Adventures thru the Lens - Sharing Ideas through Images

Backstreets around Piazza Navona

The streets behind Piazza Navona are crowded with restaurants, pizza joints and bars, and hence lots of tourists, and if you are looking to photograph a bit of local atmosphere tourists somehow just don’t fit the bill.

How happy I was then to be able to photograph this group of real genuine Romans who run a restaurant in Via della Pace. They were waiting to open up the restaurant, and so were just hanging

about outside until opening time.

We were chatting about the films that have been shot there, it being a location much favoured by film makers, and they have witnessed them all, including, most recently, Woody Allen’s upcoming (for 2012) film “The Bop Decameron” which he was in Rome shooting this August. Watch out for them in the film as I think they will make an appearance. Before him the stomach churning Eat Pray Love with Julie Roberts played out several scenes there, and among Italian films an unforgetable Alberto Sordi in Il Marchese Del Grillo and the 1961 film, “I Fantasmi di Roma.” (Ghosts of Rome) with Eduardo De Filippo, Vittorio Gassman and Marcello Mastroianni, three of the greatest Italian actors of the time (let’s face it, probably still).

Asking strangers if you can take their photo is problematic for a lot of people, and sometimes the moment would be gone if you did, like the picture of the little girl drinking at the fountain while she is photographed, probably by her grandmother, while her mum looks on.

I go by the maxim that if it’s an irrepeatable moment I’ll shoot first, ask questions later, but if I want to get closer to the person and present their personality then it’s simply imperative to ask their permission. That way the whole nature of the photo changes and in a few short seconds you try to create a very quick rapport with the person. If you have the right subject and you are convinced that something special can come out of it then hang in and get as much as you can. Don’t forget though this is not a studio situation. The best shots come after the subject has loosened up and got used to you, but remember that if you take too long over it he or she is going to get fed up. And always approach and shoot with a confident but friendly air, get your camera settings ready beforehand, rather than fiddle about with them later while the person you’re photographing starts to loose interest, or gets fidgetty. Lastly, don’t get nervous. You’ll pass this on to your subject immediately. So be relaxed and enjoy yourself.

You can see this, and some other photo blog posts of mine at mine at http://preview.tinyurl.com/mh5dc5

If you're a professional photographer like myself you no doubt aware of the latest trend in photographing members of the fairer sex, that of pin-up and boudoir photography.
The make-up for this type of photography is very different to that of a beauty makeover, the lines of the make-up should be clear and well defined leaving the model/client with an almost unreal but beautiful look, that which typifies the 40's and 50's.
I offer beauty make-overs and a one hour shoot with at least 20 high resolution photos on a disc, and a high quality print service that ensures your experience will stay recorded on paper for at least 100 years. It also makes a unique birthday, anniversary or a very special gift for that someone special in your life.
You can see my work
@ http://www.kevinhayden.book.fr/galleries/portraiture/

I was recently going through some Paris photography tour photos when I stumbled on this picture. It's a prime lens example of not looking around the frame to avoid distractions. It was taken in the jardin des Tuileries here in Paris. Had it been intentional I may be rather proud of it. To my credit I did instinctively use the rule of thirds by placing the innocent man who had no idea of what I was doing (neither did I) on a third. At the carrefour where the horizontal and vertical lines cross is known the "Golden mean point". I hope my students don't see this photo!

The Joy of Photography

Paris, France! I often forget to remember how wonderful it is to walk around Paris with friends, acqaintances and clients who then become friends as the result of a shared interest. Photography in Paris is like a sensory overload for this photographer, like the proverbial "kid in a candy store"!

Some of my "colleagues" in my photographic fraternity turn their noses up at what I do, because for them it's not "art".  I consider sharing my knowledge and talent with interested and eager visitors to Paris as a privilige and most often a great pleasure and source of inspiration. You could say I'm going thru an attitude of gratitude. Thanks Larry! Larry is my boss by the way! A very passionate photographer with a great eye for making the usual look unusual, which in turn makes fine art images. And this is what my clients enjoy about my style also. It's taking everyday things and changing how we see them, or if you like our point of view. Which can be from laying on the sidewalk or leaning over a bridge, it does pay to move around, plus I get tired walking after about three hours so laying down is good.
 In Paris the Parisians love to debate. Which reminds me, I recently had a dinner with some french friends whom I asked over dinner how to conjugate a verb. The explanation lasted three hours.

