five tips for great landscapes

By John DeSanto | Published: July 2, 2007 | 0 Comments




Here are five professional tips and tricks for great looking landscape photos!

1. Get Down: Look for different angles and low to the ground may be the best for landscape shots. The problem is that it’s a head-height perspective that we are all unconsciously accustomed to. Simply getting low to the ground can improve your results and make your photo stand out as being different. So get that belly dirty and get down on the ground!

2. Go Wide: Using a wide-angle lens can put impact in your photos.  You can make it even more dramatic by tilting your camera forward and focusing on what’s immediately in front of you while keeping the rest of the landscape in the picture. Of course, this is going to require a stopped-down f/stop (higher number) so that everything is sharp as a tack, but you already knew that from our previous posts.

3. Pull Your Viewer Inside: Dramatic imagery pulls the viewer right into the photo. You can enhance that feeling by shooting from inside a treeline or through a bunch of tall grass or flowers will heighten the sense of being in the landscape. So put something in the foreground to give depth to the background.

4. Grab Contrast: Sections of dark and light make people stop and look so include strong elements of light and shadow to achieve a more stunning effect.

5. Frame It: Look for opportunities to frame your landscape photos in dramatic ways such as breaks in the foliage or open portals like glassless windows and open doors.

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five simple ways to improve your pictures

By John DeSanto | Published: June 30, 2007 | Comments closed




1) Warm ‘em Up! - If your shots have a cool, blue-ish feel to them, check your white balance. The default white balance setting for most digital cameras is auto, which tends to be a bit on the “cool” side. When shooting outdoor portraits and sunny landscapes, try changing your white balance setting from auto to cloudy. Say what? The cloudy adjustment is like putting a mild warming filter on your camera.

2) Filter This - If you really want to add some oomph to your images, then buy a polarizing filter. A polarizer is the one filter every photographer should have around for landscapes and general outdoor shooting. Polarized pictures have richer, more saturated colors, especially in the sky. Also, any atmospheric haze or water reflections are greatly reduced when you use one of these. Skies turn bluer, reds are redder and all colors will “pop” when you add this item to your bag. One more thing: Stick with circular polarizing filters – not linear – because those work better with most camera’s metering systems.

3) Flash Filly – Go wild and use your flash outdoors! Pop up the flash in broad daylight to add punch to your outdoor portraits. This technique is called “flash fill” and is a favorite of wedding photogs. With the flash activated in an outdoor setting, the camera exposes for the background first, then adds just enough flash to remove any shadows on faces.. The result is a professional looking picture where everything in the composition looks good.

4) Shoot More - I’ve said this before and I’ll say it again. Shoot lots of photos! And for that you’ll need a bigger memory card. Why? Because the cards that are included with your new digital camera are tiny and virtually useless. If you have a 3 megapixel camera, get at least a 512mb card, 1 gb for 4 megapixel models, and 2gb for for 6 megapixels and up. You can never have too much memory.

5) Go High Rez - One of the most important reasons for packing a massive memory card is to enable you to shoot at your camera’s highest resolution. If you paid for a 8 megapixel camera, then get your money’s worth and shoot at 8 megapixels and not a lower setting.

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Using Built-In Flash

By John DeSanto | Published: June 29, 2007 | Comments closed


You go to the school auditorium ’cause your kid is going to perform. You’re sitting in the 12th row. Your kid takes the stage and you reach for the old point-and-shoot and pop up the flash unit and start firing away. Later, when you get home and download the photos, you go… “yechhhh!” There is blurriness and camera movement and the photo looks like two day-old spaghetti and meatballs.

What went wrong? Well, there are some things your on-board flash can do – but lighting up the performance stage from 50 feet away isn’t one of them.  Built-in flash is designed to illuminate small groups of people from 6-12 feet from the camera lens. That’s it.

Go watch a major league baseball game at night and you’ll see fans taking pictures and camera flashes going off every time someone comes to bat. Now stop and think about this for a second: The fans are sitting 200 feet away. (I’m talking 200 feet away – Bob Uecker is sitting closer!)  As if any flash unit in the universe could reach that far, let alone a little dinky one built into the camera.

