A Tryst

Greetings and welcome to Hohenfels Volks, THE place for our place! Another rainy reminder that autumn is upon us. The colors and clarity of the season provide so much to intoxicate the spirit, and numb the body for the long cold ahead! Here, in Hohenfels, it’s no different!

It has been said that art is a tryst, for in the joy of it maker and beholder meet.
Kojiro Tomita

Again, another taste of the artistic and spiritual side. Kojiro Tomita was an early 20th century art expert from Japan. He had come to America to expose the U.S. to Japanese aesthetics and art. He was curator of the Museum of Fine Art in Boston.

I chose to use this particular quote to express what our photography can do, and how we involve our audience in our work.

When we feel our shot is the right one, when we see the scene, and visualize our final image, we often feel something beyond our technical and expressive processes. If we stop and think about what we’re expressing, and who we’re expressing it to, we begin to see a relationship take shape.

Neither party may know each other; indeed, they may be separated by centuries. At the same time, though, we are brought together for a small moment, in some connection that shares our feelings and viewpoints with those of our viewer. We connect.

Just something to think about the next time your out. If you’re out to make a portrait, find a way to include your subject, as well as your audience and yourself, in that connection. You’ll find a photo that will touch lives for generations to come! When making a still life, try to visualize the final product, and put yourself in the shoes of the viewer. How does that visualization make you feel? If your reaction brings you deeper into the scene, then your audience will no longer be your audience; they’ll be a tryst you enjoyed while expressing your vision, and enjoying your creativity! Of course, that’s just my thought!


ISO 3200, f/5, 1/30
Flowers in Vase, my tryst. This was taken in a little Vietnamese restaurant in Bayreuth during my last day trip. I made the shot knowing that the flowers in stark isolation against the background would create a sense of isolation, especially with all the negative space. I also noticed, even in that sea of isolation, that the flowers were not alone. Their isolation created a balance that allowed their relationship to transcend appearances and become tryst like in its relation of tones, shapes, and placement. I knew this one would speak to someone as a reminder that we are never alone, even when we feel like it. To paraphrase Ansel Adams, "There are always two people in every photo." That seems to go along with today's theme nicely.

I hope all our Hohenfels Volks readers will get out and create something of a tryst in their photography, and share it with us on our Hohenfels Volks Faceboook page. We’d love to see your work.

Is there anything you’d like to see here? Do you have a question? Share your thoughts here or at the Hohenfels Volks Facebook page. Of course, commenting on both Facebook and here is always appreciated, too! Don't forget, we're on Google+, too!

Presence

Greetings and welcome to Hohenfels Volks, THE place for our place! Rain, sun, wind, chills, and warmth. All the seasons were experienced in one day here in Hohenfels!

Be still with yourself until the object of your attention affirms your presence.
Minor White

It's amazing the insight in that little quote...

Communication exists between the photographer, the subject, and the viewer, and can only be understood by those few who feel the affirmation of the object upon which you've cast your attention.

I posted that earlier today on our Hohenfels Volks Facebook page. It’s meant to call attention to the fact that our expressions have a link to the subject.

Many of the early and famous photographers were quoted saying things about the importance of creativity. They were also famously quoted speaking or writing about expression and the relation of photography to communication. Ansel Adams said there are always 2 people in a photograph, even one devoid of people, the photographer, and the viewer.

It’s important to remember that even though we see no person when we make the image, we are indeed communicating our feelings, thoughts, and ideas about the subject to our future viewers. We are also expressing something of our feelings and thoughts about our potential viewers. When we think of our viewers, and what we hope for them to feel and opine on our images, we are indeed receiving their affirmation. If our viewers are not an object of our attention, then what else is? Beyond our subject and ourselves, there is little left to affirm our presence.

Of course, our subject affirming our presence may seem ridiculous, as often we photograph the inanimate. This affirmation can be almost spiritual, it’s an awareness of the light, the shade, the texture, and the myriad other things that make our expressions our own, and help us communicate across all boundaries. We generally feel this affirmation as what Cartier-Breson called the “decisive moment.”


ISO 1600, f/8, 1/30
Another angle on yesterday's photo. I love the way the green leaves stand out both visually, and metaphorically, against the orange, and even above the greens of the moss. By creating a connection with the scene, I was able to express my love of the way new lives grow from the old, and yet remain part of the old.

I hope everyone gets the chance to seek the their object's affirmation, and will feel their images. I also hope you’ll share them with us on our Hohenfels Volks Facebook page. We’d love to see your work.

Is there anything you’d like to see here? Do you have a question? Share your thoughts here or at the Hohenfels Volks Facebook page. Of course, commenting on both Facebook and here is always appreciated, too! Don't forget, we're on Google+, too!

Jaunty in Hohenfels

Greetings and welcome to Hohenfels Volks, THE place for our place! Several days of beautiful weather have made life comfortable here in Hohenfels and our surrounding areas. Bayreuth last weekend was especially beautiful, as the clouds and lighting made for some magnificent wooded shots. Yesterday’s clear skies made the Nuremberg flea market, scattered throughout the old parts of town, a place full of photographic treasures.

Today’s post is short and simple. We’re going to talk about day jaunts to local areas. We’re not going to expound too much on places, it’s more about finding and making photos we like. Expressive images make the creative process a reward in itself, and being prepared can make a big difference.

I’m planning a mid-Autumn trip to Bayreuth to make some photos. The intent is to make some beautiful photographs of the autumn state at a couple places there. The first one is the Hermitage. I fell in love with this place on my first visit. The lighting, textures, and wooded areas make for something magical. The second one is at the New Residenz, which is similar, but has a completely different feel. I also hope to make a portrait or 2, and shoot some slide film.