Be careful what you ask for. Living in Paris is like living with a woman, some days you can't get enough of her the next you want to get out and run away. As a photographer I love it more often than want to run away from it. The adventures thru the lens tours are something I have come to enjoy and appreciate more and more, because no matter at what level my clients are at I always end up with some new knowledge or inspiration. Thanks again Larry! On these tours I have started to include more and more info on portraits and on finding the "right" light and backgrounds for beautiful portraits. I include dogs too because Parisians love their canine treasures. I found this fella below sleeping  on a nice sofa behind one of those ancient wooden Paris doors. 

The last thing I say to clients is "keep taking photos, know your camera, and your photographic IQ will grow and grow"! I like to think mine has!

www.kevinhayden.book.fr

Getting The Details Through Cropping

Photography is not only cropping, cleaning and auto balancing your image to make that great shot.  However, I understand that in commercial, portrait, and creative photography, cropping, resetting, and altering the images is the norm.  Who wants to look at an advertisement for beauty cream with the face all blotchy and full of pimples? Have you ever seen a real live person that looks a perfect as they do in the magazine?

The secret for taking beautiful images lies in your aspiration, passion and admiration of the subject, if it be landscape, people, buildings or food.  For some reason, when you are attracted to the subject it shows in your images and they reflect your passion. Using techniques such as composition, angles, and light can help you to create a wonderful image that can only be tools to help enhance your images.  Using light can draw your focus onto your subject; the angle use can change the representation of your subject from short to tall for example.  Perspective is important while deciding on what angle to use, what light is best to set up your shot.  Rule of thumb, take your time and never be in a hurry before taking a shot.  Imagine in your mind that instead of using your digital camera that allows you to trash the images you do not like, you are using film.  That precious film that costs so much to develop each roll and each shot depends on your angles, perspective, and lighting.  This way, you can learn to be careful and think before snapping and shooting your image.

Perspective

Don’t just walk up to something that you want to take a picture of and snap a shot!  Don’t only look at the subject from eye level!  Walk around your subject, if you can, or take a one -meter step to your left, to your right, up and down while looking through your viewer.  Do you see anything that stands out to you?  Which position reflects what you want to show in your image?  Take a series of shots from different angles.  I saw a new stature in front of the Pitti Palace in Florence, Italy and walked around it. Like This!

 

    
 
You can see the difference with the various perspectives, just by walking around the statue and taking my time to look at what I am seeing.! Which one do you like best?

 

Susan Robens – Adventures Thru The Lens Florence Photographer, Guide, and Muse

Shooting Rain or Shine!

Rome was founded over 2,700 years ago, so it’s got a lot of history.  I encourage people to get away from the run of the mill, “standard” photos of monuments and look for the interesting angle, capturing Rome’s history as part of its present day fabric: looking out for the small details that many would overlook.

I want the people who come on the tours to take a little time think about their photos.  Try to let the photo tell a story, it doesn’t have to be War and Peace, or Charles Dickens, but a slice of an emotion that you felt which made you want to take the picture in the first place.  Most of all take time over composition. What are the elements that make you want to take it?

 And how can you bring them all together in a harmonious way so it all clicks into place?

And I underline how important it is to make a decision when composing, should the photo be horizontal or vertical, and to study the relationship and positioning of the various elements to the edge of the frame.  Rather than shooting casually, look around you, just a few centimetres right or left, backwards or forwards, up or down, can make a lot of difference.

One one July  day my client John and I not only photographed Coliseum and the Pantheon and other famous landmarks, we also photographed the violin maker; the antiques restorers workshop; the colourful market in Campo de Fiori; the Jewish Ghetto (a unique neighbourhood that feels like you have been invited into some one’s living room) two small but beautiful churches, one lavishly decorated, the other one with an interesting surprise in store. We also photographed inside the world’s oldest public library and we met a Roman artist whose studio door is itself a painting, and went inside to photograph. 

