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The Human Tripod Technique

Recently I found myself shooting at an event. This had me moving all over the large field to get a variety of shots. Problem I encountered was that most shots I needed where shorter than me, consequently I needed to steady myself as best I could without the use of a tripod or monopod. Anyone who has tried to shoot in a bent over position will know just how difficult it can be to steady yourself and not introduce motion blur into your shots. Hopefully I can describe what I did so you can visualize it.

Leprechaun

Leprechaun

Since I’m tall (6 ft 2 in) shooting a shorter subject can be a challenge. What I did was to go down on my left knee, then rock back until I was sitting on the heal of my left foot. I placed my right foot out so that between my left knee on the ground, my left foot, and my right foot a triangle is formed. This placed my right knee up to where I could prop my right elbow on this knee while holding the camera to my eye. This position forms a pretty solid base for shooting and also put me at the right height to shoot the Leprechaun!

Try this technique out for yourself and report back your experience with it!

Your Camera’s Light Meter

Today’s film and digital cameras (including the point-and-shoot cameras) have complex, sensitive, and very accurate light meters built in to help you get the correct exposure. Light meters work by assessing the amount of light available and calculating the shutter speed based on the f/stop and ISO settings. Changing any of the three of shutter, f/stop, or ISO will change how the exposure is calculated by the light meter.

A Little Background

Before light meters were built into the camera, photographers used hand held light meters. These hand held devices had two modes of metering light – direct or reflective. The direct mode would have the photographer point the light meter towards the light source and take a reading, whereas the reflective mode would have the photographer point the light meter at the subject and measure the light that is reflecting back towards the meter. Once the measurement was recorded, the light meter would display the correct shutter speed for the f/stop and ISO selected, and these settings could be changed to see the different combinations that would give a correct exposure for the measurement.

The in camera light meter works in the same way as the reflective mode of the hand held meter. You are pointing your camera at the subject and the camera’s light meter reads the light reflected back to the camera. The in camera light meters have evolved over the years and have become very sophisticated offerring three modes of metering light, each with specific benefits for specific types of shooting. These modes are spot, matrix, and center-weighted. Some point-and-shoot cameras will only offer one mode which is matrix.

Spot Metering

Spot metering measures the light at yup – you guess it – just a spot. It ignors any light in the rest of the frame and bases it’s exposure calculation on just the light it measures at this spot. The size of this spot varies, but is usually about 4mm and is centered on the focus point of the camera. If you can and move the focus point, the spot metering follows.

Spot metering is useful when you have a very high contrasty scene such as seen here:

Fetchin House

For this scene I spot metered on the bed rail by the headboard (assuming the footboard is nearest the window). With the understanding that the camera’s light meter on spot metering is going to calcuate the exposure based on 18% gray or zone 5, this would have caused the scene to be overexposured by about two stops, so I adjusted what the meter was telling me to underexposure by two stops. I made this adjustment based on the zone system and estimating that the bed rail was about zone 3. Since the light meter calculates adjusting everything to zone 5 I have a two stop difference.

I find that a good understanding of the zone system is very helpful when using spot metering. Otherwise you need to find something in the scene that is close to neutral gray (18% gray) and meter off of it in order to get the correct exposure. If you understand the zone system, you can meter off of anything in the scene and make the necessary adjustment to the exposure as I did above.

Matrix Metering

Matrix metering is the most complex and versatile metering modes available and because of this it is the mode that most point-and-shoot cameras use. Matrix metering uses a complex algorithm which accounts for all areas of the frame, using contrast between lights and darks, colors, and even elements within the scene to calculate the best exposure for the scene. The more expensive SLR’s even have a database of scene information that the algorithm uses to dial in the exposure setting based on known scenes. Nikon calls this 3D-matrix metering.

For most scenes, particularly landscapes, matrix metering works really well. In fact it would have worked pretty well for the image above but I would have had to make some minor adjustment to the exposure compensation to get it right, because it would have compromised on either the darks or the lights depending on how the camera’s light meter saw the scene.

The following image was shot using matrix metering:

Peaceful

Center-Weighted Metering

Center-weighted metering works in much the same way as the matrix metering with the exception that it places more emphasis on a 12mm circle in the center of the frame. If you are shooting portraits, this is the metering method to use.

I had the opportunity to listen to Adam Jones speak last month. For those of you who don’t know who Adam Jones is, he is one of 26 Canon Explorers of Light. Basically means the guy knows what he’s doing because Canon has put their faith in him. I was surprised to learn that Adam shoots over 90% of his images in matrix metering mode. I thought being the high end shooter that he is he would have been using spot metering for absolute control, but no, he said “…don’t make it any more difficult than it needs to be.”

Pretty good advice I think since I like to work on the KISS principle (keep it simple). As always, if you have any suggestions for articles you would like to see here, please contact me with your request and I’ll do my best to address it. Thanks for reading!

