If your goal is to take your photography to a whole new level, then you’re going to love this post. Just in time for the weekend comes another wonderful learning tool from the Craft & Vision library.
Chasing Reflections is simply an inspirational gem when it comes to appreciating great photography and a unique “case-study” explanation of each image. A quote from the book intro does the most justice in describing this masterpiece:

Reflections not only give an image more longevity, as the viewer has to look carefully in order to interpret them, they also give you more chance of creating something unique.

This is the third in a new series from Craft & Vision which will be covering the “Print and Process” when it comes to the craft and vision of photography. I’ve said it before, and since it continues proving to be true, I’ll say it again… I personally find this series to be the most helpful in my growth as a photographer. Even if you are or are not yet comfortable with all of your camera settings, it doesn’t matter in this case. This eBook takes you through the camera settings used along with the most important insights into the image – the how and the why.

Inspired Learning

If you are the type of photographer who learns through inspiration (of work you admire), then this is going to be right up your alley. These aren’t your usual snapshots in here, not that any of the books in the Print and Process series are. While going through this book and looking at each photograph, I could really feel a sense of the mood and story. This is something I have become more aware of when I am composing my own photographs, largely thanks to this series.

The photos in this eBook are more akin to “fine photography” if there is such a genre. You can see there was careful thought behind the compositions of the photos, even though some of them were taken in the blink of an eye. This is the type of collection of works which make you think while you look at them. If you take a look at the cover image, or these preview images, you’ll see what I mean.

Exploring the reflected world gives you the sense of a whole new style of photography to think about. Focusing is different, composition is certainly different, and you instantly become more aware of background elements and more importantly, how background elements integrate with foreground elements. If that’s not enough to inspire you, there is an explanation of how and why each photo was captured.

What you have to gain…

At a whopping 72 pages of remarkable imagery coupled with the thought provoking explanations behind each photo, I’ve found new life in my own work. If you shoot portraitures, still life, urban, or even landscapes, this one will inject a new dose of creativity to consider in your own work.

What David Has to Say…

“Chasing Reflections is the third in the series The Print & The Process. Eli Reinholdtsen is a creative photographer who, through her unique and skillful approach to reflections, captures moments and juxtapositions that are truly an art form at its finest. Reinholdtsen digs deep and shares tangible ways to scout, setup, and shoot complex and magical photographs that push the envelope of visual poetry. Her playful descriptions aren’t shy of digging deep into the techniques required to capture movement, timing, and contrast.

Chasing Reflections is an inspiring collection of 37 photographs that stand on their own a pieces of pure art (The Print) followed by a discussion of the creation of those visual moments (The Process). Chasing Reflections is a available now for $5.”

And, there’s a special offer as you can imagine: For the first four days only, if you use the promotional code REFLECT4 when you checkout, you can have Chasing Reflections for only $4 OR use the code REFLECT20 to get 20% off when you buy 5 or more books from the Craft & Vision collection. These codes expire at 11:59pm PST AUGUST 1st, 2010.

Visit the Craft and Vision photography library here.

Sure, there are many factors to consider, especially when learning to shoot with a DSLR. For many, the thought process goes something like this:

Set and/or check white-balance settings > set camera to manual mode > check metering mode > point camera at subject > set aperture and shutter speed > compose shot > fire!

That’s how I did things when I was first getting started, it seemed right at the time. The problem with this is that most of your shots can end up looking like uninteresting snapshots which have no lasting viewing value. Until I learned that photography is more about seeing creatively and telling a story, that’s when my photos improved drastically. So how exactly do you tell a story through the  instantaneous capture of a moment? Through primary emphasis on composition.