What most folks don’t realize is this: Light is a thing. It travels and it
moves and it varies and it bounces around and it can be shaped and it can be captured. (Which is where your camera comes in.) Therefore, any flash unit has to
have enough power to send light all the way to the subject, bounce
off the subject, go back to the camera lens, wiggle itself inside and strike the CCD chip with enough ooomph to create an image. That’s a big job to do. (Especially when you don’t have that big orange ball in the sky to help you out.)

So here’s the solution: When you’re more than 25 feet away and it’s dark, turn off the on-board flash and turn up the ISO rating on the camera. You’ll have a much better chance of capturing the shot. What you’re doing is using the available light to create the image. (That’s because you know that the light from your flash ain’t going to make it all the way up there and return to your camera alive.)

You should try to use available light whenever possible because Indoors, the mood created by natural light is lost with an on-board flash. Whenever possible, position a subject by a door or window and avoid using the built-in flash. In ofher words, turn it off and shoot as if the subject was brightly lit.

Now, I wouldn’t recommend this approach for birthday parties but for a soft, natural portrait – use the window light instead.

Today’s advice: Don’t waste precious battery power by asking your on-board flash unit to do the impossible. Pump up your ISO rating and use available light instead. Your batteries will thank you.

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Shooting Sports

By John DeSanto | Published: June 28, 2007 | Comments closed




Taking great pictures of sports is a highly specialized skill that requires a combination of talent, equipment, stamina and great reflexes. But that doesn’t mean you can’t get good shots of your kids with the minimum of hassle.

What kind of success you’ll have will, to a large degree, be determined by the level of sport that you’re shooting. In other words, if you’re trying to snap action shots of Junior in the 5 year-old soccer league, it’ll be somewhat easy and maybe even obtainable with a point-and-shoot camera. Why? Because the action is slower, the field is smaller and your access is better.

With each successive jump in playing level your job becomes more difficult. At the high school soccer level it becomes – if you pardon the expression – a whole ‘nother ballgame because the kids are faster, the field is bigger and your access is more restricted. And at each level after that it gets even more difficult. 

I bring this up, of course, because what level of sport you’ll be shooting will determine what kind of equipment you’ll need. But let’s, for the sake of discussion, assume that you’re shooting sports on full-size fields with total access. So, that means a digital or film SLR that will accept specialized telephoto or zoom lenses that will allow you to get close to the action. The bigger and the faster the lens – the better – and, of course, the more expensive.

At a minimum, you’ll need a 200mm lens on your camera body and it should be as fast – f2.8 is optimum – as possible. Even better would be a 300mm f2.8 or better.  But much bigger than that and we’re entering second mortgage territory.

Next, you need the talent – so the advice here is practice, practice, practice and then practice some more. Start out by shooting daylight events to increase the odds of success. It’s very important to position yourself in the right spot on the sidelines so make sure the sun is behind you. (It doesn’t matter which side of the field your kid’s team is on – the sun is more important here.) Don’t try to chase the teams up and down the field. Stand in one spot and let the actiion come to you. But, If it becomes obvious that one team is dominating the play, then get your butt down to that end of the field.

Moving up and down the field and carrying equipment as you go requires that you to be in pretty good shape.  And this is where the proper technique comes in for holding the camera (see previous post). A monopod can also help you in this regard.

Once you get your eye up to the viewfinder, it comes down to tracking the action, focusing and firing away at the right times. Again, this only comes with practice so learn to operate your focus zones and be able to change them in an instant. For exposure, you’ll want to have the highest shutter speed possible and you can pump up your ISO number to 800 or so in order to achieve this even in broad daylight.

The more photos you can bang off, the better your chances of getting a keeper so don’t be shy about taking a lot of shots. (It’s the pro’s secret.)

Only when you start getting good at daylight sports should you even consider taking on the dubious pleasure of shooting night sports. The fields around these parts are lit so horribly, I wouldn’t recommend this for the faint-hearted. (And we’ll tackle those issues in another post.)