The reason I mention that, is our main reason for the topic today. When we make our jaunts and trips, it’s always a good idea to know what to expect. By making a trip or 2 in advance, and maybe some shots of our ideas, we can be prepared for the situations we’re likely to encounter. For instance, at the Hermitage a reflector is a good idea. On a sunny day, it can be used to fill in the shaded areas with light streaming through the trees. Because of the large volume of trees, autumn will increase the warmth of the light, and a clear day will help keep it from going to warm. In Regensburg, I might rely on a golden reflector or gelled flash, as the light in the park by the bahnhof feels quite different. In either place, flash and gels are vital to getting a portrait to be more in line with our vision and intent.

Around our area, going place to place is simply a matter of taking the train. A train to Bamberg doesn’t take too long, and can lead to some quiet contemplation of what our intentions may be. We can also relax on the way back and reflect on our efforts. Trains also provide an easy way to scout a location. They run close to our own schedules in most cases, and we can leave when we see fit, or stay as long as we want. Avoiding the traffic allows for more insightful planning and reflection.


ISO 1600, f/8, 1/30
Rebirth in Bayreuth. Green against orange. Leaves intensified by shooting with a yellow filter. Yes, black and white filters can be used on digital cameras. By bringing out the green slightly, the leaves are made to stand out. Just a small fraction of the beauty in Bayreuth. The leaves growing from amidst the decay of an older tree brought a sense of rebirth, and second chances, the shallow DOF allows a more meaningful contemplation. I plan to re-do this shot when the leaves are changing for a different mood.

On another note, I’m hoping we can get some volks to contribute a small article about a place they like to shoot, and maybe some pics. It’ll help flesh out our “Your Works” and “Our Places” pages, and help others out with their day trips.

I hope all of you will get out and plan a day trip to make some shots. I also hope you’ll share it with us on our Hohenfels Volks Faceboook page. We’d love to see your work.

Is there anything you’d like to see here? Do you have a question? Share your thoughts here or at the Hohenfels Volks Facebook page. Of course, commenting on both Facebook and here is always appreciated, too! Don't forget, we're on Google+, too!

Plans...

Greetings and welcome to Hohenfels Volks, THE place for our place! Thursday in Hohenfels, that means it’s time to plan some weekend shooting!

Let’s start with a quote from Ansel Adams. He said, "I never know in advance what I will photograph... I go out into the world and hope I will come across something that imperatively interests me. I am addicted to the found object.”

Planning your shots doesn’t always mean going out with the intention of only shooting 1 thing. Planning your shots means going out with a plan and intention, then being fluid enough to take the shot you find. Part of planning your shot definitely is definitely visualizing the final image, but it doesn’t have to be done when you wake up!

Planning some shots for your autumn collection means planning to get some leaves, using the texture, color, and shapes to emphasize certain things. However, you may come across something that would make for a special “only available now” shot, and if you’re too intent on getting your planned shot, you may miss an opportunity.

In my case, it’s not too terribly hard to get distracted with a new shot or angle, even though I’ve planned everything. The light falling onto and emphasizing a certain part of the scene, a break in the clouds, or even something brought in on a breeze can make for some unplanned magic. As long as you’re open to the experience, and visualize your final image, you’ll make something to crow about!

Well, enough preaching! I hope that everyone will feel some pride in their vision and work, and share it with us on our Hohenfels Volks Faceboook page.

Is there anything you’d like to see here? Do you have a question? Share your thoughts here or at the Hohenfels Volks Facebook page. Of course, commenting on both Facebook and here is always appreciated, too! Don't forget, we're on Google+, too!

Creative Metering and Exposure

Greetings and welcome to Hohenfels Volks, THE place for our place! I hope everyone is getting a decent start to the week. The Hohenfels area is beautiful this time of year, as many of you know, and full of go-to places for some great shots.

Today we’re going back a little to some basics. We’re primarily going to look at metering and exposure.

We all know the basics by now, that your meter offers a combination to make the measured area fall at 18% reflectance, or neutral gray. Most of us know that by overriding that proffered setting we can take fuller control and get closer to our vision.

I’ve discussed metering and key stops before, but today we’re going to see how it can be used for maximum impact when combined with our vision.

I’ll be referring to the following photo as an example.


ISO 125, f/22, 1/2 on Ilford FP4+
I, Un-Subjugated.When we leave the I, or in this case the red, unsubjugated, a wider variety can thrive.

In the above image, both the highlights and shadows were extremely close in values, and were identical with the light shifting as it was. My initial reading was 15 c/f2 for the shadows and 30 for the highlights. The brighter leaves are red and the darker ones are green. Knowing the values were so close, with the red reading about 2/3 to a whole stop brighter, I chose a red filter to bring up the reds and decrease the greens. A red filter allows about 97% of the red light through, while only allowing about 12.5% of the blue and green. It also gives a factor of 8x or 3 stops. Throwing in the aperture decrease, I was shooting with 5 stops less available light for the greens and shadows. By adding 4 stops to their initial reading of 30c/f2, their levels were increased and the red was 2 stops over neutral. In yesterday’s shot, the same leaves and exposures were made, only using a green filter, bringing all the levels more in line with their illuminations.

This is the same shot, and levels as the image I posted yesterday. This will allow you to see how using the tools and techniques at our disposal, we can lead our image and our viewer to the desired result.

When we meter at our key stop, both for highlights and shadows, what we’re learning is the illumination of the subject. The reciprocal of our shutter speed is the amount of illumination, expressed in candles per square foot. By metering off the shadows, mid-tones, and highlights, we have a range of illuminations with which we can work. Those readings will always be the same at any key combination. For instance ISO 100 and f/10 or ISO 400 and f/20. So, we meter 100 foot candles at ISO 400, f/22. At ISO 250, we would set f/16 to get the same results. Now to place that value at somewhat higher value, for instance, we could set our shutter speed to 1/50 instead of 1/100 at f/16 ISO 250, and get a result that is lighter than neutral, by about 1 stop.

Throw in the ability to see our desired results and the steps to get them; an image can be made, not captured. We have several tools to modify the exposure we’ve selected without destroying the original image. With digital photography, shooting RAW gives you complete control. By raising your red tones, and lowering your greens and blues, a red filter can be somewhat approximated, and so on.

