a guest blogger!

2010-03-01T08:07:00.001-08:00

I apologize for not posting last week! I sustained an unforeseen injury that prevented me from entering a post.

On the VERY VERY VERY bright side, The Family Photojournalist is ridiculously pleased to announce that we will have our first guest blogger in the next few days! We hope to continue with this feature as the blog grows in order to provide different perspectives on family photojournalism.

Wedding photographer extraordinaire Sam Hassas (http://www.hassasphotography.blogspot.com) will be posting an amazing series of photographs that chronicle a trying time in his little guy's life. In addition to being a world class photographer, Sam is a world class person! Somehow we know that you will all enjoy how Sam does family photojournalism!

Stay Tuned!

Chuck

Getting in Front of the Camera

2010-02-15T13:27:00.000-08:00

Most photographers, pro and amateur, will say they prefer to be behind the camera. I know I do. And it often shows in our personal work. I could almost count on one hand the number of shots I've been in over the past number of months. The same may be true of you as well. I think it might also be that we don't want to hand the camera over and stop shooting. Why? Maybe we don't think someone else could get the shot that we could get. Or maybe we just enjoy shooting and observing. Perhaps they're both true. But years from now, our children will look back on these photos and see themselves playing with your spouse/significant other and not you. If the purpose of family photojournalism/documentary is to record your family's day-to-day life in the way it really happened, you should be in there, too. Otherwise, the story is not fully told.

What I'm proposing in this post is that you begin to teach your spouse/significant other how to use your camera. Just the basics. My wife doesn't really know that much about aperture or shutter speed. She's familiar with the rule of thirds but she couldn't explain it. But she and I talk photography a lot and she's able to apply some of what we talk about. She's also looked at thousands of photos that I've taken and that cumulative knowledge has helped her to develop a sense for taking a good picture. Here are some samples that my wife has taken of me with the boys. These shots carry a lot of meaning for me.

In this shot, Isaac had been crying and fussy and wouldn't sleep. We were both pretty tired. Katie (my wife) grabbed my camera and shot a few as I bounced Isaac and tried to keep him calm. It's a really great composition, using the doorway to frame us.

As with any other time she uses my camera, I preset aperture/shutter speed/iso before she started using it. I have taught her how to change the AF points and that's about all she needs to know. The composition, she came up with. In the shot below, my son and I are playing horsie and he's "holding on tightly."

My wife clicked the shutter at the perfect moment. Timing is key and something that can be developed.

This is a variant of the earlier horsie shot.

Knowing that my wife can handle the camera (even the 1ds2, which is impressive), means I can be in shots occasionally and our family documentary work will be more complete. Some of you may have spouses/significant others who already know how to use the camera. That's awesome. For those of you who do not, teach them in little bits, be patient, and don't critique whatever they shoot. Let them learn from your mistakes and you'll be pleasantly surprised to see yourself in a photograph every now and then.

Thanks for stopping by.

daniel

Panning: How I Roll!

2010-02-09T08:06:00.000-08:00

Panning: How I Roll

I don’t know about your children, but mine seem to be in a constant state of motion! They are either running somewhere or riding some sort of ‘vehicle’ (bikes, scooters, carnival rides, wagons, etc.). One of the beautiful things about photography is that we can literally freeze these moments so we can see their smiles and feel their excitement.

Part of family photojournalism is capturing the moment as it happened. We capture the scene how WE see it most of the time. But often times we should attempt to photograph the scene as our subject experiences it. With this said, we have the ability to capture the motion so we can feel the energy of the moment as our children experience those moments.

To do so, we will focus on a photographic technique called ‘panning’. Panning is a technique where your subject is ‘frozen’ but appears as if it were moving. For example:

This is a shot for a client. This was particularly challenging because of the path of the motion. Shutter speed was 1/20th.

How to ‘Pan’:

1. Select a shutter speed around 1/20^th. The amount of ‘blur’ in a scene depends on how fast/slow your shutter is. Slower shutter speeds will create more motion blur, but will be more difficult to maintain a sharp subject. Faster shutter speeds will make getting a sharp subject easier, but will have less blur. Also keep in mind that if you are panning a race car doing 200mph a shutter speed of 1/100^th will suffice. Conversely, if you are panning someone walking, ½ might not be enough!

2. Select AI Servo focus mode on your camera. This is one of the few times when I am shooting that I use AI SERVO. It allows me to track my subject before I take the shot.

3. Select a subject that is moving. Subjects that are moving in a predictable path (child riding a bike down a hill) make panning easier. Also, straight paths make it a bit easier yet.

4. Stand perpendicular to where your subject will pass you. For example, if you are photographing a child on a scooter in the street, you should be on the sidewalk. You want to photograph the ‘broad side’ of your subject as they pass you.