My personal ratings on shooting sports is this:

Easiest to shoot:  Baseball: It’s usually played in broad daylight in good weather and there’s a very limited amount of spots where the action will take place – the pitcher’s mound, home plate and the three bases. Therefore the shooter can plan for his shots pretty easily.

Toughest to shoot: Soccer under the lights is absolutely horrible to do. The lighting is bad, the action is all over the place and your flash unit won’t reach more than 30 feet away. (I’d rather have a toothache and a hangover – at the same time – then have to shoot soccer under the lights.)

Today’s advice: Taking great sports pictures will tax both your patience and your wallet. But it’s not brain surgery and could lead to some fun if you’ve got lot’s of the aforementioned items.

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Don’t Give Up When The Sun Goes Down

By John DeSanto | Published: June 27, 2007 | Comments closed



Too many photographers pack up and head for home just after that big orange ball disappears below the horizon. But the smart ones know that the fun is just beginning. If you’ve got that tripod (see previous post) packed away in the car, now’s the time to drag it out and put it to good use.

We’ve touched on this in another thread but it’s worth repeating: There’s plenty of light bouncing around after sunset, you just have to be prepared. As it gets darker, you’ve got to have the knowledge and control of your camera settings in order to capture the light.

Here are the moves you’ll need to make – one at a time – in order to keep up with the dimming light:

1) Slow your shutter speed down until you get to 1/125th of a second and keep shooting until it gets too dark and then…

2) Increase your ISO setting from 100 ISO up to around 800 ISO and keep shooting until it gets too dark and then…

3) Reach for the tripod so that you can go below 1/125th of a second and keep shooting until it gets too dark and then…

4) Head back to the car, confident that you squeezed out all the light out of the day that you could.

Today’s advice: When the sun goes down, the ISO goes up and… ummm, so should your tripod.

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how to hold your camera

By John DeSanto | Published: June 26, 2007 | Comments closed



One of the most important things about good photography – and one that is most overlooked – is how to properly hold a camera. The heavier the camera, the more important this is. And since the previous post was about tripods and the stability they provide, well – I figured this would be a good time to bring this up.

It’s really quite simple, so here goes:

Right hand grips the camera with forefinger on the shutter button. (Everyone gets that part right. It’s the left hand they get wrong.) Left hand UNDERNEATH the barrel of the lens, supporting the camera from below and elbows tucked in tight to the body. That’s it! You focus and zoom the lens – not that anybody focuses anymore – while your hand remains underneath the camera and your elbows are tucked in.

No cheating. No removing your left hand and bringing it over the top to focus. Focusing with your hand on top of the lens is the sign of a rank amateur. (You don’t want people thinking you’re an amateur, now do you?)

You see, supporting it underneath with your elbows close to your body provides a stable platform to eliminate camera shake. (See two previous posts on shake, shake, shake and tripods.)

Today’s advice: Give your pictures a fighting chance by snapping away from a stable platform.

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why use a tripod?

By John DeSanto | Published: June 26, 2007 | Comments closed


————————————————————
“Well we all need someone to lean on…
And if you want it, well you can lean on me…”
                      – The Rolling Stones, Let It Bleed
————————————————————

A good, sturdy tripod can be a photographer’s best friend because it’s almost impossible to get good images in low light situations without one. Yeah, sometimes you can use your flash. But on-camera flash is harsh and completely ruins the mood. And unless you travel around with multiple flash units and the knowledge and ability to light a scene naturally, the tripod is the only way out when things start to go dark.

Tripods eliminate camera shake and help make your photos sharper.

So when to use one? The rule of thumb is use a tripod whenever your shutter speed drops below the focal length of your lens. (Say what?) Simply, if you have a 50mm lens on your camera, go to a tripod whenever the shutter speed is 1/60th of a second or slower. Got a 120mm lens on that baby? Then use a tripod when the shutter speed drops down to 1/125th of a second.

But that’s just the rule of thumb. Some shooters can hand-hold more steadily than others and some folks are shaky at any shutter speed. It basically comes down to arm strength and proper technique when holding the camera. You need to know what you are capable of before you head out to take a shot so practice, practice, practice.

