Understanding Photography Series « Through the lens with Chris Gamel

Technique Tuesday – Color of light

Light is not constant. Not only does the quality of light and the angle of light change, but so does its color. As the day progresses, the predominant color of light shifts. In the early hours of pre-dawn, the world is covered in a veil of blue. Photographing before the sun breaks the horizon produces a blue tint in our images. As the day progresses, the light shifts. Once the sun breaks the horizon, the world is flooded with the golden colors of sunrise. This light provides a warmth that is radically different then the coolness of pre-dawn. As the sun moves across the sky, the light looses its golden hue and becomes the “white” light we associate with daylight. Once the sun reaches it zenith, the process reverses itself.

As photographers, we can use these color shifts in a number of ways.

One fundamental use of color is how it alters the appearance of a subject. If we photograph the same subject under different light we will get different results. A lion’s fur does not look the same during sunrise as it does at noon. By returning to photograph the same subjects under different lighting conditions, it becomes possible to create radically different images. Try returning to the same subjects and photographic them in every possible lighting condition.
Color has a powerful impact on our moods, which in turn impacts how we interpret images. Blue provides a sense of calmness. Red has energy and is associated with violence. Green is the color of nature and contains a sense of vibrancy. Deliberately including specific colors in an image gives you an opportunity to push the viewer’s emotions in a specific direction.
People tend to find some colors more pleasing then others. The golden rays of sunrise and sunset produce some of the strongest images, in part because most people prefer warm tones over cooler tones.
While colors can be used to compliment the subject, don’t ignore their ability to clash with a viewer’s expectations. Depicting a clearcut forest in the golden rays of sunset would be one example of how the beauty of color could be used to contrast against the rawness of the situation in such a way as to make the viewer do a double take.

Color is a powerful creative tool and we often overlook it in our daily lives. As photographers, we spend a great deal of time looking at the world around us, and it is important that we take the time to consider how the color of light impacts that scene.

Written on March 29th, 2011 , Photography Information, Technique Tuesday, Understanding Photography Series

Technique Tuesday – Angle of Light

Previously, we discussed the quality of light. While describing light as either hard or soft is a good place to start, the quality of light is only one of light’s many characteristics. Another aspect of light is the direction light moves across the subject. In photography, there are three primary angles of light: front light, side light, and back light. Lets take a look at each one.

(Elephant in front light)

Front light occurs when light passes from the photographer to the subject. To record front light, a photographer should position himself so that his shadow points directly towards the subject. The result is a clearly lit subject, with shadows falling away from the photographer. Front light is very popular among bird photographers and can be used to create some stunning images. The limitation is that by pushing all of the shadows behind the subject, front lighting runs the risk of making subjects look flat. Photography is a two dimensional art-form that depicts three dimensional subjects. Shadows are a key part of this process because shadows help to create a sense of depth. Remember, light illuminates, shadow defines.

(Lioness in side light)

Side light, in contrast, provides a wealth of shadows to an image. As the name implies, side light occurs when the light comes from either the right or left of the subject. The result is an image that contains both shadows and highlights and a strong feeling of depth. Go through and look at the work of famous painters, and sidelight is what you will find. It is the primary lighting angle used by both portrait and landscape photographers. In the wildlife realm, side light brings out the texture of a mammal’s fur and creates a sense of drama that makes the scene more compelling. On the downside, side light can increase the contrast levels of an image beyond the camera’s ability to record.

(Zebra in back light)

Back light is the reverse of front light. Where front light travels from the photographer to the subject, back light travels from behind the subject towards the photographer. Back light can create a beautiful glow around the edge of the subject (called rim light) and adds drama to the scene. Back light also adds the challenge of dealing with shadows on the subject. With the light being behind the subject, the side of the subject facing the camera is heavily shadowed. If the shadows are two dark, the animal’s beauty will be hidden.

The angle of light is a key part of the photographer’s toolbox. Photography is about light, and learning to see light and playing with it will provide variety and visual impact to your images.