The day began with one of Rome's famous downpours; I was afraid John wouldn't show up, but he did - with his wife and son.   Photographing Rome (or any city) in the rain is a photographer's delight as there are many interesting (and sometimes funny) incidents with tourists running for cover.  Rain also provides wonderful relflections on the cobblestones.  As you can see, the rain didn't deter John from "telling his story" in photos.

I like to show my clients the Rome that I find most vibrant – the out of the way streets and alleys which are full of history and still full of life.

-Steve Bisgrove (right) with John H. -  Adventures Thru The Lens Photographer and Guide in Rome, Italy

 

Only in Florence

In Florence, if you walk around a person can find many scenes that are absolutely wonderful!  The city has a beautiful character, a feeling of personal freedom where you can be who you are, sit and read the newspaper, put your dog on a special attachment for your bicycle or paint meaningful graffiti on a wall.  Our mayor placed a temporary statue looking at the Duomo, in a city that is hundreds of years old showing his sense of humor!

   

 

Just walking around Florence, you can feel the community closeness and the respect of privacy.  Only in Florence can you chat with your friends on a motorcycle in the middle of the street and no one really cares.  This is why I love Florence.

Your Photo Adventurer photographer in Florence Italy, Susan Brannon

Rule of Thirds

The rule of thirds helps you to produce better images. It is something most people learn in beginning photography classes and is a useful rule to remember when framing your subject!  Of course, rules can be broken, but if you break this rule, remember the rule and know why you are breaking it!

 This rule is actually very simple.

 1)    Take your frame and divide it into 9 equal squares like this:

 2)      Now take the intersections of the lines as your points of focus:

 Also take the lines as a point of interest.  Studies show that our eyes naturally go to one of the intersection points, rather than the center of the shot.

 3)    Then imagine going in the direction of the “eye” lines that we call power points: by placing our subjects near the power points we can give a balance to a composition making it more engaging to the eye. Here are some examples:

 

 

In the top photo, the tree is to the left of the center, notice how the focal points are at the lines.

In the center photo,  this tree is focused on the center.

In the bottom photo,  the same tree is on the right line.

 Which one do you think is best?  Which image draws your eye through the image?  Which one looks umm sort of boring? When you center your subject, it gives the impression that something is missing, the image is not complete.  The image with the same tree on the left gives more depth to the image, and draws you to different focal points.  The same tree on the right, does the same thing, only with fewer trees!

 Avoid making the horizon in the center of the frame, putting it either 1/3 higher or 1/3 lower than the center.  You can use this rule either horizontal or vertical.  When doing this you want to create a visual path.  Here are a few examples:

 

In the photo above, the horizon line is in the middle of the frame.  Again, when you put the horizon in the center point of the image, most of the subjects are missing the focal points, the image looks cut off and not complete. 

Of course, when you put the horizon at the bottom 1/3 you will have more sky, creating a different feeling than when you focus the horizon at the upper 1/3 line.  In this case, it depends on what you want to represent.  The land and lines of the olive trees?  Or the vastness of the countryside with a broader sky?  Here are example:

When you look through your lens, look at the focal points and imagine the lines move your camera to see which angle you like best before taking that shot!  Remember, the easiest way to remember this is to "keep your horizons high or low, but not in the center!"

Happy shooting!

Susan Brannon - your Photo Adventurer photographer in Forence Italy.

Travels with Tony

“It’s not the horse, it’s the rider!”

What if I told you that the best camera on the market today is readily available and that it had every bell and whistle you can imagine, complete with easy-to-use controls and menus and a variety of creative shooting modes?  What would you say if I told you it was available right now and that you can get it for nothing - zero, zip - it's free?  Wouldn't you want one?

Well it's true, the camera is available and it has a name: your eyes!

Consumerism would have you believe that if you have the best camera your photography will improve greatly, and in short time you'll be making photos like those guys at National Geographic. There may be some truth to that, but in the long run and it is a false notion. You can make a bad photograph with a cheap camera as easily as you can make a bad photograph with an expensive camera.