Improving Composition Before You Even Shoot

While you want to make sure your creative juices are flowing strongly, by asking yourself a few quick questions prior to shooting you will give yourself an advantage over the scene before you. Like most new techniques, this takes some practice. You may find that it slightly numbs your creativity in the beginning, but as you learn to ask yourself a few simple questions mentally, they will start to become second nature. When you first learned to ride a bike, there were so many things to consider to stay upright, including reminding yourself to keep your head up! Once you learned how and practiced riding, you didn’t even have to think about the little things anymore, and the same goes for learning photographic composition. Learn these techniques, and your composition will improve even before you put your camera to your eye.

Remember that photography is a communicative art. Our photos are meant to communicate something to the viewer, and the most interesting photos provoke our viewers’ thought processes. Ask yourself these questions before taking your next photo and you’ll find a dramatic improvement in your photos as well as some hints as to what camera settings are most appropriate:

What or Who is the main subject of this photo?

If your subject is a person or people, what are they doing that is important to the scene? Remember, you are going to attempt to tell the story of the moment with your photo. Is the person’s expression the most important factor in this story? Or perhaps it is their placement in the scene as a whole? If you are shooting an object, why is it important and what does it represent? Would a different shooting angle help to better represent the subject’s purpose in the scene? Once you start to figure out the answers to these questions, you will find that you draw more importance to the subject and will capture it more effectively. Is the subject of your photo moving or in action? If motion (or stopping motion) is important to the subject in the photo, that’s a good indication of what camera mode you could be using. Though manual mode offers the most flexibility and control over your shots, it is not always the best or most necessary shooting mode to use, especially when you need to shoot a photo quickly. If motion/action is important to your subject, consider shooting in Shutter Priority Mode.

Is the background important?

This is one of the most commonly overlooked aspects of photographic composition. It may sound a bit silly, but remember that the background is… the background, not the main subject. While backgrounds may or may not hold importance to the overall scene, your story is about the subject, and the background is secondary. So, is the background important in relation to the main subject of your photo? Whether it is or not, you will want to consider the angle you are shooting from so that it can be featured appropriately without being a distraction to the main subject. Discovering the answer to this question can also help you decide if shooting in Aperture Priority Mode may work best. You will have control over the depth of field, either keeping your background in focus, or blurring it out completely in relation to your main subject.

Where is the light?

Since you are the artist and your camera is your tool, it is important to remember that all your camera does is capture the light which enters it. Photography is all about capturing light, and doing it effectively. Be aware of the angle of the light you are working with, and if shadows are present or not. You may need to employ the use of a flash to “fill in” shadow areas if they appear distracting in your photo. Also, some subjects (landscapes especially) can look dramatically different depending on the position of the light. If you are shooting outdoors and sunlight is your main source of light, consider the position of your subject as well as the time of day you are shooting. While you can’t change the position of the sun, you can change the time of day which you elect to shoot your scene, or you can manipulate the light through the use of flashes and reflectors. Light is important, so make sure it is flattering to your main subject! By considering the lighting and how it affects your subject, this can also help you determine which metering mode is best for you. Evaluative metering takes into consideration the lighting of the whole scene, where as spot or center-weighted metering measures the light in the center of your photo (which you can use to determine the best settings based on your subject).

Do I have time to compose the subject?

Are you shooting a subject which you are able to pose or position in a certain way? If so, you can take a moment to figure out the best position for your subject based on the answers to the previous questions. If you have no control over the positioning of your subject (or if it is moving), you still have control over yourself! Find the best vantage point possible based on the type of lens you are shooting with (wide angle or zoom) and shoot your photos from that location.

What is the mood/atmosphere of the moment?

This is actually a two-part question. Ask yourself: What is the mood of the moment and what is the mood am I trying to create? Which is the more important of the two? If the two are synchronous then you have the recipe for a brilliant photo. If the mood or atmosphere of your scene is not the vision you want to create, it can be a tough choice in deciding what to do next. It is much more difficult to create a mood that is not present in an image, since you are altering the true story of the subject. This is more of an artistic decision and it is important to remember that manipulating the mood of your main subject can also require a lot of time spent in post processing!