5. Practice good camera holding techniques. Left hand under the lens for support. Left elbow firmly against your body. Right hand on grip. Right elbow firmly against body. Feet shoulder width apart. Bend knees. Jeez, I sound like my old football coach!

6. IT’S ALL IN THE HIPS! Begin to focus on your subject as it appoaches. Keep focus. ROTATE YOUR HIPS as the subject passes. Do not try to follow with your head/camera. LET YOUR HIPS CONTROL THE DIRECTION OF THE CAMERA. Did I mention HIPS?

7. Press the shutter. Wait for your subject to pass by and GENTLY press the shutter. Do not ‘stab’ at it.

8. FOLLOW THROUGH. Even after you press the shutter, continue to track the subject by ROTATING YOUR HIPS.

DONE!

Remember, you are dealing with slow shutter speeds AND you are moving your body. So if you didn’t track your subject perfectly, the subject will not be sharp.

This technique takes PRACTICE. So just allow your children to play as they were and be a silent observer as you continue to hone your panning skills!

Here are a few of my favorite panning shots:

As always, thank you all for checking in!

Best Regards!

Chuck

Birth Documentaries

2010-01-29T08:51:00.000-08:00

My youngest son just turned one this past week! I could say his birth seemed like a blur and that I don't remember much but that's not true. I documented the entire process, from our check-in to the birth event to the days at home that followed our hospital stay. As a result of the documentary process and the photos created through it, I remember it very fondly and with an intimacy that most memories don't enjoy. The photos cover the first 4 days or so of Isaac's birth. My intent was to tell the story, both the good and the not-so-pleasant. The not-so-pleasant moments included contractions, the epidural, and the moments where my wife was emotionally spent. These moments are just as much a part of Isaac's birth as the first time we held him. The photos aren't gratuitous or mean-spirited but rather a way in which we can look back years down the road and know EXACTLY what happened. It's tough to argue with photos, they don't lie (unless they're manipulated, of course). Rather than talk about how to shoot a birth documentary in a technical sense, I want to talk about how I did it and how I decided to shoot what I did.

I carried a Canon 5D with a 35 f/1.4L, 85 f/1.8 and a flash with me. I kept my camera out on a table nearby and only grabbed it when I saw something noteworthy. That way, I could be there and support my wife and at the same time, think about the story I was trying to tell when I wasn't shooting. All but one shot enjoyed natural/ambient lighting in this set.

Here is the story with occasional comments on some:

I tried to stay very alert to what was happening around me, the mood in the room.
This image captures my wife's nervous and tentative mood, right after we arrived, waiting for the nurse to call us to fill out paperwork.

This is the first painful contraction I remember my wife having after we arrived. I showed the monitors in relation to her facial expression, both of which say the same thing (including the context of the hospital room helped me establish the story and setting). I later showed the photo to her in between contractions and she was surprised that it looked that painful.

You'll also notice I have several angles of my wife in the hospital room. We were there for more than 20 hours before Isaac came along and I think the number of shots conveys that. I also had a lot of down time, so I visually explored the room, tried different angles and compositions. Some of them worked and some of them didn't.

I almost didn't take this shot. My wife was nervous about the epidural and the nurse encouraged me to sit down. I decided the shot was important and took only one to record it before putting the camera down on a nearby tray table.

I also almost didn't take this one. I didn't want to focus on photography during the birth and I didn't. At the last minute, I decided I couldn't NOT take a photo and grabbed the camera which was hanging off my shoulder, shot it with one hand--while holding my wife's hand with the other--very quickly and then put it back on my shoulder.

This next series of Isaac with the nurses was a very calm period, very quiet (except for him). I quietly moved into position and snapped a few. I had time to do this, so I carefully composed each, trying to expose for the mood (the bright lamp added a little drama, which I liked).

I thought this photo told a great story. My dad, "the papparazzi", snapping away at his new grandson. I thought layering mother/son and grandfather would provide more context to what was happening, the newness of it all/a sense of the moment.

I slowed my shutter speed to take advantage of the motion of the nurse pushing Isaac through the hallways.

This shot was another which I had not planned to take. As I went out of the nursery to visit my oldest son and my parents (who were watching him), I looked back in and saw the scene, framed naturally by the window. Had to take that.

Isaac was a bit fussy those first days and wanted to be held a lot. My wife was very tired most of the time and held him quietly, enjoying the moments of rest. I didn't say anything, just quietly composed and captured the moment and I never asked her to pose for me.

