April C's Image Critique

Today’s image up for discussion comes to us from April C. The image above is of a bald guy with a guitar. But its not just any old photo of a bald guy with a guitar. It’s a very well done, editorial style portrait. It has several things going for it, that make it work.

First thing that makes this such a great image is the lighting. The lighting is very fitting for the subject. The lighting is dramatic, with deep shadows, which cut out the entire image. The lighting is also very well controlled. Notice how she concentrated the light on the subject’s face and guitar. From there, the light fades outward. Our eyes naturally go to the brightest area of a photograph. By properly controlling the light, it keeps your eye right where it should be, on the subject.

This image also has a very strong composition. April has done a wonderful job of using dead space, on the right side of the frame. This dark area, along with the guitar strings direct the eye strait to the subject. There are a lot of photogs out there that say its wrong to use dead space. This is only true if you’re going for a very classical portrait, and submitting it for a PPA contest. But this image is anything but classical portraiture. But that’s what makes it so interesting. Its not normal. It has broken the rules. Its outside the box. Its. . . good.

If I were to nit-pick and find something to improve on this image, it would be to add a catch light in the subject’s eye. Now, I realize there is a lot of effort in controlling the light in this shot. It looks like there is only one light being used. It also looks like the light is either shot through a snoot, or a grid spot. And, to use this one light source and get a catch light may completely screw up the lighting of the entire image. So, if you can’t move your light around for this image, you may have to add a second light. This doesn’t need to be much, a small flash at 1/64^th power, with a very tight snoot aimed directly at that eye. Some care taken not to catch a reflection in the glasses and you’d have it. Again, this is a very miniscule, nit-picky thing to bring up. It really doesn’t need the catch light, but hey, I had to find something to push the envelope.

As always, this image is now up for comments form anyone who cares to add their opinion, for the betterment of the industry. So, what’d I miss?

Thanks April for subjecting your image to my textual lashings!! You’ve got some great stuff out there, and I’ glad you do what you do! Keep up the good work!

Now, go out and shoot something!

Your Questions Answered

Time for a “your questions answered” Friday. This week’s question comes from a friend of mine - Garrett D. from Springfield, Mo! I had the honor of shooting his senior photos last year. He’s quite the creative too. You can check out some of his stuff HERE.

The question is, “How do you photograph people?” This is such a great question.

Starting out, your photography may not be at a level you think it should. Then you see someone’s work that you really, really like. So you set out on a quest to shoot just like them. This is a very dangerous venture - for a couple of reasons. First of all, you never get the respect you deserve. Lets say you really admire the style of David Hill. You think his stuff is so sick you cry when you see it. And your work isn’t anything like his. So you decide to put in the effort. You begin to read everything you can about David Hill. You spend hours studying his images trying to gain insight into how he does what he does. You find tons of articles and webisodes explaining the “David Hill” lighting technique. You invest the time to mimic his lighting. After countless months of trial and error, you perfect his post production and photoshop skills. And finally you’ve got it. You have mastered the technique. You are starting to make some respectable images. You’re proud of what you’ve done. You decide to show off the fruits of your labor. You are glowing as you pull out your newly updated portfolio. You’re beaming with a sense of accomplishment. The person viewing your images is obviously awestruck. You couldn’t be happier. When they finish, they look up, and with a huge smile they say “wow, these look like they were shot by David Hill!” And there it is. Instead of your work standing on its own, all that time and effort was spent to simply look like someone else’s work. We would be much better off spending our time and effort developing our own style. One that people will recognize separately from everyone else’s. And a side note, personal style is not developed over weeks or even months. It takes years to develop.