The key with tripods is to get one with strong legs and is quick to set up. (Of course, as with anything in life, the easier it is to use, the more it will cost.) A good tripod head – usually sold separate from the legs – will be strong, move easily in all directions, lock tight and will include a quick release plate to attach to your camera.

If you’re considering shooting sports then look into a monopod instead since tripods are verboten on the sidelines of most sporting events.

There’s a bunch of great web sites on tripod use. You can click here, here or even here to learn more.

Today’s Advice: Always listen to Mick Jagger. Always.

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Shooting fireworks

By John DeSanto | Published: June 22, 2007 | Comments closed





Fourth of July celebrations are right around the corner and that can mean only one thing: Fireworks! So here are some tips on how to shoot fireworks like a pro.

First you’re going to need a camera that allows YOU to control the aperture and shutter speed. Second, you’re gonna need a tripod to make sure that camera doesn’t move. And third, it wouldn’t hurt to have a small flashlight with you, just in case.

When you first get to the site, do two things: No. 1 is look around and figure out where the people will be sitting and where the fireworks will be exploding and No. 2 is get away from where the people will be sitting. You need to do this because a) most of the general public will want to sit to watch and you’ll be standing and blocking someone’s view, and b) you don’t want folks tripping over your equipment. Pro tip: Look around and see where the families of the local firemen are sitting. (They usually stake out the best spots for themselves.)

Once you’ve figured out where to set up, attach your camera to the tripod and set your shutter speed way down to somewhere in the one to three second range. (In other words, you want your shutter to be open for one to three seconds each time you push the button – which is why the tripod is mandatory.) Keep your ISO speed as low as possible – 100 ISO is fine and then set your aperture to someplace around f8.  Now flip the tripod mounting plate (with camera attached) to vertical orientation.

Now, this part is important: If your camera is set for autofocus (and most cameras are) turn it off and focus the lens manually on infinity and leave it there. You see, it’s going to be dark up there in the sky and you’re gonna want to trip the shutter button BEFORE the individual explosions occur. Therefore, there will be nothing up in the sky for the autofocus to grab onto when you push the button. If you don’t disable the autofocus, every time you push the button the camera mechanism will go “zooosh, zooosh, zooosh, zooosh…” back and forth trying to focus on something that isn’t there yet and you’ll miss the shot every time. (Missing the shot is bad. Very bad.)

When the first warning shot goes spiraling skyward, look through the viewfinder and make sure the explosion happens someplace in the frame. If it doesn’t, adjust your tripod so that the subsequent explosions are in the viewfinder. You don’t have to actually take a picture, just keep tracking the blasts until you’re positive your camera can see them. It’s okay if you miss the first couple of explosions. Just keep adjusting the camera/tripod combination until most of the blasts are in the camera’s field of vision.

Now you’re ready. Every time the fireworks leave the ground they go “whoomph” so just follow them with your eyes until they approach your camera’s field of view. Just before they get there (usually 2-3 seconds) gently press your shutter button and then stand back. Let the camera take the picture and then wait for the next “whoomph” and do it again. You’re trying to time it so that you’re pushing the button one second before the shell bursts.

Some experts will tell you to use a shutter release cable to minimize camera shake.  Personally, I don’t think they’re really necessary in this situation. Just push the button gently and then take your finger away smoothly you should be okay.

The thing is, you’re not going to capture every explosion perfectly. Shooting fireworks is really hit or miss. Just keep working on your timing and letting the fireworks explode in your viewfinder. Early on, you might want to take a quick look at the LCD screen to see if your exposure is on. If it looks too bright, stop down on the aperture. If it looks too dark, open up a little.

One more thing: You need to be ready for the grand finale when
all hell breaks loose. Once it starts, stop down your lens all the way
to f/22 and lower the shutter speed to 1 second or so because there is
so much light bouncing around you’ll need to control it.

Typically, I’ll take 200 or more shots during a fireworks display and usually get around 50 “keepers.” So just keep at it. Pro tip: As soon as you get back to your computer, weed out the bad ones and immediately delete them from your computer. Then only show people the good ones. They’ll think you’re a star.