Written on March 1st, 2011 , Photography Information, Technique Tuesday, Understanding Photography Series

Capture a sense of place

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When it comes to photography, are you a wildlife addict? I sure am. Put a wildlife subject in front of me and I can photograph for hours. Take that subject away and I might struggle to find anything worth photographing. OK, I exaggerate a little, but the fact is that closeup images of wildlife and the details of its behavior is what gets me excited. Knowing that, would it surprise you to learn that some of my most successful images hardly focus on the wildlife at all?

Several years ago, I traveled to Cape St. Mary’s to photograph Northern Gannetts. While I had a great time photographing these majestic birds and captured images ranging from flight shots to mothers with their chicks, it is the pictures of the entire colony that get the biggest response from viewers. Why would that be? Isn’t the beauty of wildlife photography in the details? I think I understand. People don’t go to Cape St. Mary’s to see the Northern Gannett. People visit Cape St. Mary’s because they want to see over a hundred thousand Northern Gannetts. It is the experience of watching thousands of these birds flying over the cliffs that draws people to the area. No matter how beautiful the shot is, recording a single Gannett inflight can’t capture that experience.

While detailed shots are great and will probably always be my passion, I have come to realize that it is important to give the viewer a sense of place. They might enjoy watching animals, but what they really want is to experience the animals the way you experienced them. By including the wildlife as part of the larger environment, we provide our viewers with an opportunity to join us, just for a moment, in these marvelous locations.

Written on February 10th, 2011 , Photography Information, Understanding Photography Series

Technique Tuesday: Elements of Composition – Horizontal vs Vertical

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Cameras are designed to shoot in the horizontal format (imagine a rectangle with the longest sides along the top and bottom). The position of the buttons, the ease of holding the camera, and the very idea that the camera has a right side up encourage us to stay horizontal. The horizontal format does a great job of encompassing the scene and drawing our eye from one side of the image to the other. It is ideally suited for wide subjects.

Unfortunately, not all subjects are suited to the horizontal format. As photographers, one of our main objectives is to reduce visual clutter. Incorrect use of the horizontal format forces us to include areas that have nothing to do with the subject, thereby increasing the distractions in the image.

By turning the camera sideways, we produce a shift in the visual dynamics of the scene. While the horizontal format emphasizes width, the vertical format emphasizes height. The physical height of the subject becomes obvious as our eye moves up and down through the frame.

Each subject is unique and must be evaluated to determine which format will make the most successful image. As a starting point, ask yourself, “Is taller or wider?” If the subject is wider then it is tall (a hippo for example), shoot horizontal. If the subject is taller then it is wide (the giraffe seen above), the image will likely be improved by turning the camera on its side and going vertical.

This Masai giraffe above was photographed in the northern part of the Serengeti National Park. Several controlled burns were being conducted in the area, creating a smoky haze that did a great job of diffusing the light. The image was created using a Canon 1D mark 2, 500mm IS lens, at 200 ISO. The image was taken from a vehicle and a beanbag was used to provide camera support.

Written on January 11th, 2011 , Africa, Composition, Photography Information, Tanzania, Technique Tuesday, Understanding Photography Series

Getting the Shot – Giant Tortoise

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Anyone can photograph an animal. The challenge is capturing a unique image that stands out from the crowd. Such was the situation during a recent trip to the Galapagos Islands. In the highlands of Santa Cruz Island, I had the opportunity to photograph a wildlife icon, the giant Galapagos Tortoise. Lets face it, hundreds of thousands of people come to see these 300 pound giants every year and all of them take pictures. How was I going to capture something unique?

While watching the tortoises, I tried to to think outside the box (or possibly inside the shell). My first instinct when photographing wildlife is to reach for the telephoto lens. The wildlife of the Galapagos, however, is totally unafraid, therefore getting close is not a problem. With that in mind, I decided to take a different approach. Leaving the telephoto lens in the bag, I pulled out the wide angle (17-35mm lens). Next I looked around and realized that everyone was busy taking the same basic shot; standing a few feet away and photographing the tortoises from a height of five feet. So I knew what I didn’t want.