There’s a second reason we shouldn’t aspire to shoot like someone else. Simply put: You have something to offer. We don’t need another David Hill in the world. We need you. You already have a very unique, distinct photographic style (or you’re in the process of developing it). Its easy, natural even, to look at another photographer’s images and want to shoot just like them. Though it may be beneficial to be inspired by and learn from others, we must resist the lure to replicate their work. Stay on that quest long enough, and you find you’ve put a ton of effort into creating images that aren’t yours. And that’s the last thing the world needs. We need what you have to offer. Without your unique contribution to photography, the industry as a whole suffers. So, you’re not at the level of David Hill, Jeremy Cowart, or Drew Gardner? Starting out, they weren’t either. But they put their efforts into their craft. And look what they contribute to the industry. Its not a cookie cutter approach to photography. So embrace where YOU are at, and commit to improving YOUR photography. And don’t worry so much about it. When it comes down to it, Like Zack Arias has said, “its not like we’re curing cancer. The only job that cures cancer is the job that cures cancer.” Take a deep breath, take a look around, and keep shooting. You’ll get there.

So how do you photograph people? My answer to this is actually very simple. You photograph people the way YOU photograph people. Whatever your personal photographic style is, keep doing that, just put a person in the shot. Its as easy as that. Do what you do, and add humans. But for Pete’s sake, don’t start shooting like everyone else. We need what you have to offer. And what you have to offer is worth so much more than cookie-cutter photography.

Now, go out and shoot something!

Essential Gear

We live in a time when gadgets have become essential to our everyday existence. Televisions, computers, cell phones, ipods – we all have them. Most of us are addicted to them. Don’t believe me? Take any one of those devices and give it up for a week. Most of us wouldn’t last one day. I’m not saying these things are wrong or evil. Many of these things are a must to carry out the functions of everyday life. Most of us need a cell phone to stay connected to others, or listen to music to stay focused, or use computers to, well, do nearly everything in our business.

“Where you going with this Todd?”

Look, lets be honest. Many of these gadgets are essential. However, many of us get caught up in thinking our gadget isn’t good enough – that we need the latest in order to function properly. I may need a cell phone, but do I need a new iphone 3Gs when the 3G is doing everything I need it to? New bells & whistles are great, until you realize you’re broke, the bells are annoying and you really don’t know how to whistle.

The same is true in photography. There are several pieces of equipment we must have to create images. But it seems every day there’s a new improved camera, lens, image software, lighting rig, widget and what-have-ya. The new gear promises to make you a better photographer. The truth is, however, only YOU can make you a better photographer. You are the one who has to have vision. You are the one who has to think it through. You are the one who has to work out the shot. When it comes to essential gear, YOU are the single most important component on any assignment. Concerning photography, you must be your single biggest investment. Do everything you can to hone your skills as a photographer. Read what you can. Learn as much as possible. Shoot more than possible. Mess up. Learn from it, and try it again. Meet with other photographers. Get involved in open forums, comment on blogs. Heck, start a blog. Whatever you do, put a much greater importance on developing your skills and vision as a photographer than on your gear. David duChemin has a mantra I think needs adopting by many of us: “Gear is good; vision is better.” Don’t focus on the gear. Focus on your vision. YOU are what makes killer images, not your gear – period, the end.

Only have an old hand-me-down camera that’s nearly worn out? Finish the thing off. Bought an off-brand flash on ebay? Rock it ‘till it melts. Stuck with an 18-55, non-IS kit lens? Figure out how to put the rest of us to shame with it. Still using Photoshop Elements to fix everything? For Pete’s sake, start nailing your images “in camera,” and stop having to “fix” everything later. Then you may not even need Photoshop.

For years I had it backwards. I got caught up in thinking “if only I had this camera, that light, or the other lens, then I would get better images.” Believe me, the “better” gear does not make you a better photographer. That said, different gear may help us achieve our vision easier. You see, once you begin to invest in yourself, your skills improve. When your skills improve, you begin to develop your style. As your style emerges, you might realize you can’t achieve your vision with your current equipment. Then and only then should we start looking at new gear. Many people barely know how to use the stuff they have before they want something different. If we would simply understand the limitations of the gear we have, we could then maximize its capabilities, and realize we probably don’t need the shiny new stuff. Now, if the gear you have can’t deliver what your vision demands, then its time to look at something new. But that should be the order. Vision first, gear second. An ancient prophet once said “without vision, the people will perish.” The same is true in our craft. If we get caught up in gear and never cultivate our vision, we end up with the same level of images – and a very heavy equipment bag. And we’re broke.