Classic Cars & Trucks

Car Show

Car Show at Fatso's Diner

If you have been following my flickr postings, or looking at my featured galleries on my web site, you might have noticed that I have been taking a lot of pictures of classic cars and trucks. Why? Simple, I really like the classics. I even like the street rods and would like to own one, but there’s no way I could even think about affording one. Let alone taking care of it. So I settle for the only way that I can afford to own one, in pictures! I’ve taken a number of pictures of the classics over the past few months and I’m getting quite a collection.

When I take a picture of a classic car or truck, I usually try to talk with the owner and get the story. The other night I was talking with the owner of a ’52 Ford pickup (the picture didn’t come out) and learned that he had owned the vehicle for 20 years, and it had the original motor and transmission! It was a beautiful red truck, but taking the picture at night with a flash caused the paint to take on a pinkish color – not good. I’m sure I will come across this truck again and will photograph it under more favorable light.

The owners of these vehicles love to talk about them and have pictures taken of the vehicles. I’ve never come across one yet that said no, no pictures, but then again, I offer them a free print. So they can own the vehicles, I can take the pictures, and my collection is a whole lot easier to take care of! Ah, the simple pleasures in life! :)

The HDR “Look”?

Ok, I recently entered an HDR image of mine into a competition. One of the judges comments was “…it doesn’t look like and HDR image.” Am I missing something here? I want to take this as a complement, but it just doesn’t feel like one!

I thought HDR was a technique not a look. Sure, HDR allows for the creative and artistic expression which can be taken to the extreme, but that isn’t what HDR is all about – is it? In my mind, if I’m able to combine multiple exposures into an HDR image that looks like a regular photo, then I have acheived what HDR was developed to do. It is a technique that allows photographers to capture a scene as close to what they see with their eyes, and recreate it photographically.

I think it is a shame that people have come to expect HDR photography to have a certain “look”. This look they have come to associate with HDR photography has come from the creative and artistic expression that HDR technique allows photographers to use in the creation of their art. It is ill advised for judges of photography to expect “ALL” HDR images to have the more creative or surreal look with accentuated detail and deeply saturated colors. If this is what judges of photography expect of HDR, then they need to be seriously re-educated before they pass judgement!

I don’t have anything against the creative and artistic looks that can be acheived through the HDR technique. Some of these images are beautiful expressions of art. What I do have a problem with is labeling a technique as a “look”, and the blanket inclusion of all images created by this technique being required to have the “look”.

That is my thought on the matter – what are your thoughts?

A Tribute to a Great Sculptor

Fritz White

Out of the Mystic Past

Out of the Mystic Past - Fritz White

Fritz White literally came out of the mystic past and gave us many beautiful works of art. There are several of Fritz’s pieces on display in various parts of Loveland. The above piece is displayed in the Benson Sculpture Gardens and is one of my favorites. I also have a small wolf done by Fritz White on display in my home. I really love the expression and the way he could capture the spirit of the piece he created. These are works of art that have a story to tell, and if you listen, you can hear it. Fritz had a story to tell of which he told through his sculptures.

Fritz, a long time resident of Loveland and internationally known sculptor known for his expressive quality in his art, passed away this last week. He will be missed.

Thank you Fritz for sharing your creative talents with us! May you rest in peace.

Humph! Photo-Writers block…

The problem with having a blog is it forces you to come up with something to write about. When I started this, I didn’t think it would be all that difficult to write something about photography every two or three days – wrong! I think I’m experiencing photo-writers block, if that is even a word. I’m just getting this blog started really, and already I’ve run out of things to talk about. Well not really, if someone were to get me started I’m sure I could write a book on various aspects of photography. Do I want to write a book, not really. All I’m saying is that (well really I’m pleading) someone will get me started…

I just finished watching the movie Julie & Julia, which got me thinking about my blog…will it go anywhere? Most likely not unless like in the movie I have a project and give myself a dead line and specific goals. Even then I don’t think I will be very successful without a cheering section to keep me going.

Many of you know that I’m a part of a 365 project on flickr (as I have been for the last year – which incidently was a total bust for me) which could possibly help with this blog. Now, I never intended for this blog to be a daily thing and I’m sure there will be times throughout the year when things come up that will prevent me from posting…but it just could help with the motivation…maybe… 2009 wasn’t so good with the motivation though…

Any how…if you feel so inclined to lend a hand…for the next week I’m going to try to define a photo project for 2010 that I will write about here on this blog…and your input could help to define the project. After all, this is the time for new years resolutions – right? I’m thinking this project could be one of those resolutions that gets completed instead of lost and forgotten like so many resolutions do – usually by January 5th – sometimes sooner. If you’d like to help, please reply with some suggestions – I’ll be sure to give you credit when I get the book contract! :-)