My first step was to get down on the tortoise’s level. I wanted to create an image that took the viewer inside the tortoise’s world and shooting from the subject’s level is one of the quickest ways to do this. With that in mind, I waited for everyone else to finish (it always amazes me how quickly people become bored with new experiences) and then I sat down in the grass a few feet away from the tortoise. Over the next few minutes, I captured several shots. As I photographed, the tortoise approached me to get at the tasty grass I was sitting next to. The repeated pattern of extending the neck and eating the grass got me thinking. With that, I placed my camera on the ground and waited for the next bite. Seeing a tasty bit of grass a mere two inches in front of my lens, the tortoise extended into the frame and helped me to capture what I think is a dramatic and unique image.

Written on December 30th, 2010 , Ecuador, Galapagos, Getting the Shot, Understanding Photography Series

Technique Tuesday: Elements of Composition – Relationships

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How do we move beyond the basic record shot and record something that pulls at our emotions? One way is to capture interactions. From lions and cheetah fighting over a kill to a baby baboon turning to its mother for comfort animals are constantly interacting with each other. The challenge, as a photographer, is to capture those interactions and the relationships they represent when they occur. Calling relationships an element of composition might be a stretch, but incorporating relationships into your photographs can increase their impact and help them to stand out from the crowd.

Even when successful, capturing an interaction is often not enough. The goal is to capture the interaction in such a way as to showcase the relationship in a clear, unambiguous manner. Good images are simple, without distractions. The more elements we add, the more potential distractions exist, and the more difficult it is to hold the viewer’s attention. As a consequence, a good relationship image requires three things:

Both animals must be captured in a pleasing manner. Usually we only have to worry about one animal at a time. Who cares if the baboon sitting off to the side is drooling while he sleeps. Unfortunately, we do. Both subjects must look good or the image will fail.
The interaction must be crystal clear. A lot can be shared in a simple glance, but that doesn’t mean the camera will capture it. Most interactions do not record well on film and it is only through repeated attempts that we have a chance to capture the few that do.
Eliminate all distractions. This might seem obvious, but it is essential. If there are any other distractions, the viewer will not focus on the relationship.

Interactions are a one of the most difficult, yet rewarding aspects of wildlife photography. While our attempt to photograph them fail more often then not, the successes are often the some of our most compelling images.

This mother and baby baboon were photographed in Tarangire National Park during a wildlife photo safari. As often happens when photographing a troop of baboons, photographic opportunities could be found in every direction. The key is to slow down and look of the little interactions and relationships that result in strong images. Just such an opportunity presented itself when I spotted this young baboon hugging its mother. The image was captured using a Canon 1D mark 2, 500mm IS lens, at 800 ISO. The image was shot from a vehicle using a beanbag to support the lens.

Written on December 28th, 2010 , Africa, Composition, Photography Information, Tanzania, Technique Tuesday, Understanding Photography Series

Technique Tuesday: Elements of Composition – Watch the Background

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Always look beyond the subject when photographing. Good advise, but often ignored. We get so excited about the subject in front of us that we get tunnel vision and ignore everything else in the frame. Take the above images for example. What is the difference? They both show an almost identical image of a yellow tulip, but the difference lies in what is behind the tulip.

These images were taken in my front yard when I lived in Salt Lake City. Spring had arrived and my driveway was lined with a beautiful collection of yellow tulips. So, I pulled out the camera and went to work. The first image (on the left) showed all the detail I could have asked for, but there was a problem. My driveway fills the bottom half of the shot. Is it a major distraction? Probably not, but it is one more element competing with the viewer’s attention and good photography is about removing ALL of the distractions. By moving the entire camera down a mere two inches, I was able to eliminate the driveway, creating a clean green background.

The trick to controlling the background is choosing the right lens. For maximum background control, you want to use a telephoto lens (200mm or longer). Telephoto lenses provide a narrow angle of view, meaning that small shifts in camera position result in dramatic shifts in what portion of the background is included. While wide angle lenses certainly have their place, their wide angle of view make it difficult to control how much of the background is included. So if background control is important, pull out the telephoto lens and try moving around a bit before taking the shot.