While there are plenty of questions to explore in realizing your photographic vision, I have found these to be the most important and effective in my own work as a photographer. The answers should come to you quickly based on your intentions and given scenes, but being aware of them puts you in the driver’s seat for controlling your composition. Once you have that figured out, the camera settings are secondary and they too become second nature as you gain experience. Through asking yourself some basic questions you uncover a true meaning behind each photo and create a stronger connection with your viewer. I hope these tips can help you as they have helped me. Keep practicing, and happy photographing!

Going back to school sounds exciting to those of use who are currently working full-time, but usually our job demands do not afford many of us the time to go back to school. For those of you who are interested in learning more about digital photography, post-processing, the photo-business, and doing it all from home – read on!

There are some fabulous online digital photography schools out there, and among the finest is the New York Institute of Photography. Many of you may have noticed our recent involvement with NYIP in our magazine. We have chosen to work together with them because we believe they are providing our readers with a truly valuable option for going back to school, learning digital photography, and getting the necessary student/teacher interactions which provide specific and valuable feedback conducive to learning and growing as a photographer.

There are so many options out there, but the overall purpose is to help our readers to learn. Going back to school no longer means sitting in a traditional classroom and giving up the better part of your day. If you are learning photography just for fun as one of the greatest hobbies there are, or if you are planning to turn your photography into a lifestyle or even a business, then consider taking courses of any kind to learn from professionals with the knowledge and experience to truly help you improve. Join some local photography clubs, participate in photowalks (or start your own), see what options are available through institutions such as the New York Institute of Photography, and also check out some of the workshops offered by local camera shops in your area. Learning is a life-long process, and most importantly, it’s fun when it’s something you love.

For a FREE course catalog offered by the New York Institute of Photography, please visit the link below:

Get your free NYIP course catalog here!

In fact, we’d like to know where some of our experienced readers stand. Have you taken a traditional photography program or course? If so, how did it help you in your photography career?

The Magic of Black and White Part II picks up right where it should and enters the realm of how to properly process images for black and white. One of the things I most enjoyed is the section on “Interpreting the Image” where we see a color photo interpreted into several black and white “versions.” I personally use this technique quite often in finding the right process to fit the particular photograph I am working with. As Andrew explains, there is no one way to process a photograph for black and white. Each image is different and requires its own interpretation.

Andrew also goes into great detail, sharing with us his personally developed methods for processing images in black and white. What’s great is that the processing techniques demonstrated in this ebook can be applied throughout almost any post-processing software.

The section of the ebook which deals with toning was especially helpful. In post-processing, toning techniques are what truly infuse an image with mood, feeling, and ambiance. After a brief discussion on toning, Andrew dives into some post-processing techniques and shows us an effective method of applying both strong and subtle toning.

The Magic of Black and White Part II also explores three real-world examples of black and white processing from start to finish. One of these examples covers the proper use of textures in black and white photography, one of the most effective methods of adding drama to an image. If you aren’t yet familiar with textures, you will definitely want to pick up this ebook and learn the technique. Textures alone can open a whole new door to a new style of processing, a new genre if you will.

Quote from David duChemin – “Part two of Andrew S. Gibson’s, The Magic of Black and White series is about the craft of converting the captured image into black and white in the digital darkroom. Where Part One – Vision, looked at the process of seeing and capturing in monochrome, Part Two – Craft, looks at the tools needed to turn a colour digital negative into a spectacular-looking black and white image using the software of the digital darkroom, specifically Adobe Photoshop. The Magic of Black and White, Part Two – Craft is a 51 page downloadable PDF. We’ve forced the layout into a landscape format to make viewing on the iPad even better. Using a good PDF reader like GoodReader, these PDF eBooks retain the rich layouts we’ve always created, as well as allowing non-iPad users the same great experience they’ve always had. It sells for the usual and ridiculous price of USD$5.00″

To get your copy of The Magic of Black and White Part II, visit the Craft and Vision Photography eBook store. At 51 pages in length and only $5, The Magic of Black and White Part II is worth every penny. A comprehensive and practical guide to processing images in black and white, in an easy to understand format with example images that truly inspire.