Isaac was tough to get to sleep. It was a hard night. This shot is an example of taking pictures when things are not-so-pleasant. We can look back on these moments as the reality of having a newborn child and being exhausted ourselves.
For this shot and the next, it was truly dark in the room and my camera wouldn't achieve focus. Rather than use flash or turn on lights, which would disturb my wife and Isaac, I quickly manually focused, bracketing my focus to ensure I got something sharp. Sometimes, it's about getting the shot, not getting it perfectly. I happen to like this one but the point is, I told the story even if it is not perfectly sharp.

Henry (my oldest) was both excited for and jealous of his new brother. After one particular meltdown, my father-in-law calmed him, then held him as he slept. I shot tighter on them because I wanted to isolate the two of them together.
This shot contrasts well with the shot of Henry holding Isaac for the first time (a couple shots back in this set). It tells a more complete story by having them both.

Things are not always peachy and all smiles. Life isn't like that. The goal of a documentary series isn't to idealize or glamorize what happened, but to tell the reality of what happened in an honest way. There's a place for the more glamorous side of child/infant portraiture. But the family photojournalist is concerned with story telling and capturing genuine moments. Each shot should tell part of that story. I hope that this series gives you a spring board into telling your own stories, particularly with telling birth stories.

Thanks for stopping by, guys.

daniel

Essential Gear for The Family Photojournalist

2010-01-26T17:22:00.000-08:00

Essential Gear for the The Family Photojournalist

I have heard many times that “gear does not make the photographer”. I agree with this statement to a certain extent. The finest equipment in the world will not find good light and it will not compose a fine photograph. But, I will say, “better equipment helps photographers make better images.” Better lenses are sharper, offer more contrast, and allow more light into the camera. Better cameras are faster, made with stronger materials, and can shoot in a wider variety of lighting situations. So I believe that it is naïve to oversimplify and claim, “gear does not matter.”

Choosing gear as a family photojournalist can be a daunting task as there seem to be endless equipment offerings. I look at gear selection for the family photojournalist a lot like choosing how we dine out! We might opt for McDonalds if we are low on funds. Maybe you’ll head out for a casual bite to eat at TGI Friday’s when out shopping with your significant other. Perhaps you might have the occasion to celebrate a big raise you received and you invite your friends to Morton’s Steakhouse. Or you just hit the lottery and you are lucky enough to hire a personal chef! Or you are like many people around this time of year and you are trying to drop a few pounds so you go on a diet. We would all agree that each of the above dining options will certainly do the job filling our bellies, but we might enjoy one option over the other. Choosing camera equipment to document your family is no different!

So, like dining out, I have compiled five different sets of equipment for the family photojournalist based on five budgets: The McDonald’s, The TGI Friday’s, The Morton Steakhouse, The Personal Chef, and The Diet.

DISCLAIMER: I am well versed in Canon equipment having owned (at one time or another) virtually all of their DSLR camera bodies and most lenses they offer. I would also recommend using Nikon gear as they have an excellent reputation and offer a wide array of products for the DSLR user. But keep in mind, any DSLR (or SLR) camera will suffice and most companies offer comparable products!

I will be recommending lenses that will have a maximum aperture of f/2.8 and wider so that the family photojournalist will be able to shoot indoors without flash. I will also recommend a telephoto zoom to help document your children’s events (dance, plays, sporting events, etc).

The McDonald’s:

Camera: Canon XSi (body only) ($459)

Prime Lens: Canon 35mm f/2 ($299)

Zoom Lens: Tamron 28-75mm f/2.8 ($459)

Supersize It: Replace the Canon XSi with a Canon T1 ($659) and add a Canon 75-300mm telephoto lens ($159) (for your child’s outdoor sports event).

The TGI Friday’s:

Camera: Canon 50D (body only) ($959)

Prime Lenses: Canon 24mm f/2.8 ($339) and Sigma 50mm f/1.4 ($499)

Zoom Lens: Tamron 17-50mm f/2.8 ($449)

Telephoto Zoom: Sigma 70-200mm f/2.8 ($799)

The Morton’s Steakhouse:

Camera: Canon 5D mark II (body only) ($2499)

Prime Lenses: Canon 24L II f/1.4 ($1699) and Canon 35L f/1.4 ($1369)

Zoom Lens: Canon 16-35mm f/2.8 ($1520) and Canon 24-70mm f/2.8 ($1339)

Telephoto Zoom: Canon 70-200IS f/2.8 ($1799)

The Personal Chef:

Camera: Leica M9 ($6995)

Prime Lenses: Leica 24mm f/1.4 ($6495), Leica 50mm f/0.95 ($10,500), Leica 75mm f/2 ($3300)

The Diet:

Camera: Canon XS with 18-55mm lens ($499)

Lens: Canon 50mm f/1.8 ($89)

All of the above prices are based on B and H Photo (www.bhphotovideo.com). Buying used equipment is also an option if one were inclined to shave a few dollars off of the budget. I rarely buy new and have made many flawless transactions at www.fredmiranda.com Buy and Sell forum.

