How can I take sharper photos?
Oct 8th, 2017, 02:24 PM
#101
ps, IF you're actually a post-process whiz kid, another way to go would be to shoot multiple frames from a fixed, stable point with one exposed for the sky and the other exposed on the buildings. So that you could layer the two and with some work, end up with an image where both sky and town were each about as well exposed as possible. I still don't think the effect though would end up as nice as just being their when the sun was an an angle enough to cast some shadows between the buildings and have an actual 3D effect as a result.
Oct 8th, 2017, 02:43 PM
#102
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CounterClifton: <i>ps, IF you're actually a post-process whiz kid, another way to go would be to shoot multiple frames from a fixed, stable point with one exposed for the sky and the other exposed on the buildings. So that you could layer the two and with some work, end up with an image where both sky and town were each about as well exposed as possible. </i>
In digital photography, this process is called "High Dynamic Range" (HDR) photography, and some cameras do it automatically, even phones. Even if your camera can't do it automatically, there is software to create an HDR image from multiple frames or even a single RAW file. Done right, it can look OK or occasionally great - but most of the HDR images I've seen look unnatural. I've rarely played with HDR.
Or you can try a graduated neutral density filter on your lens to try the same idea optically (part of the filter is darker than the rest; adjust the darker side of the filter to the sky, so the darker part of your exposure gets more light through the filter.
In digital photography, this process is called "High Dynamic Range" (HDR) photography, and some cameras do it automatically, even phones. Even if your camera can't do it automatically, there is software to create an HDR image from multiple frames or even a single RAW file. Done right, it can look OK or occasionally great - but most of the HDR images I've seen look unnatural. I've rarely played with HDR.
Or you can try a graduated neutral density filter on your lens to try the same idea optically (part of the filter is darker than the rest; adjust the darker side of the filter to the sky, so the darker part of your exposure gets more light through the filter.
Oct 8th, 2017, 02:46 PM
#103
massimop,
On that photo where I made the sky more dramatic absolutely nothing was done to the rest of the photo from the previous one.
I selected the sky alone and reduced the highs (darkened the sky) and then increased the contrast so the clouds were more prominent.
On that photo where I made the sky more dramatic absolutely nothing was done to the rest of the photo from the previous one.
I selected the sky alone and reduced the highs (darkened the sky) and then increased the contrast so the clouds were more prominent.
Oct 8th, 2017, 02:58 PM
#104
Andrew, I've played with the HDR type filters in post-processing and agree with you. It's way over the top for my tastes. My camera doesn't have it, but I'm pretty low maintenance and perfectly happy with what my Nikon d200 will do.
What I was thinking of though is essentially layer masking in post. Where the two main exposure areas each end up with only one, relatively unchanged, layer. The best sky is matched with the best ground without the dramatic effects. The hassle of it is that you need two frames, spot exposed on the two different areas, without moving the camera (some cameras will give you several frames based on a range of exposures, which can be helpful). If they're able to be overlaid, tying the two partial layers together is sort of like manual photo stitching.
What I was thinking of though is essentially layer masking in post. Where the two main exposure areas each end up with only one, relatively unchanged, layer. The best sky is matched with the best ground without the dramatic effects. The hassle of it is that you need two frames, spot exposed on the two different areas, without moving the camera (some cameras will give you several frames based on a range of exposures, which can be helpful). If they're able to be overlaid, tying the two partial layers together is sort of like manual photo stitching.
Oct 8th, 2017, 03:03 PM
#105
ps - Andrew, also agree with you about the filter, though I don't do many sort of shots with a relatively flat horizon to align the gradient with. I sort of found myself not using it, so I haven't brought more than the UV filter the last couple of trips (which I don't think has much, if any effect on the photos but it's saved me a few lens scratches.)
Oct 9th, 2017, 08:42 AM
#106
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<<< I'm feeling kind of sorry I posted my own crappy travel snaps only to be told by some folks that they ain't art, though.>>>
Pffft!
If it makes you happy, if it makes you remember something wonderful or meaningful, then it serves a purpose other than just art. Art is very much like travel in that what makes one person happy would make another miserable. Some of my absolutely favorite photos from trips are crap compositionally, but they make me smile every time I see them because I remember the day or the situation that made me take that photo.
Take a class where you learn about your specific camera and lens. Take a class on post-production effects and how to play effectively. If you know what you want to be able to do with a photo after the fact, you'll better know how to set it up when you take the photo.