Last month in the April 2010 edition of the PhotographyBB Online Magazine I wrote an editorial on the importance of making time for your photography. The response, to my pleasant surprise, was overwhelmingly positive so I’ve decided to extend that editorial into the blog here. It seems that many of us are at least a little guilty when it comes to putting our hobbies and passions on the back shelf when our busy lives “get in the way.” Some of our readers and my personal friends have confessed that the only reason they don’t use their cameras often is because they simply “don’t have the time.” I can understand this, I’m a busy person myself, but as I thought about this more I kept wondering why would we sacrifice our passion for down time when there is so little of it? Taking a photo takes but a mere fraction of a second, or of course it can take longer if you dedicate yourself to a shoot you’ve been wanting to do. But in either of these cases, you’d be hard pressed to argue that it wasn’t enjoyable, relaxing, or worth the time. Time is passing all of us by, and when I look back at the important achievements and moments in my life I want to remember my loved ones, and my life’s passions.

Getting started is the fun part, and picking up your camera and learning just one setting/feature at a time does not have to be time-consuming. For those of you who just cringed at the word “learning,” here’s what I know… I realize that typically “learning” requires an energy which most of us aren’t willing to invest at the end of a long day. However, I can tell you from experience that learning photography is FUN. Now, I’m not asking you to sit down and read your camera manual from front to back; that would put anyone to sleep. If you aren’t familiar with how camera settings work, flip it to auto-mode and peek at the auto-settings (to make a mental note) as you aim your camera towards something. Flip your camera to another mode like shutter or aperture priority, and take a series of shots while adjusting the settings (usually with one spin of the control wheel on the camera). Trust me, if you are doing this for the first time, as you practice you will stumble upon exciting realizations as you learn through experimentation. It’s that discovery process that makes learning photography fun, and ignites the passion to fuel your photography.

If you’ve invested in a camera, then I know you already have that passion inside you to be a photographer (be it as a hobbyist or professional). I know you are also a busy person, so for those of you who “just don’t have the time for photography,” I’m calling your bluff – here’s my challenge to you.

Take a photo right when you wake up in the morning, or before you go to sleep at night

I’m serious! Instead of storing your camera away in it’s camera bag (please don’t tell me it’s still in the box!), put your camera on your nightstand. Keep a memory card inside it, and keep the battery charged at all times (it only requires charging once every week or so if you aren’t using it regularly). I have learned from the many talented photographers out there, that anything can make a beautiful photograph. When you wake up or before you go to bed, pick up your camera and find something out your bedroom window, inside your home, inside your room, or even inside one of your dresser drawers to photograph. Better yet, experiment with different camera settings. Set your camera to aperture priority mode and shoot a 3 second exposure handheld with no flash. Intentionally blur your focus. Try shallow depths of field. Zoom in close on anything so the resulting photo gives no clues as to what you shot. It doesn’t require much of a time investment at all, the point is you will be shooting something. And with each photo you shoot, the closer you come to getting the most out of photography while improving in the process. You’ll be surprised just how much you learn over time when you experiment and practice.

If possible, take your camera to work, everyday

I realize there are professions where this is not at all possible or safe for your camera. However, for some of people, bringing your camera to work is completely plausible. Use it to take photos of your workplace, your desk, or even your coworkers. You will find that when you involve others, your passion becomes infectious, which can further fuel your enjoyment of photography. I know so many folks who have created beautiful photo-art from photographing their workplace. It may sound a tad silly, but photo books of people and recognizable subjects from the workplace (ones that are memorable or have become inside jokes) make for the most thoughtful and well received gifts come gift-giving time. Remember, photography is about communicating to your viewers. If your workplace doesn’t inspire your photo-creativeness, then take your camera for a walk on your lunch break. Set a goal to take just one photo; surely we can make time for that.