The kits listed above are just suggestions. In reality, the family photojournalist can document the large majority of family life with any DSLR and lens listed above. For example, I shoot primarily with the Canon 1ds2 (bought used) and a Canon 35mm f/1.4 lens.

The images below were taken with the 35mm f/1.4 lens. This has been my favorite lens for the past few years. I think the focal length is perfect for most of my shooting and it has a very wide aperture of f/1.4 that allows me to shoot in most situations without using a flash.

This photo really demonstrates why I feel that lenses with wide apertures are invaluable. Without a wide aperture, I could not have taken this shot. My exposure settings were: 1/60th, f/1.4, ISO 6400.

As always, thank you for checking in!

Best Regards,

Chuck

Why black and white? Part 2

2010-01-13T20:56:00.000-08:00

4. Black and white images can be instantly classic. It's more difficult to pin down when a black and white image was taken than a comparable color image. Part of that lies in the colors of our world, which change over time. People's choice of color processing can change and color of clothing and make up also change. These all give hints and clues as to when the picture may have been taken. Without that information, we are left to our imaginations as viewers. It adds a hint of mystery and intrigue. We are allowed to explore the image, the subjects, their contexts, and interpret what is happening because less information is given to us in a b&w image than in a color one. Here is a quick example for comparison.

a. Notice that the color shot seems to have a lot more information for the viewer to digest. It's color itself.
b. You notice the pink on my wife's shoes, her pink shirt contrasted against the blue onesie, the bright red and blue of the elmo blanket in the foreground, etc.
c. Now, view the b&w again. Much of those potential distractions have been removed.
d. The blanket in the foreground no longer draws the eye away from the real moment of a mother comforting her newborn baby.
e. The color of clothing and the shoes are irrelevant and no longer draw the eye, either.
f. Now we are left with something more simple, stripped down, and conceptual. And without color, there is little that could truly date this image (well, maybe the couch).

B&w images have a more classic feel, don't they? There's not only a sense of nostalgia that we have for them but the simplicity of these images draws us in and invites us to explore them in a way that I would argue many color images cannot. Chet Raymo in The Soul of the Night, says "In New England in October anyone can take a pretty picture, and most do....Point the camera in any direction, snap the shutter, and the image is certain to please." He suggests that the photographer must pay greater attention to his or her selection of subject matter, lighting, composition, tonality, and even color, in order to make a good b&w. The simple fact of beautiful color in an image can no longer make a photo work. The photographer now has to dig deeper and use content to entice the viewer.

5. B&w images are conceptual. Almost instantly, a shot of my son running down stairs on a playground becomes a slice of childhood. As children, we all played on playgrounds, explored jungle gyms, and remember them fondly (for the most part). We can more easily connect to a b&w version of an image because of its conceptual nature, it's timelessness. We aren't drawn to the color of the clothing or its surroundings. We can tell it's a wooden gym and that is all the information we need on that.

I will add that the compositions of these images also lends themselves to the same timeless theme. B&w conversion isn't magic. There's a great deal that goes into a great b&w image, more than just the absence of color. My sons playing hide and seek is an example. They aren't paying attention to me. They're engrossed in their game and the timing is right. The activity is something that most of us did as children and we can relate, it's not only action oriented but conceptual, lending itself to a more timeless feel. The b&w conversion, then, allows us to focus on them without extraneous details such as color.

I promise you I don't hate color. I do hope that this mini-series on black and white has helped you to understand at least part of why it's so effective and why Chuck and I use it frequently in our work, both professionally and personally.

daniel

Why black and white? Part 1

2010-01-11T17:02:00.000-08:00

I've been asked why I convert anything I deem worth keeping into black and white. The simple answer: it's extraordinary and beautiful and simplifying...and I love it. But there are other reasons to convert to black and white (b&w), a few of which we'll explore. First off, let me say I've got nothing against color. Some of my favorite photographers use color: Sam Abell, Steve McCurry, Ron Haviv, David Alan Harvey, and many others. It's simply a personal preference of mine for a number of reasons. To begin, let's look at a color photograph.

1. Color can be vibrant and eye catching. Just look at this shot by Steve McCurry:

a. This image rests, in part, on its vibrant and exotic colors as well as the brilliant contrast of red cloth against the brown, dusty surroundings.
b. Without the faces of these women and without an engaging setting, color is its own subject. It calls attention to itself, and rightly so.
(I'll stop here at analyzing the shot for the sake of time.)

c. One benefit of black and white can be that color is no longer a factor.
d. Color cannot pull attention away from the point of interest in a b&w image.
e. For family photojournalists, who often shoot in less than exotic and vibrant locales, b&w is a way to simplify the image, a way to keep the viewer's eye on what you intend for them to see: the child/children/action/etc.
f. B&W strips away excessive elements that may cause a color shot to drown in details.