Written on December 21st, 2010 , Composition, Photography Information, Technique Tuesday, Understanding Photography Series

Technique Tuesday: Elements of Composition – Angle of View

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Want to take better wildlife pictures? Get down on your knees. Better yet, drop to your belly. Day after day, we watch the world pass by from somewhere between five and six feet off the ground. It is easy to take pictures from here, unfortunately, it is also boring because it is what we see every day. If you want your shots to stand out, get down to your subject’s level. If you are photographing a giant tortoise, you should be on your belly. Who cares if the ground is wet, learn to love the mud. We’re wildlife photographers! Dirt is part of the image. Get down and dirty and get the shot that everyone else passed up.

Shooting from the subject’s eye level creates an intimate connection between us and the subject. One of the goals wildlife photographers aim for is to get viewers to stop thinking about the physical photograph and move themselves into the picture. Share my vision, share my experience with this animal. Meeting a wildlife animal at eye level is a new experience for most people and can result in a shift, making them feel like part of the pack (or the creep in the case of a group of giant tortoises). So, stop standing around and get down in the mud. Your viewers will thank you.

The image of the Lucas and Philip photographing the Galapagos Tortoise was taken in the highlands of Santa Cruz Island in the Galapagos, Ecuador during one of my Galapagos photo tours. Despite the fence seen in the background, the tortoise was a free ranging, wild tortoise. The image was created using a Canon 1Ds mark 3, 17-35mm lens, at 400 ISO. The camera was mounted on a Gitzo tripod using a ballhead.

Written on December 7th, 2010 , Composition, Ecuador, Galapagos, Photography Information, Technique Tuesday, Understanding Photography Series

First Out – Last Back

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What is the best way to increase your chances of capturing the perfect wildlife photograph? Simple, you need to be where the animals are. This means being in the field when the animals are active, which means getting up early and staying out late.

I am not a morning person. Given the choice, my morning wouldn’t start until 9 o’clock. Unfortunately, wildlife photography does’t give me that option. Animals are active during the early and late hours of the day, so that is when I need to be out there. If you want to capture good wildlife images, you have to be the first one out there and the last one to go home.

This image was captured right at sunset in Tarangire National Park, Tanzania. The image was created using a Canon 1Ds mark 3, 24-70mm lens, at 400 ISO. The image was shot from a vehicle and the camera was supported with a beanbag.

Written on December 3rd, 2010 , Africa, Photography Information, Tanzania, Understanding Photography Series

Technique Tuesday: Elements of Composition – Space in the Frame

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We have established that placing the subject in the center of the frame is rarely the best option. For the sake of argument, lets say we agree that the rule of thirds offers the best starting point when deciding where to place the subject within the frame. Where do we go from there? The rule of thirds gives us four points of power with which to work. Which is the best one?

The answer depends on your subject and how it is positioned in the frame. With wildlife, and people, the main item of concern is which way the animal is facing. Given the choice, it is more effective to place an animal with extra space in front rather then behind. Take the image above. The mongoose is taking in the beautiful light of sunset while look off to the left. For placement, I have three choices:

Option 1: Put the mongoose in the center. This is a common choice for many photographers, but produces the least appealing results. Lets stick with the rule of thirds and forget about the center.

Option 2: Put the mongoose on a point of power on the left side of the frame. This will place the mongoose near the edge of the frame on the side he is looking. All of the empty space in the photo will be behind the mongoose rather then in front of it, making the image feel crowded. Viewers will subconsciously want to know what they are missing. Why is he looking over there? What does he see that I don’t? Why didn’t this @#$#% photographer show me what I want is over there? Putting the mongoose on the left side of the frame will look like you made a mistake.

Option 3: Put the mongoose on a point of power on the right side of the frame. This is the correct choice. How do you know? It will be obvious when the stars align, the sun shines down on the mongoose, and triumphant music begins to play……OK, maybe not. By placing the mongoose with space in front of him, we give the viewer the opportunity to see the world through the mongoose’s eyes and we want to see what he sees. Ironically, it doesn’t really matter that nothing is there, it just feels right.

The image of the dwarf mongoose was captured while on safari with my family in Tarangire National Park, Tanzania. The image was taken using a Canon 1D mark 2, 500mm IS lens with a 1.4 teleconverter, at 400 ISO. The image was shot from a vehicle and the lens was supported on a beanbag.

Written on November 30th, 2010 , Africa, Composition, Photography Information, Tanzania, Technique Tuesday, Understanding Photography Series

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