Teach a family member photography

After a long day at work, spending time with the family is probably the thing we all want to do the most. You can just as easily combine your love for your family and your passion for photography if you include them in your hobby. I’m not talking about picking up your camera and asking your children to pose for you while you practice. That’s boring for them, and you’ll be the only one getting anything out of it. Show them your camera, let them play with it (supervised), and let them photograph something. There’s no need to get hung up on camera functions and settings; just have fun with photography. Take turns each taking a photo of one family member, or even the family pet. You’ll be having fun as a family, you’ll be able to make use of your camera, and you may just be inspiring your loved one to pick up your hobby too. Sometimes even the untrained eye can surprise and even inspire you with the way they see things through a lens.

Create a photo series about your home/family

This one ties in with the suggestion above, but if your family members aren’t as interested in photography and would prefer to let you do the shooting, then do it! Take five minutes (there’s no excuse to say that you cannot make 5 minutes of time) and shoot something in your home that is of significance to you or your family. Do you have any antiques or heirlooms which have been in the family for many generations? How about a craft or piece of art that one of you made? Something from your childhood? The photographic opportunities are there for the taking – you just need to make the time.

Photograph someone else’s hobby

This doesn’t have to be a daily ritual, but it’s a really fun way to enjoy your photography while being inspired by someone else’s passion. If you have a friend or family member who has a regular hobby of any kind, offer to take some photos of them doing it. Be it sports, arts/crafts, hiking, fishing, building models, etc… Offer to take some photos for them. It gives you an opportunity to try new styles of photography, and practice in all areas of photography inevitably helps to improve your familiarity with your camera/settings,  composition and technique.

These are just a handful of ideas which I and various photographer friends of mine have found to be helpful in the pursuit of enjoying photography. Every photo you take makes you not only a better photographer, but a more passionate one. There is no excuse for not using your camera because you don’t have the time. “Life is what you make of it,” so no matter what, find the time to make photography (or any hobby) a fulfilling part of your life.

As we first start out in photography, there is a natural temptation to compose photographs where your subject is dead center in the frame. While this can and certainly does work in some cases (hey, rules are meant to be broken sometimes!), most of the time this type of composition can lead to images that look or feel flat. This is why so many beginner photographers get discouraged when learning photography; they may look at the work of others and feel theirs just doesn’t compare. However, like everything, photography and composition requires focus, knowledge, and most of all – practice!

One of the quickest ways a beginner can start to improve their composition is by learning the rule of thirds. The rule of thirds suggests that we mentally divide our frame (or scene) into 1/3 segments both vertically and horizontally, then compose our scene so that our main focal point lies either along one of these imaginary “third” lines, or on one of the hotspots where these lines would intersect. When we talk about focal point, we are talking about the point in your photo where you want to draw the most attention to. This is one of the reasons why the rule of thirds has such a high visual impact. Our eyes become drawn through the image, rather than right to the center. The photo becomes more engaging to the viewer, as the scene is revealed in stages as the eye passes through the main point of focus, through the remainder of the image Take a look at the first photo in this posting and you will see how the bee on the flower is positioned on the bottom-left imaginary “hotspot.”

The Rule of Thirds in Practice:

There are many ways to apply the rule of thirds practically in your quest to create dynamic photographs. In portrait work, (usually) the main point of focus is your subject’s eyes. To create a truly engaging portrait, try composing your photo such that your subject’s eyes lie on the top third “line”. Placing your subject off to one side also creates more interest, leading the eye through the image and resting on the main point of focus. Shown here are two examples of compositions according to the rule of thirds. In the first shot (left), the subject’s eyes are on the top third line, as well as the upper left “hotspot.” In the image below, the subject was placed along the left vertical third in an attempt to create a more dramatic portraiture where the eye is lead through the image to the subject.