 When I began shooting for National Geographic, the two most common questions I head asked were: "How did you get into National Geographic?” And "How do you guys TAKE those great photos?"

At first, my answers were somewhat flippant: "Oh, it's just raw talent" or "It's pure luck (LOL)".   But a good question deserves a good answer, so I began to think about it over time.  Certainly, natural talent can be important but there's more to it than just talent. It's a matter of how we "see the world with intention", how we use our eyes to pre-visualize the image before we pick up the camera. It's not about the camera, it's about the eyes!  

There was a gentleman who said to me "If I had all the money and time that you guys get at Geographic, I too, could make those great photos."  I dared him to prove this to me and invited him to come down National Geographic the next day to see if he was correct.  I gave him the best camera money could buy and told him he and I would go out and take as much time as we needed to make a dozen images.  Instead of taking my Nikon, I bought a Kodak cardboard throw-away camera and we went out shooting.  Afterwards I gave the film rolls to the editors upstairs without telling them anything, and asked them to choose the best 5-7 photos in the shoot.   The bet was $50 and all the beer the winner could drink in one evening! 

Two days later the editor called and said he'd chosen 7 of the best images.  Whose images do you think were chosen?  Mine of course, and I won $50 and drank good beer one evening with this man.  He asked me "How did you do that with such a cheap, nothing, camera?"  My answer was direct and simple: "It's not the horse, it's the rider!"  To put it another way, it's not the camera, it's the eye behind the camera that counts.

I coach my clients and students constantly to "put the camera down", "Don't look through the camera", "Make the image in your mind first, then the camera", and most importantly, "If you can't see it with your eyes, you'll NEVER find it in the viewfinder!"

Good photography depends more on an intricate interplay between the subject, your eyes, and your imagination than it depends on what camera you use.  The camera is the last element to enter the creative process of making a good image. The camera is jsut a tool to give expression to what you have already seen in our "mind's eye".  In a real sense, the photograph should already  be "taken" even before you push the shutter-release on the camera.

 Remember, it's not the horse, it's the rider!

 

 

Paris Adventures thru the lens

I have the privilege of sharing my photographic experience with enthusiastic photographers from all over the world, and in one of the most photographed and photogenic cities in the world, Paris. Today was a perfect day albeit a little too cold, but the all important light served up a delight for both landscape and interior photography. The interior of Notre Dame is just magic when that Eastern sun shines through the stained glass illuminating the rustic stone pillars and blues of the arched ceilings that are otherwise hidden in the shadows. I explained to my group how in situations of low light as in most churches we can become human tripods. Firstly I suggested everyone select their two second timer from their camera's menu, then pre focus as most lenses struggle to fix a focal point in low light conditions, manually set the shutter speed and aperature, because camera meters cannot be trusted in mixed lighting scenarios. I also reccommend everyone shoot in RAW not jpeg. For those with cameras like the Canon 5D MKii I suggest ISO 1600-2000. With all this set they are ready, the last instruction is to hold your breath for that two seconds and to brace the camera firmly against the forehead to ensure little or no movement. With this method most peoples shots were sharp even at speeds as low as 15th of a second.

Outside the sun created sharp contrast with the raking light creating attractive highlights on the flying buttresses, and on the weather greened brass statues of the architects on the roof. On the route we visit the Greek catholic church of St Julian le Pauvre, The church of St Severin if it's open, Shakespêar & Co the oldest english book shop in Paris, which has been open every day since 1951. We walk around the back of the Il de Cité and visit the monument to the deportation of the Jews by the Vichy government during the 2nd world war.

From here we stroll along some of the small quaint streets of the Latin Quarter passing the book sellers on the way to crossing  Bld. St Germain then rue des Ecoles and taking the gently rising Rue de Calmes. Very soon thereafter arriving at my favourite church in Paris dedicated to Ste Genevieve. It's a must see church, and being situated right behind the Pantheon and a stones throw from the Luxembourg gardens there's no excuse not to see it. After the Pantheon we stroll down past the Place de la Sorbonne and the musée de moyenne age and back to our starting point at the fountain of St Michel.