By combining exposure, processing, and value controls throughout the photo making session, we can bring our creative expressions to life. The first step to learn is metering and how to use that information. This little tool can be used for a record photo that leaves little to interpretation, and one for the magic of creative photography, as well. You can give voice to your thoughts without uttering a word. Using what you know, and the tools available to you, vision can be brought to life, and given a meaning according to your creativity and visualization.

I hope everyone enjoys the rest of the week and makes an image using their knowledge, tools, and vision to share with all of us! Get out and make it happen, then show us, share what you felt through your images on our Hohenfels Volks Faceboook page.

Is there anything you’d like to see here? Do you have a question? Share your thoughts here or at the Hohenfels Volks Facebook page. Of course, commenting on both Facebook and here is always appreciated, too! Don't forget, we're on Google+, too!

Announcement

Greetings and welcome to Hohenfels Volks, THE place for our place! Tuesday evening finds Hohenfels in the grip of a storm, complete with lightning and thunder!

Today’s post is a short contest announcement. Hohenfels Volks is going to have a photo contest. The prizes are all small, with the winners getting a gift certificate to Photohaus Zacharias. I’ll need to work out some details prior to starting, though.

The winners will be selected based on:
1- Technical Execution- Is the exposure correct is the image sharp, etc.
2- Creativity- How creative is your shot.
3- Theme- Sticking to the posted theme.
4- Impact- Can the viewer connect with the image in some way? What message does it seem to convey?

I’ll post the starting and ending dates Thursday, as well as the theme. A couple notes- first, this is not a photo editing contest. Get it as close to right in the camera, and your job is more than half done! Second-you’ll have to come see me to pick up your prizes. Third- your image is your image, you keep the copyrights, although we’ll feature it here. So start thinking about your shots, planning your tools, and visualizing the image you want to make. This is a great time to practice photography, for all of us!


ISO 400, f/3.5, 1/30
An old airplane engine manufactured by BMW, here in Germany. The shapes and lines lead you through the image as you wonder what it is. Sharpness and light work together to creative an interesting draw.

Here’s hoping you enjoy the rest of your week and capture the shots you’ve been wanting. Get out and make it happen, then show us, share what you felt through your images on our Hohenfels Volks Faceboook page.

Is there anything you’d like to see here? Do you have a question? Share your thoughts here or at the Hohenfels Volks Facebook page. Of course, commenting on both Facebook and here is always appreciated, too! Don't forget, we're on Google+, too!

Now Departing

Greetings and welcome to Hohenfels Volks, THE place for our place! I hope everyone enjoyed a great weekend and is ready for another one! Here in our Hohenfels area, autumn is rapidly approaching. Soon the trees will be awash in reds, golds, and greens, which creates some great opportunities for photos!

Today we’re going to discuss departing from the literal. As you know, most creative images involve some departure from literal translations of the scene. Often, when shooting black and white, we use filters. In color digital photography, we use CPs and editing software.

To begin our discussion, it’s important to point out a simple fact. That fact is that in order to make any meaningful transition from literal values to a creative placement, you need to know the more technical side of photography. Today’s general discussion assumes you already understand exposure and DOF, as well as the other more technical sides of a good image. On the artistic side of creative departures, we need to understand the relationship between place and fall. This has been discussed before, as has the creative use of DOF to enhance or minimize an area’s impact on the scene.


ISO 125, f/4, 1/160
By bringing the reds more into play and simulating a red filter, the departure creates something that stands on its own. It also left the tree at a level that exceeded the values of reality, creating a nice chunk of texture.

When we place an area of a scene at a certain value, it needn’t be the literal value. You’re meter will give you the value for 18% gray, but not all things are neutral gray. For instance, clouds should be near white or about 3 stops over the meter. By placing the clouds at 3 stops over meter, or M+3, we have placed them at about their literal values. Everything else in the scene will fall to its prospective values and levels, giving us a literal interpretation.

In this hypothetical situation, we may want some part of the scene to be exposed to a higher value. This can be done, as mentioned, with filters or software. For instance, if we desire the bright green leaves of spring to stand out more, we may expose them to M or even higher. Another way is to use a yellow filter in soft light, if you’re shooting black and white. This can be simulated in software applications through the adjustment of color channels.

A big part of this, as always, is your vision. Visualizing your results, and the steps to make them real, will make your creativity stand out more. It also enables you to make creative departures and still end up with an image that says what you’d like it to. Not every image needs to be literal, many of Ansel Adams and Clyde Butcher’s images are not literal, but they connect to almost everyone who views them. They are often viewed as more realistic than the reality of the scene.

This goes back to creativity, visualization, and knowing your tools. Read the manual for every piece of equipment you own, and the software, too. It’ll prepare you to make the best images possible when you make your vision tangible.

Here’s hoping you enjoy the rest of your week and capture the shots you’ve been wanting. Get out and make it happen, then show us, share what you felt through your images on our Hohenfels Volks Faceboook page.

Is there anything you’d like to see here? Do you have a question? Share your thoughts here or at the Hohenfels Volks Facebook page. Of course, commenting on both Facebook and here is always appreciated, too! Don't forget, we're on Google+, too!

The Importance of Being Creative

Greetings and welcome to Hohenfels Volks, THE place for our place! Lovely weather and photographic opportunities abound here in our place.

Today we’re going to put aside our cameras and calculators, and talk about creativity. We’re also going to take a few days break from our cameras while we look for creative ways to work our magic.

I have a slew of quotes on photography and creativity, but I'm only going to use a couple here to emphasize the need for creativity.

“A Ming vase can be well-designed and well-made and is beautiful for that reason alone. I don't think this can be true for photography. Unless there is something a little incomplete and a little strange, it will simply look like a copy of something pretty. We won't take an interest in it.” From the book "Pictures Under Discussion" by John Loengard, one of Life Magazine's most famous photographers.