In landscape photography, it is popular to apply the rule of thirds by composing the frame so that the horizon line lays on the bottom third “line” where you wish to show off a dramatic and big sky. Alternatively, if the foreground is more important, you can shoot with the horizon line along the upper third, hence showing off the detail of the foreground. In this example, the horizon line where the water meets the land was placed along the bottom third horizontal line to show off the big mountain range and sky. The eye is also lead down to the bottom corner where we can see a small sea-plane.

Of course, the rule of thirds is just one of many ways to compose a photograph. For those just getting started, try shooting based on the rule of thirds and you’ll see how a new door has opened up for you in your pursuit of creating those brilliant photographs of yours. Shoot with subjects centered, then shoot the same subject according to the rule of thirds, and you will quickly find which method works best based on the story you are conveying with your image. Practice lots, have fun, and happy photographing!

BUEGN4K2X8MH

Shooting light and traffic trails can be one of the most rewarding types of shots in photography. For the beginner, it is a technique that is easy to practice and become good at quite quickly. For the more experienced photographers, experimenting with new and more challenging compositions can yield some exceptional results. Mostly though, shooting light trails are just a lot of fun and can provide an immediate sense of photographic satisfaction. The technique itself is quite simple, so let’s dive in and have a look a just how these types of photos are taken.

Recommended Gear

When shooting traffic and light trails, the basic premise is that you will be leaving your camera’s shutter open long enough for a light source (such as a car headlight/taillight) to travel through your frame as it moves. As a result, you will need to ensure that your digital camera allows you to shoot in either manual, shutter-priority, or bulb mode. Additionally, since you will be shooting at long (slow) shutter speeds, a tripod is an absolute must! There may be cases where you can rest your camera down on something stationary, but a tripod will afford you the most flexibility in arranging your composition the way you see fit. Lastly, if you enjoy doing this type of photography, then I would recommend investing in a shutter release cable. This will allow you to open the camera’s shutter via the cable, as opposed to pressing the shutter button on your camera (which may cause your camera to shake slightly). It becomes especially convenient when you wish to shoot very long exposures over several minutes, as most shutter release cables have a locking mechanism so that you don’t actually need to hold the shutter button down for that length of time.

Camera Settings

Shutter Speed: In photography, when motion is the key ingredient of your composition, your main concern will be how long (or short) your camera’s shutter remains open for. In the case of light/traffic trails, you will want to be using a long exposure. There is no exact shutter speed to use; the shutter speed will largely depend on the amount of ambient lighting in your scene, as well as how fast the traffic/light is moving. Most of the time you will want to make sure the shutter speed is slow enough to allow your light source to pass completely through your frame, as opposed to having your shutter close half way though. If you shutter remains open for the duration of the light traveling through your frame, you will wind up with a smooth, full streak of beautiful light through your shot. If your camera allows, you can shoot in shutter-priority mode, which allows you to pick the duration of the shutter speed while your camera chooses the best possible aperture setting. You can usually limit your camera’s ISO setting, which we’ll cover shortly.

Again, shutter speed will depend on the type of scene and the amount of ambient lighting, but you should find that you have excellent results by using a shutter speed ranging anywhere from 6 seconds up to 30 seconds. Experimentation is the key, and all part of the fun in learning this type of photography.

Aperture: When shooting in shutter-priority mode, your digital camera will select the best possible aperture setting in order to capture sufficient light to produce a nice looking photo. Sometimes though, there are exceptions and cases where you may wish for your shot to be a bit brighter, darker, or to purposely choose a specific aperture. In these cases, it will be best to shoot in Manual mode where you will have control over the aperture also.

When shooting in manual mode, set your shutter speed to your desired speed depending on how many traffic trails you wish to capture. If you use a long shutter speed, then presumably more traffic will be captured, hence more light trails. Conversely, if you use a short shutter speed then less traffic will have time to pass through your frame, therefore less light trails will be captured. Once you have your desired shutter speed, then you can adjust your aperture setting to determine how bright/dark your photo will expose. If you find that your shot is too dark, then you will want to use a wider aperture (smaller f-stop number). If your shot is too bright, then you can limit the amount of light that gets captured by using a smaller aperture (higher f-stop number). Generally, you will find that an aperture range from f8 to f16 works great for traffic/light trails. Again, every scene will be different – the key is experimenting with different settings to produce a variety of results.