Here’s an article on how the Smithsonian Institution photographers shoot fireworks. Here’s another one with some fine advice.

Today’s advice: See above.

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shooting modes

By John DeSanto | Published: June 21, 2007 | Comments closed




Almost every camera has several different shooting modes to help assist you in getting the right exposure for your photos.

Usually, they are:

AUTO – or automatic which is the easiest for beginners. Simply set the dial to “AUTO” and blast away and the camera will figure everything out for you, including whether or not you need to use flash. You’ll lose all control over the settings, but you’ll also have nothing to worry about.

P – or program which is the next easiest mode to use. Normally, when you set the dial to “P” the camera will do most of the work for you, but you get to decide whether or not the flash is used or not.

S – or shutter priority. This one gives you the ability to select the shutter speed and the camera will set everything else. This is good for when you want to keep the shutter speed up high to freeze the action or move it down low to blur the motion.

A – or aperture priority mode and, you guessed it, the photographer has control over the aperture and the camera picks everything else. This is best used when you want a large – or small – depth of field for your photo.

Scene Selections – which are usually denoted by icons of flowers, portraits, nighttime or landscapes.  A scene selection mode generally presets
the flash, shutter speed and aperture as well as various other
settings. Your camera may have any number of special modes for special
shooting conditions, including portrait, nighttime or landscape.

M – or manual mode. Here you have complete control over everything. Wanna make the shutter speed slow down, then go right ahead. Same with aperture priority. This is a great place to experiment.

The photos above were all taken on full manual because of difficult lighting conditions. In the top one, I set the shutter speed to two seconds and fired the flash at the beginning of that time period (while the camera was securely placed on a tripod) in order to get the streaking lights effect and a good exposure. With the red tulip against the blue wall, there was too much light bouncing off the wall some I had to adjust the exposure downward and in the silhouette I had to exposure for the sun, not for the girl.

Here is a website with a little more info.

Today’s advice: To master your camera, you need to play around with each of the settings and see what they accomplish. I mean, just because the manual tells you to set your dial to the flower for closeups of daisies, doesn’t mean you can’t try the same thing with a closeup of your two-year-old.

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No shy photographers

By John DeSanto | Published: June 20, 2007 | Comments closed


When I was just starting out in this business, my mentor gave me some great advice. Bernard Hoffman, a LIFE magazine photographer, sat me down at his kitchen table and told me this: “People think photography is all about equipment, but it’s not – it’s about people. A photographer with the right attitude can get into a mafia staff meeting, take pictures of all the dons and keep everyone happy.  And a photographer with a bad attitude could screw up your Aunt Millie’s bridge club party.”

And for the past 35 years I’ve tried to remember that advice.

The successful photojournalist has to be part ringmaster, therapist, choreographer and best friend all at the same time. You’ve gotta take charge, put folks at ease, tell them what to do and where to stand, set up the lights, get the shot and get out the door all in 30 minutes or less. It’s the prime reason why there are no shy photographers working in the photojournalism field.

For your own family purposes there’s a lesson here, too. If you’re taking a group photo at the family picnic, you need to be forceful: Tell people where to stand, arrange them with the tallest folks on either side and the shorter people in the middle and put the short children in the front. Take the time and use your personality to get what you want when you’re posing people. Take a good hard look at your background and make sure there are no telephone poles growing out of people’s heads. If there are, move ‘em! (The people, not the telephone poles.)

In the photo of P-Diddy above, I wanted the sign in the shot but it was high up on the wall of his Fifth Ave. store. So I had him stand on a small step ladder and I literally laid down on the sidewalk to get both him and the sign in the photo.

Today’s advice: Take charge of your pictures. Use your personality to put people at ease and then get them to do what you want them to do.

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    John DeSanto

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    John DeSanto has been capturing images of the world for more than three decades. He apprenticed under LIFE Magazine photographer Bernard Hoffman and has worked as a staff photographer for publications throughout the United States. His images have ... Read Full
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