This quote brings home how essential creativity is in our photography. Ayn Rand viewed photography as a vocation, or craft, because of the lack of a creative process. Many people do not take the time to be creative when making photos. We often find the image we want and make the photo, without putting more than the rudimentary thought into the process.


 ISO 160, f/8, 1/20
Gloria Lux, the Glory of Light. A creative expression of the majesty of this common and beautiful Orchid. The exposure placement and element positioning work with the light and lack of color to create an image that's more than "a copy of something pretty."

Ansel Adams referred to photography as “more than a medium for factual communication of ideas. It is a creative art.” If you view any of his photos, you will notice beyond their magnificent scenes, that great effort went into making them. His books on photography begin with chapters on visualization. Before you can visualize your photo, you need to have an idea of what you’re photographing. Begin visualizing all the ways it can be photographed long before you arrive. By the time you get there, you’ll be ready to survey and really visualize the image you desire to make.

I speak of visualization here quite a bit. I’ve discovered that slowing down, seeing the scene, and visualizing the shot, make for a more expressive image. Our photographs are our expressions. They express our thoughts, feelings, and most of all, our vision.

Creativity, and the art of creating, can be inspirations for you in and of themselves. You needn’t have a camera to be creative in your photography. In the words of Minor White, another great photographer, “Often while traveling with a camera we arrive just as the sun slips over the horizon of a moment, too late to expose film, only time enough to expose our hearts.”

Take a couple days without your camera. Go out and drink in the glory around you, expose your heart, and feel the scene surround you. You will come out with a better appreciation of the world around us, of our Hohenfels area, and your own magnificent creativity. The feelings will stay with you and inspire more creativity and expressive images. Reward yourself today with inspiration and creativity by feeling the scenes and sights around you. Enjoy the world and life, and share the results with us on our Faceboook page.

Is there anything you’d like to see here? Do you have a question? Share your thoughts here or at the Hohenfels Volks Facebook page. Of course, commenting on both Facebook and here is always appreciated, too! Don't forget, we're on Google+, too!

Faith and the Photographer

Greetings and welcome to Hohenfels Volks, THE place for our place! Greeted by rain and thunder in the early morning, the day ended nicely, perfect for getting some nice evening shots.

Today we’re going to talk about faith and photography. Believe it or not, the 2 are related.

First, let’s set a definition for faith. Webster’s lists “complete trust” as one of their definitions. For the purposes of this post, we’re going with that, although the definition “something that is believed, especially with strong conviction,” again from Webster’s, fits also.

The first way that faith is relevant to our topic relates to the photographer and the stages of progression. We start out with a decent camera, having complete trust and conviction that our camera will make nice photos. It’s sort of like believing in the government to be our nanny. It’s reassuring to know our camera can do everything for us, leaving us no need to do things for ourselves.

The next stage is trying to do more for yourself. You start believing you can do it, and going out of “P” mode. Trying out AV and TV modes gives you some control, and can lead to images that are more creative. At this level, curiosity about the basics takes root, and starts leading you generally to the next level.

At this level, you start having faith in others and what they can teach you. You start learning from all the resources you can find, and trying out manual mode and value controls. You’ve generally reached the level of most advanced amateurs, and are quite content with your work. You can see the difference between your work and that of others, and for the most part, you’re happy with it.

The last level is a combination of all the above. You have faith that your camera will do what you tell it to do. You have faith that for a given setting, a given image will result. You have faith that your image, when shot a certain way, will end up matching your vision. You have faith that the knowledge of others can be applied to improve your work, and faith in yourself to apply it. You have reached a stage of photographic faith that allows you to find your flaws, and seek solutions with confidence. You can control all the little aspects into visualizing and editing an image that will have a desired impact.

Faith, for the photographer, is an ongoing thing, and something that we sometimes battle. Much like our faith in government or our religious faith, our photographic faith is shaken from time to time. At the lower layers, it leads to growth and improvement. At the later stages, it can concentrate our efforts or it can discourage us if we let it. Fighting that discouragement is another act of faith. Believe me, it’s worth the fight!

On a second aspect of faith and the photographer, I’ve been noticing a general trend to revert to the first stage. There are folks who say things like “Why should I learn to shoot manual?” “My camera does it all for me.”, and “It’s easier to shoot “P” mode, I don’t have to think.” My personal favorite is “It’s digital, so it’s free. Just delete the bad ones.” This trend leads to stagnation and mediocrity. Just because you can shoot 1000 images and delete the 975 that are worthless, doesn’t mean you should. You’ll never grow when you lack faith.


ISO 125, f/14, 1/60
Faith allowed me to make this image, shot to make:


This image. Knowledge, confidence, and faith combine to allow creations like this to be made. Visualizing your image and shooting for that vision are acts of faith.

I hope our Hohenfels Volks enjoy the rest of the week. Keep the faith and get that shot you’ve been seeing in your mind’s eye!

Please feel free to share your photos on our Faceboook page. Everyone here would love the chance to see your work! Is there anything you’d like to see here? Do you have a question? Share your thoughts here or at the Hohenfels Volks Facebook page. Of course, commenting on both Facebook and here is always appreciated, too! Don't forget, we're on Google+, too!

Ride Along Rome

Greetings, volks. Welcome to Hohenfels Volks, THE place for our place! Another sunny day in Hohenfels, as we ride out the summer, brings us warmth and brightness.

Today we’re going out on a ride along shot. So, get ready to leave Hohenfels behind, and take a trip through time to ancient Rome.

First, here’s the shot from the camera.


ISO 160, f/8, 1/100, Canon EOS 7D
This is washed out and appears to be a failure, but when you shoot for your final result, this is only half the image.

It’s not very pretty, but this goes to show you how you create an image with your vision. I shot it this way fully expecting to get to the final image with some editing in Canon’s DPP. I didn’t use Photoshop or any other program; everything was done in RAW conversion.