If you have some cool stationary lights present in your shot, another fun thing to do is to shoot with the smallest aperture you have available to you. When light sources are captured by a lens using a small aperture (high f-stop number), they produce a starburst effect, as seen here. In this shot, I cranked the aperture to f22.

ISO: Most of your traffic trail shots will be taken during dusk or night time, so you will want to use a low ISO to minimize the amount of noise your digital cameras may pick up. I recommend (and personally shoot at) ISO 100 for these types of shots. If you are shooting in Manual mode, you can set the ISO to 100. If you are using shutter-priority mode, you will want to consult your owner’s manual to determine how you can limit the ISO setting in shutter-priority mode. For most digital camera’s, you will find this setting through either the “function” or “menu” buttons.

A Word on Focus Mode

Since you will typically be shooting traffic trails in low light, you may wish to switch your camera’s focus mode to manual focus. The autofocus systems on most digital cameras tend not to function accurately in low light environments, and the last thing you want is for your autofocus to wreak havoc just as you press your shutter button to take your photo.

Traffic and light trail photography is all about capturing a sense of motion in your photo. Scope out an area with the potential for moving lights/traffic, find an interesting vantage point to shoot from, and experiment with as many combinations of settings and angles. Practice as much as possible, and in no time you’ll be having a blast capturing gorgeous streaks of lights, creating visual masterpieces.

Do you remember what it felt like the very first time you held a digital SLR? Perhaps a little bit clumsy, but an exhilarating feeling I’m sure – it felt right! I’ll preface by saying that there isn’t really a “right” way to hold your digital SLR, however, there are some techniques to ensure you are using your gear in the most optimal and efficient way.

For first-time users, and some of us who are entering our golden years, the problem of blurry images can often be attributed to “camera shake.” This can be even more prevalent in lower lighting conditions where longer shutter speeds are necessary. In some cases, the shutter speeds will be so slow that you may require the use of a tripod to eliminate any shake or blur in your image. However, even at slow shutters speed there are some hand-held camera techniques you can employ to avoid camera shake. Let’s go back to the basics with some quick and easy tips to minimize camera shake and make your photos sweet ‘n sharp!

Your Hands: Holding Your Camera

The optimal way to hold your camera is with your right hand gripping the right side of the camera body, with your index finger comfortably resting on the shutter button. Your left hand can support the weight of the camera by resting the bottom of the camera body against your left palm, with your fingers supporting the lens (and in position to operate the zoom or focus rings (if using manual focus). Try not to use your left hand to hold the left side of the camera body; the importance of your left hand is to provide weight support. Every camera body shape and weight is slightly different, so experiment and find the position which feels most comfortable.

Try not to squeeze the camera body or hold it too tightly. Tense hands are one of the largest contributors to camera shake and blurry photos!

Your Arms: Keep Them Close!

Many digital SLRs on the market now have the ability to shoot while viewing your composition on the LCD screen rather than through the viewfinder. While this is a popular way to compose images for photographers who are more used to their previous point-and-shoot cameras, shooting this way with a DSLR can contribute to blur in your photos. For the best stability, keep your elbows (comfortably) tucked in close to your body. This position helps with your body’s center of gravity and stance, which is our next tip.

Your Legs: How to Stand

I know what you’re thinking… “You’re not really going to try telling me there’s a certain way to stand now are you?” Well… although I’m sure you all have a great deal of “standing experience,” there is something you can be aware of in your stance to also help reduce any shake in your photos. When shooting in crowded areas or outdoors (especially on uneven ground), stand with your feet apart with your knees slightly bent to give you the most stability. Locking your knees straight can increase the chances of your body swaying ever so slightly, which can translate into blur quite easily in your images. By being conscious of just these little things, you’ll find you will be able to shoot handheld and minimize blur in your photos.