See if there is a book for your camera more than just the manual. Darrell Young is well known for books that explain various cameras on a non-professional level.
Determine your goal when you take a photo... do you want a snapshot to remind you of the day/place? Is there a place/person who is just irresistible to your eye and you want to capture that image? What is your timeline for that photo? Is it a fast shot that you don't have time to prepare for or is it a shot that you can take your time setting up and waiting for the best light?
Pffft!
If it makes you happy, if it makes you remember something wonderful or meaningful, then it serves a purpose other than just art. Art is very much like travel in that what makes one person happy would make another miserable. Some of my absolutely favorite photos from trips are crap compositionally, but they make me smile every time I see them because I remember the day or the situation that made me take that photo. Take a class where you learn about your specific camera and lens. Take a class on post-production effects and how to play effectively. If you know what you want to be able to do with a photo after the fact, you'll better know how to set it up when you take the photo.
See if there is a book for your camera more than just the manual. Darrell Young is well known for books that explain various cameras on a non-professional level.
Determine your goal when you take a photo... do you want a snapshot to remind you of the day/place? Is there a place/person who is just irresistible to your eye and you want to capture that image? What is your timeline for that photo? Is it a fast shot that you don't have time to prepare for or is it a shot that you can take your time setting up and waiting for the best light?
Oct 31st, 2017, 11:41 AM
#108
You're being told maybe you didn't pick the best spot.
Maybe you didn't pick the best time of day.
The best spot is something you can work on.
Unless you are a pro on an assignment, the time of day is the time of day and the conditions are what they are. Most of us on a trip aren't in a position to stand (or sit) at a spot day after day and all day waiting for good conditions and time of day.
We take what we have and depending what our goals are we try to improve.
Some people want a record of their trip for memories.
Some people want them to look better.
And some people want to submit a few to competitions.
Maybe you didn't pick the best time of day.
The best spot is something you can work on.
Unless you are a pro on an assignment, the time of day is the time of day and the conditions are what they are. Most of us on a trip aren't in a position to stand (or sit) at a spot day after day and all day waiting for good conditions and time of day.
We take what we have and depending what our goals are we try to improve.
Some people want a record of their trip for memories.
Some people want them to look better.
And some people want to submit a few to competitions.
Oct 31st, 2017, 01:54 PM
#109
I agree with Myer's last comment.
I am by far not a professional but I love taking pictures. I've had people tell me my pictures look great and that is with my camera on my phone. I think picking the right angle helps and not trying to copy one done professionally is the key. Lately I've been loving how I can modify my pictures on my phone. I can make the dullest picture pop with color and better than on my laptop.
It really just depends on what you want out of your pictures. On my last trip to Rome, right when the sun started to set, I got some really good pictures on Ponte Sant Angelo. I didn't need to modify them. I think it was just the time of day.
I am by far not a professional but I love taking pictures. I've had people tell me my pictures look great and that is with my camera on my phone. I think picking the right angle helps and not trying to copy one done professionally is the key. Lately I've been loving how I can modify my pictures on my phone. I can make the dullest picture pop with color and better than on my laptop.
It really just depends on what you want out of your pictures. On my last trip to Rome, right when the sun started to set, I got some really good pictures on Ponte Sant Angelo. I didn't need to modify them. I think it was just the time of day.
Oct 31st, 2017, 02:02 PM
#110
<i>the time of day is the time of day and the conditions are what they are</i>
This is very true, to an extent. In some ways it probably ties back to travel style and what you're doing at the time besides photography. If you're snapping shots because you're there anyway and schedules dictate you aren't or can't come back under better conditions, then you take what you get... and yeah, the photo may turn out looking like it was "just a snapshot". We all have those. The memory motive is still a good reason to save it.
But, *if* you're a photography buff who also happens to be a more casual traveller who builds in free time... and happens to be hanging out in a particular area for a while... an idea *might* be to use the time spent out sightseeing midday to just jot down a few potentially cool photo ops instead of snapping them. A shot that could be great if only something was different as far as the light, the current crowds or whatever. Some people schedule or allow themselves a bit of hobby time with the camera separate from the time they're putting into museums and such. (I'm often back up early when family is sleeping in, taking an hour to revisit a city as it awakens. Not only great photo ops, but sort of meditative too... and I say this as someone who is NOT a willing morning person)
Not everyone wants to break out that time or always has that opportunity though. You're probably not going to double back several hours later on that Grossglockner drive! But maybe if it's a big thing for you, you can arrange to start near the drive that morning knowing you really wanted to photograph that particular scenery.