We were in Rome a couple weeks ago on a wonderful family vacation with some great friends. The whole family has always wanted to go there, so off we went.

Of course, the Colosseum was a mandatory stop, especially for me. This was shot during our tour, including the underground portion. I got quite a few shots inside, but wanted something that would leave the viewer wondering. I also wanted something that showed its incredible nature, without getting the usual fare.

I was shooting film and digital that day, so used my 7D to meter for both cameras. The film was Kodak Portra 160, which is a color film with a box speed of ISO 160. I metered for the lower wall. I wasn’t concerned about the sky blowing out, as the important details in the tunnel and brick were needed. By metering the lower mid values and exposing for M-1, shadow detail was preserved, as were the mids.

They hardly seem the same. I edited the image by setting my white balance to color temperature. This allows for some contrast control in the final image. The reason color temperature and white balance can be used to control contrast is that our color levels will be adjusted under the RGB tab. After setting the color balance, and setting the exposure to –2/3 stop and adjusting the contrast, I moved over to the RGB tab.

When converting this way, the image starts looking worse as you progress. It simulates color filters. The beauty of digital is that you can simulate different colors for different levels. By increasing the levels of red in the shadows, pretty much removing blue, and giving green a slight decrease, the image looked wonky. Of course, it starts to come together when you slide your saturation under the RGB tab to 0. A little dip of the luminance curve and it’s back to Raw.

By adjusting the color balance back toward blue, you can darken the image. You also increase contrast. Then, once you’re happy with those adjustments, under the RAW tab’s saturation you can further tweak your contrast. With the red bricks, green spots of grass, and blue sky the image was quite suited to this type of conversion. Another suitable type is when one color dominates several neutral or contrasting colors.

Here’s a screen shot of the 2 tabs and the final settings. Shooting RAW gives you so many options to capture shots that bring together your camera work and your vision.


Here is the RGB tab and the color adjustments.


And here we see the RAW tab in Canon DPP

Finally, here is the finished image.


ISO 160, f/8, 1/100
Colosseum Section, Rome, finished. The increased contrast from the color temperature brings detail into the bright stones topping the section. It also makes the entry dark and increases overall image interest.

The tunnel entrance, in dark mysterious shadows, referred to as the vomitorium, allowed for rapid exit during an emergency. The little arches below were entryways into another seating area. The site had a capacity of 50,000 spectators, and even though this small section doesn’t show the full capacity, it does give an impression of the scale and architectural marvel. I also shot a back up to be in color, which pops for the contrast between the sky and walls.

Here’s hoping you finish the week with some great shots. Hohenfels is full of opportunities for photography, and this weekend may be the perfect time to get something in your camera!

Please feel free to share your photos on our Faceboook page. Everyone here would love the chance to see your work! Is there anything you’d like to see here? Do you have a question? Share your thoughts here or at the Hohenfels Volks Facebook page. Of course, commenting on both Facebook and here is always appreciated, too! Don't forget, we're on Google+, too!

Your Vision...

Greetings, volks. Welcome to Hohenfels Volks, THE place for our place! I hope this hump-day brings All of Hohenfels into the downside of a great week.

Today’s a quick post on creating an image from an artistic approach.

As we often mention here at Hohenfels Volks, the first part of creating an image is to visualize the final image. During this process, we’re trying to see in our mid and in our heart the image we want to present. Don’t close your eyes and see the scene how it is, see it how you want to show it.

Once you know what you’re trying to show, you can work on visualizing the steps to create that image. One of the things often overlooked is an inventory of the tools you have and how to use them. Perhaps you have Photoshop and want that area of lower color to be more saturated, how do you do it? Photoshop has some great tools to make that happen, including the vibrancy tool, which helps bring out color in under saturated areas without increasing overall saturation. The tools you can use are more than your camera; you can use a flash to highlight part of a scene, bringing the levels to your vision, or add an ND filter to allow longer exposures to make the water more flowing. Know your tools and how to use them. That will get you a long way to creating a wonderful scene.

Another thing to visualize, or know, is how you wish to present your image. Will you make it large? Will it be printed or on a monitor? Knowing these things will improve your images. Should you decide to print it, you may want to make a photo that slightly lighter, and take another for monitor display. What size will you print? The larger the print you desire, the more information you will need to capture. You will also need to have a more accurate focus. This generally means a larger file size. Although, making it a point to always shoot RAW will make you’re your files consistent in size.

Remember to think about how the colors and levels present can affect the viewer. Are they happy or moody? Is there any color? By harmonizing your tones and color, you create an image that impacts far more than a shot made without consideration.

Once you’re ready to make your shot, go for it. Remember though, it won’t look like you visualized without some cleaning up and editing. This isn’t always true, but best kept in mind. When you look on the tiny monitor in your camera, it’s not edited or presented according to your vision. Don’t be disappointed, remember, you planned your shot. Stick to the plan and you’ll get some amazing photos.

The technical side of photography is incredibly important. We need to learn aperture, shutter speed, sensor (or film) speed, and how they work together. However, they are only 1 part of the process. Without vision, creativity, and some thought you’re making snapshots. The see and snaps out there are abundant, but with these things on your side, your images will rock those who view them.


ISO 1600, f/5, 1/30 70mm Canon EOS 7D
Vittorio Emanuele II Memorial in Rome. I wanted to capture this 2 ways, this way in black and white, and again in full color. Knowing the tools I use, including Canon's DPP, allowed me to capture a shot that could be both. In the color version, you can sense the evening in the shot, as the sky behind is dark, and the lights behind the column add beautiful color and depth. By visualizing the shot and taking a little extra time, I got the one I wanted.

Take care, enjoy the downside of your week, and get the shot you’ve been thinking about all day! You’ll feel incredibly accomplished with the shot in your camera. Just think, it’s almost autumn, and that means Hohenfels and our places will be bursting with awesome colors soon! Time to start your visualization!