Breathing is Important!

Believe it or not, your camera will translate the movement of your body as you breathe, hence they way that you breathe can also be a contributing factor in your photos. Take in a deep breath and just as you finish your exhale, depress the shutter button. You will be shooting at a moment where your body has the least movement. Combine this with all of the above factors, and you’ll be impressed with just how slow you can shoot handheld.

Quick Tips: Program Timer and Shutter Speeds

Every camera is different in size, weight, and design, and sometimes the movement of pressing down on the shutter button is what results in camera shake. If you find this is the case, one thing you can do is to program your camera’s timer. This way, when you press the shutter you will have a few seconds before the shutter fires, and you will have eliminated the shake caused by pressing the shutter button. This technique can only work in the case where timing is not critical to your shot of course!

Some of us are more steady than others, and I am sure you all know yourselves well enough to know just how shaky your hands can tend to be at times. By using the techniques above, you will realistically be able to shoot in the neighbourhood of 1/60th of a second without significant movement causing blur in your shots. Some photographers with very shaky hands may find they need to use a minimum shutter speed of 1/125th, while other photographers with more steady hands can even go as slow as 1/2 of a second. Every one of us is different, and as you practice you will find the speeds at which you can most comfortably shoot at without causing blur from camera shake. Tip: You can also adjust your camera’s ISO higher and open the aperture as wide as possible to use faster shutter speeds.

Remember!

1. Support your DLSR with two hands.
2. Elbows in, knees slightly bent.
3. Take a deep breath in, exhale, and shoot!

As a beginner or even a more experienced shooter, I hope there was a little something to take away from this brief technique. Happy shooting folks!

Enter a brand new ebook from David duChemin’s Craft & Vision online bookstore for photographers – The Magic of Black and White -Part 1, Vision – by Andrew S. Gibson. Like all of the gems at Craft & Vision, this will be the best $5 you’ve ever spent on photography – seriously. Here’s a brief description from the Craft & Vision website:

Black and white photographs are a different medium than colour and require an ability to see in monochrome. Becoming aware of the differences between black and white and colour images, in both how they are seen and what makes a great black and white image, is the first step to capturing images that will work powerfully in monochrome.

The first in a planned two-volume set, Part One discusses what makes a great black and white photograph, what to look for when learning to see in monochrome, elements of a black and white image, and potential subjects for black and white photographs. Part Two will examine the means of creating the black and white image in the digital darkroom.

This gorgeous 58 page ebook walks us through the basics of creating magical black and white images by demonstrating how black and white photos are captured differently from colour.

Readers will learn all about the elements of composition for black and white images, and techniques for placing highlights and shadows to create striking black and whites. The book discusses how to capture textures, lines, shapes and forms effectively, along with the role of negative space in certain type of black and white photos. You’ll also learn more about how light behaves in relation to how your camera captures the light, and how all this applies in the realm of black and white.

The “subjects” section breaks down the basic factors for capturing an array of subject matter in black and white; from people to landscapes, flowers to architecture – it’s all in here.

Visit the Craft & Vision website to pick up your copy of The Magic of Black and White – Part 1, Vision – by Andrew S. Gibson for only $5 and step into a whole new photographic dimension this weekend. While you are there, you may also want to check out some of the fantastic ebooks written by best-selling author, David duChemin.

Now it’s your turn… Are you an amateur who’s resolution it is to learn more this year? Shoot more, or expand your photography subject matter? Is there something in particular you plan to do with your photography for 2010? Starting a photography business or side-business? Or are you a professional photographer already, and if so, are you planning on doing anything more or different this year? One of the wonderful things about sharing our resolutions with each other is that we may all find a few suggestions from each other that may help you to learn something new or grow as a photographer this year. What are your plans, thoughts, and resolutions for 2010?