This post may not be what you were expecting. You may have been expecting me to tell you to buy the new Nikon D5s mark II with the DX 12-2400mm f/1.2 lens, a half dozen SB-580 EX IIIs, some Wizard Poppers and Photoshop CS9. You may have wanted me to tell you about the secret piece of gear that will magically make it all better. If so, then I’m sorry to break it to you. Gear won’t make it better. What does it take to make killer images? You. Only with hard work, determination, and a passionate commitment will we become better at your craft. Invest in yourself and master the gear you already have.

I feel I still have a long way to go in my own photography. I only have 40,000+ clicks on my three-year-old D200. Which means I have a lot of mileage left on it. And I plan to get the most out of every mile left on that thing. Maybe by then my skills and vision will demand a replacement. Until that happens though, you’ll see me out there rockin’ my “vintage” D200.

Anyone care to join me?

Now, go out and shoot something!

Jasmine K's Image Critique

Okay first things first. I have been calling these things “critiques.” And I will definitely give my two cents worth. But I’d really like for what I say to be the beginning of a discussion. I would like you (even you non-photogs out there reading this blog) to chime offer up advice in the comments section below. This is another way for you to get involved in the greater photography community. I am one guy with one point of view. But that’s all I have to offer. One perspective on any given image. And as we all know, art is subjective. So, for the sake of the industry, to help each other become better, please consider offering your perspective too.

Secondly, until I am able to record these critiques as a nifty little screen-grab video where you hear my stunningly handsome voice, and see my ever so smooth mouse movements, you’ll have suffer through reading them. Think of it as vintage internetting. You know, the days of dial-up.

Lastly, what I have to say in these critiques are in no way intended to offend the photographer. I do not take these critiques lightly. And I will never make fun of or belittle another photographer who is seeking to improve. I ask anyone offering further comments to do the same. My aim is to help you see the areas that need improving. My hope is that you, and everyone reading this, can use what I and others have to say, to become better. I appreciate all the images that have been sent in. Some are awesome and I’ll have a hard time finding flaws. Others have been sent in with obvious problems, and intended to be used for the benefit of the community. And some were given, honestly asking for help.

Now, on to photo critique numero uno. . .

First image up to bat comes to us from Jasmine. The image, seen above, is of a girl with blue makeup in the woods. The exposure is accurate and the image is sharp. The composition though, needs a little help. The girl seems to be sliding down an oddly placed slab of concrete. (Is she on an overgrown sidewalk?) If you notice her feet, they look like they’re keeping her from sliding. I’m sure its not that steep of an incline, but due to the high camera angle it makes me feel uneasy, like she’s about to slide out of the picture. Maybe moving the camera down a bit would alleviate this uneasiness.

The model’s pose isn’t all that bad, but not that great either. It has that fashion/editorial feel, but she seems a little lifeless, a little stoic. Maybe this is what you were going for, but look at the eyes. The eyes are the most telling thing in any portrait. You may have been going for that “I’m an emo girl and don’t care about life” look. But her eyes have that “I’m not into this photo” look. You have to get the subjects eyes to sell the entire image. Is this hard to do?? You better believe it is! Master the eyes in a portrait, and you’ll be miles ahead in the game. One thing you could have tried would be to have her lower her chin and look down with her eyes, so all that is seen is her eyelids. This may have added to the stoic look without her staring at the camera with that “I'm not into this photo” look. It would also have highlighted the stark blue eye makeup. If you want her looking at the camera, she needs more intensity in her eyes. You may have to direct this. If you’re not getting the expression you want, here’s a little tip. Take a shot of the poor expression. Then, go show it to your subject. Let them know what they are giving you, then explain to them what you want. Once they see what’s not working its easier for them to change it (kinda like the point of these critiques). Try it, you’ll be amazed at how well it works! Again, the overall pose isn’t too bad, but the eyes need work.

A few more things to be mentioned. On the left of the frame there’s some sort of plastic Wal-Mart bag. This should be removed before taking the shot. Or you can add time to your post production and remove it in PS =). Maybe its supposed to be a trashy environment. But since it’s the only one and its mostly out of the frame, it makes me think it’s a mistake. And since I’m not sure, and I’ve spent so much time focusing on it instead of the subject, something should be done about it. Either take it out, or add a bunch of trash to add to the environment. But as is, its distracting. There’s also a shadow over there that doesn’t need to be there. If you can’t move whatever’s making it, and you can’t move your entire shot, then remove it in PS.