And, in the meantime, there are ways to play with sub-optimal conditions and possibly still make it an engaging photo as well as a memorable one. For instance, intentionally blowing the highlights on a mid-day, sun drenched church and going black and white with it. My profile pic is a snippet of another pain in the butt shot from Essaouira, Morocco where the sun was right in my face and is an example of embracing a disadvantage. Well, I liked how it turned out anyway. But it's probably better to start with optimal as much as possible and then learn how to push the margins.
This is very true, to an extent. In some ways it probably ties back to travel style and what you're doing at the time besides photography. If you're snapping shots because you're there anyway and schedules dictate you aren't or can't come back under better conditions, then you take what you get... and yeah, the photo may turn out looking like it was "just a snapshot". We all have those. The memory motive is still a good reason to save it.
But, *if* you're a photography buff who also happens to be a more casual traveller who builds in free time... and happens to be hanging out in a particular area for a while... an idea *might* be to use the time spent out sightseeing midday to just jot down a few potentially cool photo ops instead of snapping them. A shot that could be great if only something was different as far as the light, the current crowds or whatever. Some people schedule or allow themselves a bit of hobby time with the camera separate from the time they're putting into museums and such. (I'm often back up early when family is sleeping in, taking an hour to revisit a city as it awakens. Not only great photo ops, but sort of meditative too... and I say this as someone who is NOT a willing morning person)
Not everyone wants to break out that time or always has that opportunity though. You're probably not going to double back several hours later on that Grossglockner drive! But maybe if it's a big thing for you, you can arrange to start near the drive that morning knowing you really wanted to photograph that particular scenery.
And, in the meantime, there are ways to play with sub-optimal conditions and possibly still make it an engaging photo as well as a memorable one. For instance, intentionally blowing the highlights on a mid-day, sun drenched church and going black and white with it. My profile pic is a snippet of another pain in the butt shot from Essaouira, Morocco where the sun was right in my face and is an example of embracing a disadvantage. Well, I liked how it turned out anyway. But it's probably better to start with optimal as much as possible and then learn how to push the margins.
Oct 31st, 2017, 06:45 PM
#111
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This is a long thread.
Early on some one mentioned a class. Almost always a good idea. In addition spend time looking at other peoples work. Think about what you like. Don't like. Think about what they did. Both from the technical standpoint and from the artistic .
The class will hopefully teach you the "rules". You'll then be able to break the rules creatively. A dutch angle is either a screw up if done by accident or it's a creative tool if done intentionally. Or the classic suggestion not to centre your subject . But at times even a centred subject works. Usually you need to understand the rules before you can break them creatively.
Which gets to the next point. Take many many photographs. Experience teaches. Don't think a bad photo is a failure it's a learning opportunity. In the digital world what does a click cost you?
https://farm6.staticflickr.com/5643/...98d91612_k.jpg
Light is only bad if it doesn't fit your vision.
Previsualize. Try to have an idea of the finished photo/print in your head before lifting the camera to your eye.
Early on some one mentioned a class. Almost always a good idea. In addition spend time looking at other peoples work. Think about what you like. Don't like. Think about what they did. Both from the technical standpoint and from the artistic .
The class will hopefully teach you the "rules". You'll then be able to break the rules creatively. A dutch angle is either a screw up if done by accident or it's a creative tool if done intentionally. Or the classic suggestion not to centre your subject . But at times even a centred subject works. Usually you need to understand the rules before you can break them creatively.
Which gets to the next point. Take many many photographs. Experience teaches. Don't think a bad photo is a failure it's a learning opportunity. In the digital world what does a click cost you?
https://farm6.staticflickr.com/5643/...98d91612_k.jpg
Light is only bad if it doesn't fit your vision.
Previsualize. Try to have an idea of the finished photo/print in your head before lifting the camera to your eye.
Nov 3rd, 2017, 11:31 AM
#112
I belong to a couple of camera clubs. They both have competitions.
What really gets me excited is seeing photos taken by others of places I've been to that look very different than my photos.
Now, it's possible they may look at my photos of the same place and feel the same way. I hope so.
What really gets me excited is seeing photos taken by others of places I've been to that look very different than my photos.
Now, it's possible they may look at my photos of the same place and feel the same way. I hope so.