Please feel free to share your photos on our Faceboook page. Everyone here would love the chance to see your work! Is there anything you’d like to see here? Do you have a question? Share your thoughts here or at the Hohenfels Volks Facebook page. Of course, commenting on both Facebook and here is always appreciated, too! Don't forget, we're on Google+, too!

Metering for Effect

Greetings, volks. Welcome to Hohenfels Volks, THE place for our place! I hope everyone managed to break away from the Olympics this weekend and get some great shots of our Hohenfels area.

Some beautiful cloudscapes this weekend started me thinking about how we meter and where we place our exposures. Of course, this led to a short post today about shooting bright scenes, or scenes with a large amount of brighter objects.


This shot was metered for the bottom of the clouds on the left. This left the bright clouds on the right a little overexposed. The values were brought down using the luminance curves in Canon's Digital Photo Pro to match my visualizing. By composing with the crenelations creating a stairstep effect and framing the castle tower, a brighter image could be created. It also brings the eye back to the tower and clouds, adding interest and depth.

The first thing we should be thinking about is our visualization. Where do we want to place our elements? For instance, if your scene contains fields, nice blue skies, and big fluffy clouds, perhaps metering for the fields will turn the sky white, and metering for the clouds will turn the fields black. Knowing where we want our elements in the range of values is the first step in putting our visualization to work.

After we’ve visually composed our image and noted the areas where significant detail must be maintained, we begin to meter. It’s generally best to make several readings from the different values within the scene, as this lets us know our range. In the above mentioned scene with the fields and clouds, we determine the sky itself to be the middle range. If we give this a +1 exposure, the sky is properly exposed, the fields are likely to be also, but the clouds will usually be overexposed. We can try to fix it on the computer, which is often difficult when the highlights are too far gone, or we can expose the clouds for +1 to +2 stops over their meter reading. This will darken the sky to a nice rich blue, and generally provide some slight underexposure in the field. The lowering of values throughout the scene also increases your overall saturation. It also gives you greater control over the chiaroscuro and play of light in your work.

Of course, none of this is useful to you if you don’t know what you want from your shot. Trying to capture the feeling you wish to share may require something else. Having this general idea, though, gives you another tool in the quest for the perfect shot.

Please feel free to share your photos on our Faceboook page. Everyone here would love the chance to see your work! Is there anything you’d like to see here? Do you have a question? Share your thoughts here or at the Hohenfels Volks Facebook page. Of course, commenting on both Facebook and here is always appreciated, too! Don't forget, we're on Google+, too!

Continuing Yesterday

Greetings, volks. Welcome to Hohenfels Volks, THE place for our place! Another rainy day and pleasant evening pass through Hohenfels.

I had planned a post about converting color to black and white today, but didn’t get it done. Instead, we’re going to put up a couple more pointers on bringing your vision to life.

The first tip comes from a Facebook post by Clyde Butcher. Clyde is one of the greats. His photos of the Everglades and Florida in general, are incredible. Clyde’s working hard to preserve the Everglades. His tip of the day is to move forward a few feet when you’re shooting wide-angle lenses. This will bring your composition into your visualized range and remove some of the stray elements from the scene. This can be done through cropping, as mentioned in my edit on yesterday’s post, but combining the 2 can make your shots that much easier to edit. Take it from Clyde, he’s waist deep or higher in swamp water and shooting an 8x10 inch Deardorf view camera or an 12x20 Wisner. Check out his homepage, you’ll be amazed.

Our second tip comes from Strobist. The tips is simple, make an idea list. Taking it one step further, make a short term or single trip list, and make a long-term list. I won’t go into a lot of detail here, click the link and read the article. This site has some great stuff!

Our last tip comes from Photofocus. Try to look beyond the obvious. See what you don’t see right away. Try taking in the scene, closing your eyes, and visualizing the scene. You’ll notice more this way and may find your new subject. Again, I’m paraphrasing. Check out Scott’s page, you’ll be glad you did!

Well, that it for this evening. I hope to have the promised conversion post up Monday! I hope everyone has a great Friday, and an even better weekend! Enjoy and get your dream shot. Make sure to share it with us, too!

Do you have an image to share? We’d love to see it! Is there anything you’d like to see here? Do you have a question? Share your thoughts here or at the Hohenfels Volks Facebook page. Of course, commenting on both Facebook and here is always appreciated, too! Don't forget, we're on Google+, too!

Process Hang-ups

Greetings, volks. Welcome to Hohenfels Volks, THE place for our place! The skies and lighting these past couple days have created an environment rich with opportunities for making some great shots!

I hope everyone is enjoying the wonderful weather here in our Hohenfels area. Photography is a magic thing during this time, when the sun is up late, and the skies can work their mood into your images. The golden and blue hours can be used to great effect when shooting during this time, and add some drama or serenity to the image you’re creating.

Tonight’s post is based on something I read at Photofocus, by Scott Bourne, about pedantry in learning photography. To sum it up- there are those who are all about the process and sticklers for the “rules” and numbers. I had planned a post about making your image nearly perfect in camera to minimize editing time, but his article struck me as being something to share.

I’m familiar with the process concentration, as I tend to get wrapped up in the process at times. For me, nailing the process leads me to look at ways to improve my images by finding other ways to make the same thing. Learning to do it “correctly” is important to learning how to do it “right.” By correctly, I’m referencing the process and numbers, and by right, I’m referencing the final image I visualized.

The process is a vital tool in making an image, as this is where we start. Learning that reciprocity makes our exposures easier by allowing us to work the exposure triangle is a part of that. Learning that controlling DOF is done through focus and aperture is a part of learning the process. The key is in knowing that the process is not the end, but the beginning. Before we can make impacting departures from the process, we must know the process.

Ansel Adams, one of my favorite photographers and sources of knowledge and inspiration, was well aware of this. Throughout his books, he refers back to visualization and placements. Each book in his series on the Camera, Negative, and Print begins with a chapter on visualization. He constantly references expression while teaching the basic processes and departures from them.