The last thing I want to point out is the lighting. I think its available sunlight - but it could be from a Sunpak 120j =). Either way, its very broad, semi-butterfly lighting. This type of lighting isn’t bad. For many things its ideal. But for this image it isn’t edgy enough. The model’s outfit screams “I only hang out late at night, don’t listen to my parents and I just don’t give a flying f-stop!” But the lighting is saying “I’m a member of the glee club hanging out on a nice summer afternoon.” The lighting doesn’t match the subject. The great Joe McNally says “Light speaks, just like language. You can make someone look like an angel, or the devil.” You have to make your light speak the language of your subject. For this shot, if it’s the sun, you could have moved around to the right. If you were using a flash of some sort, you could have simply moved it around to the side of your subject. In either case, the light would be coming from the side of your model, creating more shadows. And, judging by the ratio, the shadows would be nice and dark. The shot would then be more dramatic, more edgy – it would speak the language of your subject.

Overall, the image has potential. The girl’s makeup and clothing are great. With a little more thought it could be a very interesting image. If you’re like me, getting in a hurry can be your Achilles’ heel. If I’m in a hurry, I don’t think it through. If I don’t think it through, the image suffers. Right now, the biggest investment into my photography is learning to slow down. I think it is the single greatest hurdle to me getting to the next level. So, slow down, think it through, and create what you envision.

So there you go. The first official image critique. I can see already they will be a great exercise for me. I can only hope you will also find them worthwhile.

So, what’d I miss? Let us know in the comments. Don’t agree with me on something? By all means, set me strait. Those of you not photographers, you have a unique perspective that has value. Please share it. But no matter what it is. please contribute to the craft and take the time to share a comment below.

A big thank you to Jasmine for sharing your image!! Feel free to chime in and let us know your thoughts. (also, sorry if there are any typos in this post. I, simply don't have the time today to proof it)

Now, go out and shoot something!

First Friday Photos

Its time for First Friday Photos! Again, the first Friday of every month, I'll be posting several images I shot from the previous month. Today, though, none of these images are from last month. They are from my 35mm, fully automatic film days.

The shot above is a milestone in my journey. Traveling abroad, I shot a ton of frames. But this one changed my life.

I was in Burkina Faso, Africa. We were there for 5 weeks. The temperature got down to 100 degrees at night, and a blistering 125+ during the day. The conditions were miserable, especially for me who is naturally well insulated. The three boys you see above became friends of mine. I lived with their village for weeks. We didn't speak the same language. But we laughed together, played together, enjoyed life together. The experience I had with these boys and their village was incredible.

After I returned stateside, I had the film developed. Flipping through the photos of the trip, one image made time stand still. This single frame, the one of the boys I grew so close to, stopped me in my tracks. It wasn't merely an image of some kids in another county. It was an image that spoke to so much more than just three faces looking at the camera. It had depth. It had meaning. And it was at that moment I began to think photography was profound. This single image altered my world. It was the beginning of my real photographic journey. It is the image that started my career. Since then, this is the image that has haunted me the most. It keeps speaking to something deep within me that screams "This is your thing. This makes you Alive."

So, today's post is a very small sample of my early work. All 7 images are from 35mm film. All were shot with zero understanding of equipment. All hold a significant place in my heart. I wish I had more to share, but I've only converted a few into digital files. At some point I hope to scan more of them to share. But for now, they're in albums over there on my bookshelf, collecting dust. Here are a few more. Have a great weekend everyone!


Here I am learning the language from the kids in Burkina Faso


An Elder of the village enjoying the shade on a 125+ degree day


Baobab tree near the village


Leaning Tower of Pisa on the left - Two of the kids in Burkina on the right


A Mosque in the courtyard of the Taj Mahal in Agra, India

Now, go out and shoot something!

Bold Decisions...