Again, this is a benefit in many cases, but not in all and certainly not a "rule". Here is a quick example of an image which works in color but after its conversion to b&w, you notice a greater contrast between my son and the couch. In the b&w image, his hair and clothing are tonally darker than the white couch and immediately stand out.

2. B&w images rely on tonal values, lights and darks. In the last blog entry, you'll remember Chuck's encouragement to use window light. Look back at those images and notice the steep fall off of light coming through the window. It helps the subject to stand out when there is that kind of fall off--it draws the eye toward the brighter object (which should be your subject). That is also why people add vignettes to their images--as the image darkens, it draws attention back to the lighter subject, which brings attention back to what the photographer intended for you to see in the first place. Here is another quick example of high contrast:

In the above image, the light from outside nicely outlines my son as he navigates the playground. As with window light, this type of lighting falls off quickly so that the viewer can see very little of the inside of the tunnel, calling attention back to my son who is also framed nicely by the doorway.

3. Since a black and white photograph can't rely on color to make it interesting, there's an increased emphasis on content, lines, and form.

a. Good photographs, whether color or b&w, employ these things to engage the viewer and to make a statement.
b. Once converted to b&w, line and form are immediately enhanced since the viewer cannot help but explore a b&w image in a different manner than he/she would study a color image.

The previous image is a bit odd and abstract. The receding line of the staircase is balanced by the semicircles of both the cropped clock and head (of my son). Using lines and forms doesn't have to be abstract, though. They can be relatively straight forward. Example:

Here are a couple more shots (photographers unknown) which illustrate the power of lines and form in b&w photography:

Notice how these two shots are powerful in their simplicity. The compositions and nature of b&w itself pulls the viewer into the lone subjects of these respective photos and causes their forms/shapes to stand out and engage us.

Hopefully, this is a thoughtful and useful exercise in understanding black and white. More to come in part 2.

daniel

Tutorial: The "Seeing in Black and White" Black and White Conversion

2010-01-08T18:14:00.000-08:00

The “Seeing in Black and White” Black and White Conversion!

As I am sure you noticed by now, I like black and white photographs! When I first began taking photographs, I chose to convert to black and white for a few reasons (both the wrong reasons). First, I thought it made me an artist (its pretty funny to admit that). Second, I had ZERO understanding of white balance and fell in love with the phrase, “when in doubt, convert it out!”. Since those days, I have taken great pride in my black and white conversions (I use several techniques). I will cover many different conversion methods as this blog grows.

Today, I am going to focus on the “Seeing in Black and White” conversion method where much of the “conversion” is done when you take the shot vs. trying to do it all in Photoshop! Yep, it’s that easy! This technique is accomplished literally 10 seconds in Photoshop! However, in order to get the best results, there are a few variables that you should be looking when photographing your subjects since this method requires you to analyze the scene before hand.

--The photograph must be taken in “good” light (I prefer window light).

--Where is the light coming from? Where are the shadows? Where is your subject in relation to light and shadows?

What is “good” light? Tough question because virtually any light can be “good” if the photographer uses it correctly. So for the purpose of this exercise, lets oversimplify “good” as “soft, directional light”. For an example of this type of light, turn off the artificial lights in a room where there are windows on one wall around 1pm. Look how the light comes into the room. Look where the shadows fall. Note that the direction of the light is provided by the location of the window.

I am going to use a photograph of my nephew and my son playing the Nintendo DS to demonstrate this technique. This was a completely candid moment.

The first image below is the straight out of the camera (SOOC) shot that was taken. It was shot at 1/160^th of a second, f/4, ISO 1600 @ 35mm shot in full manual mode. I obtained the exposure by spot metering the boy in the chair’s face.

Just some detail about why I employed the “Seeing in Black and White” technique with this photograph. I knew that conditions were ideal for a black and white photograph before I even pressed the shutter. First, the light was “good” (soft and directional). Second, it was coming from the large bay window my living room. It is the only window in the room. All artificial light was turned off. I think many people make the mistake of leaving lights on when working with window light. Additional lighting will kill the shadows. Third, my subjects were facing the perfect direction for this method of conversion (the light source evenly lit both of their faces). Shadows were cast behind my subjects forcing attention on their faces.

By using the “Seeing in Black and White” method, you drastically limit the amount of time you need to spend in Photoshop. Here is what I did in Photoshop to get to the image below:

1. Open image.
2. Click “Image” > “Image Adjustments” > Channel Mixer.
3. With the Channel Mixer dialogue box open, check “monochrome”.
4. Enter values 25, 35, 40 and click “OK”.