By working together to share our knowledge, we can bring more to expressive and creative photography than just numbers and processes. By sharing our vision and visualizations, we help our fellow photographers in their journey through this wonderful endeavor. The important thing is how does your image feel and how does it impact you and your intended audience. Other than that, the opinions of others, especially the pedants out there, should matter very little. Their opinion requires weighing, and the helpful bits used while the rest are discarded like week old leftovers.

Don’t let those folks disappoint you, don’t let them bring doubt into your mindset, and don’t let them change your style. Your photography is for you, your vision, while shared with others, is still yours. The biggest point in all this is enjoyment. Make sure you’re getting the most enjoyment you can from the time you spend making images, and from those photos you worked to give life to.

You really should check out Photofocus, Scott posts some incredible photos and his articles are a great resource for those of us addicted to the magic of bringing that feeling to life in our art.


ISO 125, f/11, 1/60
This image is likely to be called too dark by those who think only of the process and "correctness" of an image. It was intentionally left dark to add to the mood and impression of abandonment. By departing from the process we can make our art more meaningful.

I hope you have some great plans for the weekend, and are ready to share your visions with us. We’re all eager to see folks sharing their images, their vision, and thoughts. Enjoy your Friday, and enjoy your time behind the camera!

Do you have an image to share? We’d love to see it! Is there anything you’d like to see here? Do you have a question? Share your thoughts here or at the Hohenfels Volks Facebook page. Of course, commenting on both Facebook and here is always appreciated, too! Don't forget, we're on Google+, too!

Projecting Your Vision

Greetings, volks. Welcome to Hohenfels Volks, THE place for our place! Lovely weather, beautiful skies, and an abundance of time give rise for photo opportunities and exercises here.

We’re blessed in the Hohenfels area with such a variety of things to cater to all our interests, at least photographically. Many volks find the castles and historic locations to be the ticket for them, others love the country scenes, and still other volks love seeing the cities. We’re located where you can find something to interest you and fuel your creative fire.

Today we’re going to try to throw some fuel on your fire by revisiting the subject of projects. As we discussed in a previous post, projects can get you thinking and lead to some creative ideas and photos. We’re going to do a short post about getting a project going as an exercise this week.

The first step to completing your project is getting together some ideas thinking through an outline. It’s important to have a theme, something that will tie each image to the other images, and to the project as a whole. Some ideas for projects in the Hohenfels area are shooting only trees, shooting playgrounds, a series of stream shots, or even the local Rathauses. Once you have a general theme, narrow it down some. For instance, if you choose to shoot trees, limit yourself to small trees or something to narrow your scope to less than just “trees.”

Decide on what tools you want to use. Decide on what items you’ll be using in your photography, and put together a kit to bring along. Make sure you have the right tool for the job! If you decide to shoot bugs for instance, don’t use a 24mm wide-angle lens, unless your theme is little specks of bugs in a big scene. Planning now can save you some missed shots later.

Also, think of some limitations on your tools. Perhaps shooting without a flash or using only a prime lens. By adding some creative limitations, you boost your creativity by working with what you have. A very important limitation is limiting the edits you can perform in software. Limit yourself to adjusting levels, curves, brightness, contrast, and saturation. Include these limitations in your visualization, or you may be disappointed with your results. Most photo contests you’re likely to enter limit editing to those listed above. For the purposes of this article, we’re going to use those limitations to help us get the most of the tools we have.

Once all the above have been decided, it’s time to make of list of places where we can the shots to work our project. Know where you’re going, research the places and lighting. You should visit a couple times at different times of day. Know the lighting and knowing how we make the most of it gives you the ability to make your image inspire others.

With everything in place, it’s time to get out and start shooting. Add some variety within your theme by shooting black and white, shooting some color, and low light shots. Keeping to your theme will bring everything together.

Projects can be created for the weekend, for vacation, or even for special days and times. One of my friends, Jen, recently did a series of lighthouses. Her shots were great, and although they have edits like vignettes applied, show how beautiful the structures, and more importantly the locations, are. These things are a marvel for anyone who’s ever seen one, and Jen crafted some wonderful images that fit that to a t! Check out her blog, Jennifer O on our links page, you’ll definitely enjoy her work!

I’ll leave you with a couple shots from one of my on-going projects, featuring crosses and small chapels in our Hohenfels Area.


EI80, f/8, 1/60 Developed N-20% to control tonal range and contrast.
Crosses and Crenelations. Shot on film, exposed to bring the range near bright white on the walls and crenelations of the wall and developed to bring that back to a tone that holds detail. Even though that area is pushing white, the tonal range and detail are available.


ISO 125, f/8, 1/30
Castle and Cross. By shooting the sky at about m+1/3, then decreasing exposure by about 1/2 stop and applying an inverted s-curve to the image, the clouds, cross, and castle all add an element to the image, and create a decent balance.

I hope this inspires everyone to undertake a project of their own. A project can take on a life of its own, and can add some inspiration to your time behind the camera. It doesn't have to take all your photo time, but you may end up giving it a more than fair amount! Take care and enjoy the rest of the week!

Is there anything you’d like to see here? Do you have a question? Let us know what project you're working on! Share your thoughts here or at the Hohenfels Volks Facebook page. Of course, commenting on both Facebook and here is always appreciated, too! Don't forget, we're on Google+, too!

Necessary Tools

Greetings, volks. Welcome to Hohenfels Volks, THE place for our place! The weekend, upon us, should lead to some exciting photo opportunities in and around the Hohenfels area.

I often talk about using accessories. A flash and some light modifiers can be essential tools in our kits. Today we’re going to talk about tools and not having them.

The first thing to know is that you don’t need it all. You don’t need a flash or lighting kit, you don’t need the wide fixed focal length lens, and you don’t need fancy intervalometers. In fact, you only really need your camera and your lens. Actually, you need 2 more things, your vision, and your knowledge.

