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By Jim Heid | Thursday, August 01, 2013
There’s a lot of drudgery in digital imaging. Sure, shooting is fun and so is editing and enhancing photos in programs like Lightroom, Aperture, and Photoshop. But then the time comes when you need to send a batch of photos to someone who needs them at a specific size and quality setting. Suddenly, you’re looking at reopening, resizing, and exporting dozens or even hundreds of images.
Doing all that on an image-by-image basis is only slightly less tedious than swinging a pick-axe at a rock pile.
It turns out that computers are pretty good at performing repetitive tasks, and that’s the subject of the latest installment of The Practicing Photographer. This week, Ben Long crawls into one of Photoshop’s nooks and crannies to explore its Image Processor feature.
By Jim Heid | Thursday, July 25, 2013
Digital SLRs are versatile and deliver great image quality, but are big and heavy. Point-and-shoot cameras are compact, but their image quality and versatility are often lacking.
Welcome to an episode of “Goldilocks Buys a Camera”—isn’t there an option that’s just right?
For a growing number of photographers, the answer is a mirrorless camera. This up-and-coming category sits between point-and-shoots and digital SLRs, and Ben Long talks about it in this week’s installment of The Practicing Photographer.
By Jim Heid | Friday, July 19, 2013
Reflections are something you often don’t want in photography. If you’re shooting through a window, for example, you might attach a polarizing filter to your lens to reduce the glare and reflections of the world behind you (see Chapter 2 in Foundations of Photography: Specialized Lenses).
At other times, though, reflections can add a striking element to a photo. And that’s the subject of this week’s installment of The Practicing Photographer, wherein Ben Long reflects on the value of reflections.
By Jim Heid | Thursday, July 11, 2013
Freedom can be overwhelming. When you’re free to photograph anything you want, whenever you want, it’s easy to end up not photographing much of anything at all. Psychologists use terms like choice overload to describe the paralysis that can accompany a world of unlimited options.
In this week’s installment of The Practicing Photographer, Ben Long offers one solution to the overload: Give yourself a year-long assignment. Choose a time interval: daily, weekly, monthly. Choose a scope: your city, your street, your chair. And choose a subject: an object, a color, an emotion, an event.
By Jim Heid | Friday, July 05, 2013
It’s the classic movie depiction of writer’s block: a frustrated writer sits at a typewriter, occasionally tearing a page out, crumpling it, and throwing it into an overflowing wastebasket. Every writer has been there—and now and then, every photographer experiences its equivalent. You go out with your camera and just can’t seem to shoot anything that feels fresh or original. Your inner photo editor reminds you that you shot a similar photo last year. Or saw a similar shot in a book. Or on a website. It’s enough to make you want to crumple a sheet of photo paper and throw it in a wastebasket.
In this week’s installment of The Practicing Photographer, Ben Long shares your pain and suggests a remedy: spend an afternoon shooting without a memory card in your camera. Go through the mechanics of photography—compose, adjust metering, zoom, or change lenses—but without using any digital film to record the results.
Crazy? Maybe. But it’s an exercise worth trying. As Ben points out, it’s easy to overthink your photography—to obsess so much on the need to Make Great Art that you affect your ability to see photographically.
By Jim Heid | Thursday, June 27, 2013
Expanding your collection of lens filters is a relatively inexpensive way to expand your creative options. A polarizer reduces glare and adds pop to clouds and skies. A neutral density filter reduces light so you can use slower shutter speeds to add blur to waterfalls and waves. An infrared filter lets you explore the surreal world of invisible light. And a close-up attachment lets you get closer without having to buy an expensive macro lens.
In the ideal world, you’d be able to buy each type of attachment and use it with all of your lenses. But that world doesn’t exist, at least not in this universe. The problem is that lenses often have different-sized threads for screwing filters into place. Some lenses have larger diameters than others, and that means they also have larger filter-thread diameters.
For example, my walk-around zoom lens has 72mm filter threads. My macro lens has a thread size of 62mm. My 50mm prime uses 52mm filters. And my ultra-wide zoom lens uses 77mm filters. So if I want the flexibility to shoot with a neutral density filter on each of the lenses I use most, I need to buy four ND filters—at about $75 apiece.
But there’s an alternative, and it’s the subject of this week’s The Practicing Photographer. Ben Long shows how to choose and use step-up and step-down rings—simple adapters that screw on to a lens and let you attach a filter that wouldn’t otherwise fit.
By Jim Heid | Thursday, June 20, 2013
Practicing your photography skills also means practicing your post-processing skills. Almost every photo can benefit from some refinement later, whether it’s to optimize exposure, crop for better composition, or to retouch and remove unwanted subject matter. Back in the day, post-processing happened in darkrooms and at light tables. These days, it more commonly happens in Photoshop or programs like Lightroom and Aperture. Regardless of the tool, post-processing is an important part of the photographic process.
In this week’s installment of The Practicing Photographer, Ben Long dives into Photoshop to examine the process of combining, or compositing, two similar photos to obtain the best parts of each one. His subject is a street scene in San Francisco. Ben shot a photo of a bicyclist entering an intersection, but just as he pressed the shutter, a pedestrian intruded into the edge of the shot.
By Jim Heid | Friday, June 14, 2013
In this week’s installment of The Practicing Photographer, Ben Long explores the fact that the photographic tools you use ultimately change the way you see. This is an important point to recognize as you get new gear—and subsequently struggle to get the best results out of it. The name of this week’s installment, “Let a lens reshape you,” is inspired by philosopher Marshall McLuhan, who wrote, “We shape our tools and our tools shape us.” What does that mean? It means that the tools we create—whether for painting, making music, or taking pictures—change us by expanding our abilities to paint, make music, or take photographs.
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