I spent literally 10 seconds to achieve the “Photoshop conversion” below because I gave some thought BEFORE I took the photograph by “Seeing in Black and White”.

Taking your Black and Whites to the next level.

We could stop at the conversion above and have a really solid black and white image. But if we make a few more clicks we can even out some of the tones of the image by “Dodging and Burning”.

How to Dodge and Burn in Photoshop

1. Duplicate your layer (CMD + J).
2. Click “Edit” > “Fill”
3. Choose “50% Gray” from the Contents pull down and click “OK”.
4. Go to your “Layers Palette” and set the gray layer to the “Overlay” blend mode.
5. Select your paint brush. Make sure the “hardness” of the brush is about 50%. Make sure the opacity of your brush is around 12% and the flow around 30%.
6. Set the color of your brush by using the shortcut “D” (that’s right, just press “D” on your keyboard and the colors will turn black and white).
7. To brighten an area, make sure white is selected. To darken an area, make sure black is selected (“X” switches between the two colors).
8. With the color desired, simply paint areas that you feel need lightening/darkening.
9. Flatten your layer when you are finished (Layer > Flatten Layer).

I did not dodge any of the area below, but I did burn the edges of the photograph as well as the chair and carpet.

“So your black and white conversion is the channel mixer?! WTF!?” The short answer is “YES, sometimes!”. The reality of it is that my favorite way to do a black and white is to shoot the scene in “good” light and spend minimal time working in Photoshop. "So you always shoot in good light?". I try to. In cases where I ideal light is not available, I use different techniques...so stay tuned!

I firmly believe that analyzing how you look the light in any given scene will enhance your black and white photographs, which will ultimately give greater depth to your family photojournalism.

Thanks for checking in!

Best Regards,

Chuck

Launching the Family Photojournalist

2010-01-04T19:34:00.003-08:00

What is "Family Photojournalism"?

In the interest of full disclosure, we are self taught photographers. We are Chuck Anerino (http://anerinooriginals.blogspot.com/) and Daniel Shaw (http://www.danielshawphotography.com/), guys who have primary, 'non photography' jobs, but shoot professionally for additional income. We have learned through practice, studying photography books, studying great photography and photographers, practice, magazines, learning from other photographers whom we consider friends, more practice, and through photography forums. Chuck's impetus for getting into photography was when he took custody of his young nephew. He wanted ‘a good camera’ to document his growth and soon purchased a Canon Rebel 300D and a 50mm f/1.8 lens, using only that gear for about a year and a half. Since then, he has tried virtually every Canon camera and lens. The large majority of his time behind the lens is photographing his family (wife, nephew, and two sons).
Daniel received his first camera about ten years ago (a minolta film body), using a 55 mm f/2 lens for a long time before slowly upgrading to the Canon system. He has also used a majority of cameras and lenses in the Canon line and has a hard time putting the camera down around his family as well. (View our bios to learn more about the gear we choose to use these days).

We will publish a variety of essays/tips/suggestions/bits of advice based on what we have learned in our collective 15 years of photography with SLR cameras. There are certainly many ways to get the results we have been able to get, so this blog won't focus solely on what gear to use or even what settings will work in a certain situation. We want to help others to learn how to use their cameras and to focus on capturing genuine moments as they occur, rather than on less significant bits such as image noise or having the highest end equipment. Since everyone has a camera these days, we want to teach our philosophy on family photojournalism and will share how we approach shooting in this manner.

Family photojournalism is chronicling the daily happenings of one’s family with a camera. Effective documentation should include photos of people, places, events, and emotions as they happen without staging the events. The images should also include a sense of setting (meaning that you should frame your images to include the environment and other participants in which the event is occurring, be it a birthday party or day at the park).

The end result of family photojournalism should be to give one’s family photographic evidence of how it ‘was’...not how you hoped it was, but how it actually 'was'. This approach is very different from portraiture or a ‘children’s session’. The major difference is that during a portrait session or children’s session, the photographers’ primary goal should be to flatter the subject. They should do everything in their power to make their subjects look fantastic…like they would look on their very best day. This approach is often contrived…photographers may bring additional lighting, direct the subject, pose them, etc. Family photojournalism, however, is about the capturing the moment over flattering your subjects. For those of us with families, we know it aint always pretty! But the ugly moments are also part of our lives. Effective FPJ captures it ALL as it happens.Approximately 85% of the shots we take of my family are taken at either 35mm or 24mm. This forces us to get close and become part of the story. We are often engaged in whatever our children are doing (board game, waterballoons, sprinkler, reading books, etc). We are with them as participants. This helps put our children at ease and we can capture things as they happen (and when they are not directly aware of our camera, which often changes how they behave and takes away the naturalness of the moment). It also gives us ‘credibility’ so to speak. The main goal is to show our children being a child; therefore, we often want to shoot wide.