Starting out, I never considered myself a “photographer.” In fact, taking photographs was purely incidental. Vacations, birthdays, get-togethers. They all had to be remembered. And I snapped what I could. The camera made everyone uneasy, but it was simply what you were supposed to do. I didn’t put much thought into it. And I sure didn’t think of myself as a “photographer.” But the images weren’t too bad.

Fast-forward to my college days. Over a period of five years I traveled to eleven countries outside the US doing mission work. Most trips were between two and five weeks in length, always with a camera in hand. Again, there was no real purpose to the photos other than the memories. However, at some point, that began to change. I experienced many incredible things overseas. So many so, I can’t even begin to recount them here. But the images . . .the images began to contain some real meaning. So much more than simply remembering where I was, these images began to speak to something deeper. Every frame was a part of something bigger, something spectacular. I began to see the incredible power of the photograph. Susan Sontag in her book “On Photography” said something to the effect of “narrative can adequately recount an event or situation. But a photograph does something different – it haunts us” (paraphrase). My photographs began to speak of the people and places I had been to in way my words never could. Photography stopped being merely incidental. I began actively seeking out my shots, visualizing the frames. For the first time, my photography had a purpose. I wanted to do much more than simply remember the people I was with. I want to expose their very being.

For the next several years, I couldn’t shake it. I loved taking photographs. In my technical ignorance, the only way I knew how to improve my photographs was to shoot more. I was chasing good images, not knowing how to get them. My camera was 100% automatic. No bells, no whistles. I was armed only with my eye. Over time I developed my eye to see better shots. I honed my vision. I got better. I wanted to shoot more and more.

Soon, my day job became less and less appealing. By this time in my life I thought I was doomed to a life of working in a job I loathed. And every other job out there seemed even worse. So it began to swell – could it be that I could actually make a living doing something I loved? I wanted to shoot. But how do you do that? How do you make money pushing a shutter button? I still couldn’t shake it. Everything in me screamed, “This is your thing. This makes you happy. This you must do. This makes you alive!” And so the struggle raged inside me. It was a struggle because a career in photography meant major change. If I were going to do this, it would be with my whole heart. It meant learning everything I could. For me, school was the best fit. It involved my wife and I moving out of state. It meant moving away from close friends, and a community of people we loved so dearly. It meant changing our entire life. It meant a huge, life-altering decision. It meant being . . . BOLD. Would it be worth it?

There aren’t many things in life worth having that don’t require sacrifice.

Well, here I am four years later. My wife and I moved. I went to school. My skills and vision have increased and continue to increase. I’m working a part-time job at a camera store, but I am building a career as a photographer. But, I’m on my way. I’m doing my thing. I love what I do. I am doing what I must do. Am I where I want to be as a photographer? Not even close. But, I fully embrace my place in the industry. I am working at it with my whole heart. I am moving forward. But most of all, I am . . . ALIVE.

So what happened? Why am I no longer stuck in a job I loath? What brought me to a better place in life? Put simply: I changed what needed to be changed. For years I wasn’t happy with the situation I was in. Well, if we continue doing what we are doing, we will always be doing what we’re doing. Don’t like it? Do something about it. Don’t be passive. Be active. Be Bold. You can do this thing called Photography. You can even make a living at it. That’s the path I’m on. And I want you to succeed at it as well. David duChemin wrote: “Whatever the next step for you is, take it boldly. These are not times for the timid; there’s no reward in tiptoeing through life only to make it safely to death.” That’s what I did for so many years. Tiptoeing around, but no real movement, no real direction. And I was unhappy doing what I was doing. Something had to change. It was time to stop tiptoeing and start taking very decisive steps towards something better. Has our move been easy? Not at all. Has the transition been smooth? Hardly. Has it been worth it? Absolutely.

So, what’s your next step? Maybe you take photos as a hobby and you want to up your game a little. Perhaps you want to make a difference in someone’s life like the guys over at Help-Portrait. Or like me, maybe you want to turn photography into a career, because nothing else will do. Maybe your next step isn’t all that clear, foggy at best. Few decisions in life are clear. But you must decide something. No matter how big or small, do something about it. Be active. And whatever the next step is for you, take it BOLDLY!

Now, go out and shoot something!