We also attempt to bring our cameras with us to places we go. It used to drive our wives crazy but now but now it's part of the routine. We bring our cameras virtually everywhere (restaurants, carnivals, family events, etc). People have asked Chuck, ‘Don’t you worry about missing the moment?’. He responds the same way everytime, “'if I get it right with my camera, I get to relive the moment for the rest of my life.' I firmly believe that."

Listed below are several examples of what we consider to be "family photojournalism":

Chuck's examples (with the exception of one, all of the photos were taken between 24mm and 35mm with a full frame camera):

Painting

Night Time Routine

Learning to Swim at the Jersey Shore

Hunting for Tadpoles

Jersey Shore in the Sand

Lucky's Diner

Three

Birth

Nintendo

Seven

SinkTub

Water Balloon

Best Buds

Carousel

Below are Daniel's examples of family photojournalism:

This shot of my son was taken on Labor Day, 2009. I composed my shot and waited for the right moment. The combination of my wife squirting water from a balloon at him and his hand over his mouth as he laughed were what I was waiting for. I was careful to frame it so that my family in the background could be seen.

This shot is iconic for me. I used to wash dishes with my mother and grandmother when I was little. So when my son stood at the sink on a chair to wash dishes with my mother, it was exactly what I had envisioned that I wanted to shoot.

I love little moments that could easily be forgotten if not captured and cataloged.

I love to shoot photos of my son asleep. Photos of such seemingly simple moments are so pure and beautiful.

Moments are so fleeting. I love this shot for its simplicity. I love my son's expression. That's what makes the shot. I didn't need to shoot at f/1.4 or use a complicated lighting scheme (neither of which are bad things in and of themselves) but I was simply an observer of the moment as I pressed the shutter.

This shot was taken two days after my youngest was son was born as part of a brith documentary I shot of him. My wife was exhausted and worn out. This moment was captured as she was rocking him quietly, trying to calm him. I think that it's very important to take photographs of both good and not so good moments so that they can be remembered accurately. My wife and I both cherish this shot.

Other examples:

“Does this mean I shouldn’t shoot portraits?” Absolutely not! In fact, in order to show the growth of your family, it is very necessary to do portrait sessions! But it's easy to make the mistake of ONLY shooting these types of shots. The results are that you have some lovely portraits but have missed everything else (i.e., day in the life-type-shots). Portraits can be taken virtually anywhere. There was often no sign of where we were or what we were doing. And while we still do this, it comprises a much smaller percentage of what we shoot these days. It's much more interesting and meaningful to tell a story. Portraits will show how the face/body changes over time. It is simply amazing how much a child changes in 1-2 years.

For simplicity, lets look at portraits in two categories: environmental and normal portraits (full body, ¾, ½, and headshots). Environmental portraits are typically taken with a wider focal length (50mm and wider) and at times feature more DOF. “Normal portraits” are typically taken with focal lengths longer than 50mm. Both types of portraits often include eye contact and they are both typically posed. The first example is what I would consider an environmental portrait. It is of Chuck's son while they were hunting for tadpoles. He looked for an area in the creek that would show his son in his environment and instructed him to stand there.

The following image is what is considered to be a 'normal' portrait that is a head and shoulder shot. Chuck's nephew was instructed to stand and look up at the camera:

While we encourage portraits to be taken, family photojournalism will be the primary focus of this website. We hope that you enjoy the time you spend here! Please don't be afraid to let us know you are out there by posting comments!

Best Regards,

Daniel and Chuck

About The Family Photojournalist

2010-01-04T19:34:00.001-08:00

About The Family Photojournalist

We have been members of a photography forum for the past five years and have learned that photography forums are excellent resources for learning photography, getting honest feedback from someone other than a loved one, and researching camera equipment. In addition, photography forums allow one to view a wide variety of styles. But often times, forum members offer very little feedback to family photographers in photo sharing sections. Family photographers are sometimes viewed as ‘not real photographers’ because they are not paid for their work. As a result, the family photographer who posts a photo will receive very little feedback, making it difficult to learn. Conversely, the majority of feedback is given to photographers that feature scantily clad women in a studio environment. So in order to learn, family photographers have to take the feedback given to such photographs and apply it to their own! A challenge indeed!

The Family Photojournalist is the first website dedicated exclusively to family photojournalism.Photography tips, tutorials, post processing guidelines, and gear recommendations will be written specifically for the family photojournalist. Family photographers will no longer have to decipher feedback given to other genres of photography. Consider The Family PhotojournalistTHE place to learn about family photojournalism!

Mission of The Family Photojournalist

We have come to realize the importance of documenting daily events and milestones of our families through photography as years pass. It is more important than we can ever begin to imagine, as future generations will be viewing photographs for decades, perhaps centuries. The primary purpose of The Family Photojournalist is to SHARE our ideas and passions about our processes of effective family photojournalism.

Who is The Family Photojournalist for?

In short, any photographer with a passion for family photojournalism!

However, The Family Photojournalist will not teach the basics of photography (exposure, aperture, shutter speed, ISO). For an excellent, easy to read book on the basics of photography check out Bryan Peterson’s “Understanding Exposure”.

All of the information on The Family Photojournalist will be written with the assumption that photographers have a working knowledge of an SLR/DSLR camera.

What can you expect from The Family Photojournalist?

We will be posting a variety of topics such as: photography technique tutorials, photoshop tutorials, gear and book recommendations, etc. as they pertain to Family Photojournalism. We also plan to have expert 'guest bloggers' stop by to give their perspectives on FPJ.

We would always love to hear your feedback on our posts (positive and negative). Also, we are open to any suggestions that you might have to enhance your Family Photojournalist experience.

Thank you for stopping by and we hope that you will come back!

Best Regards,

Daniel and Chuck

Bio: Daniel Shaw

2010-01-04T19:33:00.000-08:00

I've always loved photography, but it wasn't until college, though, that I became interested in real photography (more than just snapshots). My parents bought an old, metal framed Mintola XD-11 for me 10 years ago, a film body. I read as much as I could but the most useful books I read early on were "National Geographic Photography Field Guide : secrets to making great pictures" by Peter K. Burian and "Understanding Exposure" by Bryan F. Peterson. I highly recommend both of those books.

I joined a photography forum, Fred Miranda (fredmiranda.com), in 2005 and went digital with a Canon 20D in 2006. Two years ago, I became very serious about photography and studied everyone from Richard Avedon to Henri Cartier-Bresson. And one year ago, I began to seriously study documentary photographers (similar to photojournalists), a style which suits my own vision. I won't even try to list all of the photographers I read about and studied over the last year but I will discuss them and their books in future posts.

One thing I love about photography is that you don't have to have formal training to take worth while shots. I never had any. Through study and practice/experience, I also learned to be myself. If I tried to shoot like every good photographer I came across, I'd never find my own voice. I would, instead, go chasing the latest fads and techniques and only crack the surface of my potential. Instead, I learned to focus on content, timing and composition; content focuses on finding something true about your subject and capturing that, something genuine rather than contrived or ideal. I don't direct my subjects in my documentary work. I don't call attention to myself. It isn't important that they smile for me or even look in my direction, though it's okay if they choose to do so. I can tell a true story if they are being themselves, immersed in whatever it is they are doing. I am an observer.

I'm so glad you visited the site and I hope it helps you to grow as a photographer.

daniel

You can view my professional work at www.danielshawphotography.com

My gear: I use all Canon equipment. 1Ds mk2, 5D, 16-35 f/2.8 mk2, 35 f/1.4 L, 85 f/1.8, and 135 f/2 L, 580 ex2. You can shoot documentary work with zooms or primes, it doesn't matter. You can do it with less gear than I have.

Bio: Chuck Anerino

2010-01-04T19:31:00.000-08:00

I started taking photographs about five years ago when I took custody of my young nephew. I wanted to make sure I took photos to document his growth. At the time, I had a really terrible 1.3 megapixel point and shoot camera. Despite its shortcomings, I took a lot of photos of my new little guy. One of the most frustrating things to me with the delay from when the time I pressed the shutter to the time the actual photo took place. So I went to the store to replace the camera but found out that all ‘point and shoot’ cameras had that lag.

And that is why I bought a digital Rebel, my first DSLR. I knew literally nothing about photography or photoshop. I learned very quickly that a ‘fancy camera’ did not equal good or even decent photos! In fact, some of my photos with the 1.3 megapixel camera were better than with the DSLR. I knew something was wrong. So I began to visit various photography forums (fredmiranda.com and dpreview.com) and read just about everything that was written on gear and learning photography. Two common pieces of advice were given to me: buy a 50mm prime lens and buy Bryan Peterson’s “Understanding Exposure”. I did both and my understanding of photography got better.

From there it was practice, get feedback, practice more, get more feedback. I found the feedback given in photography forums to be invaluable. They became my ‘classroom’. This process continued for several years. Luckily, it was my passion for documenting my growing family that kept me shooting. I still LOVE doing it on a daily basis.

I hope that this site can help you with your own photography journey!

Best Regards,

Chuck Anerino

www.anerinooriginals.com

www.anerinooriginals.blogspot.com

www.pbase.com/anerino (personal site)

My current gear is: Canon 1ds Mark II / 24L / 35L / 85L / 70-200IS