Your vision is more than how you see things. It consists of how you see things and how you choose to express those things. It also consists of being able to visualize the intended final image and the steps to make it happen. Visualization allows us to plan and compose our image being we even approach our camera. It allows us to create a roadmap of our image’s creation and gives us the ability to follow through on our expression of the scene. One long time technique to aid in visualizing an image is to take an old 35mm slide frame and view your potential scene through the opening. You’ll see new ways to frame and compose an image. You can use a piece of black matting with a 1.5 to 1 ratio rectangle cut out. That opening can be 6x9, 10x15, or 4x6. The 1.5 to 1 is what 35mm film and today’s digital cameras use. This isn’t a tool in creating your image, but it is a tool in crafting your vision. Try it out, and let me know how it works for you. There are many nuances to vision and visualization that we’re not touching on in this post, so don’t think that’s all there is to it.

Our knowledge refers to our ability to use our camera for our purposes and art rather than letting the camera use us for its work. It’s knowing how to evoke a response to a scene and how to compose that scene for aesthetic rather that literal rendering. It involves knowing how our camera operates and how exposure works. Learning the exposure triangle and where along the range of values a brightness falls will be a giant step in mastering your vision. Knowing how and when to use DOF effects for impact and contrast to increase drama, knowing that a cloud should be exposed at about 2 stops over meter, maybe 3 if the your vision feels the need, is a key knowledge. So is knowing that long evening shadows cast by the low lying sun journeying home need to be at 2-3 stops below meter to capture the full range of detail.

Combining vision and knowledge can be a frustrating journey. It can also be incredibly rewarding. The key is to open yourself to learning and seeing every day. Once you feel your vision, you’ll start noticing things you never saw, and trying to figure out the best way to make your vision real. You’ll also notice that it isn’t about the gear, it’s about your image and art.

Do I still think of my tools as necessities? Of course I do. I love a portrait with shaped, directional light. I love getting a tiny bit of bounce into a shadow area. Using an umbrella to soften your light is a tried and true way to improve many photographs, not just portraits. Can I visualize an image without thinking about my tools? Of course I can. When I’m shooting large landscapes, a flash won’t help, neither will a reflector. The key is thinking the shot through before making it.

Enjoy the weekend, everyone. I hope you spend it capturing the moments that express your vision best!

Is there anything you’d like to see here? Do you have a question? Share your thoughts here or at the Hohenfels Volks Facebook page. Of course, commenting on both Facebook and here is always appreciated, too! Don't forget, we're on Google+, too!

Hohenfels; Bursting!

Greetings, volks. Welcome to Hohenfels Volks, THE place for our place! Spring is upon us finally. Hohenfels is bursting to life with the colors and sounds of renewal. This is truly a great time to be out and about, making photos and capturing a fleeting moment of the glory that surrounds us.

Today I’m doing a short post; things have been busy and trying the last few weeks. We’re going to take a short look at capturing fireworks. This is by no means a full list of tips, but something to think about.

The first thing to consider is a tripod! You’re going to need something reasonably sturdy and level when the legs are extended. Another thing to consider is ease of operation, and adjustability.

The next thing that is a must have is a remote release. Without one of these, a steady tripod is more or less useless. This little item, reasonably priced at any photo shop, can make an image stable. Just the act of depressing the shutter release can cause some serious vibration. Another advantage of using a remote trigger or release is the ability to view the scene while you shoot. Just set your composition and focus, and then enjoy the show while shooting.

Make sure you use a lens that is short enough, yet long enough. Too short, and your shots lose the feeling that comes form small town fireworks, and too long you end up without any context.

Set your ISO to 200, or 400 depending on your intentions. Then set your aperture to f/8 and your shutter speed to B. Time your shots to the start of a volley and activate the shutter. Hold your release button for anywhere from 10 to 30 seconds to get a nice full burst and some detail from the area, then release. Over the course of a 20-minute show, you can get some really amazing photos.

One more thing, if your camera allows it, activate your mirror lock up feature. This will lower the vibration even more. Don’t forget to turn off you image stabilization or you’ll end with some blur.

Keep in mid your visualizing and composition, these can make a great shot into a real winner!

Don’t forget to post any of your images you’d like to see here at the Hohenfels Volks Facebook page. Of course, commenting on both Facebook and here is always appreciated, too! Don't forget, we're on Google+, too!

Ride Along Shot: High...

Greetings, volks. Welcome to Hohenfels Volks, THE place for our place! Welcoming Tuesday, Hohenfels finds a nice day breaking out and greeting us back.

Let’s visit Regensburg for another ride along shot. This time we’re going to look at a shot taken on film in the old part of town.

Here’s the image.

ISO 100 Agfa APX100, f/8, 1/50, 50mm
A shop window in Regensburg's old town.

This was taken outside one of the many little shops lining the square, and not far from the Dom, or cathedral. I was immediately attracted to the material, old boxes, wreaths, and some cool roses. Throw in the bottles and glassware in the window, and it really seemed like a “must have” shot.

Metering from the white portion in the bottom right window gave too little exposure, so I shot at M+3 and developed for N. This left white zone to about M+3 and leaves a nice tonal range. This also gives us a nice high key image, with a very suitable contrast, and detail in the brightest parts. The reflections in the windows could have been removed with a CP filter, but I would lose the high key effect of the light reflecting around the scene.

The meter gave me f/16 at 1/100. I think this was shot on Agfa APX100 film. I shot with a 50mm f/1.8 prime, as I did the entire day. The final exposure was f/8 and 1/50, with an ISO of 100. I didn’t want to go slower, as the old cameras had no IS, and any wider would have left the DOF inadequate to express what I had envisioned. The sun was out, it was mid-day, and the weather had warmed up a little that day. It was still snowing back in Hohenfels, which was a bit surprising as I got off the train.

After scanning the negative, editing was most certainly required. The sharpness was quite nearly gone, the contrast had come down, and the whites were nearly blown. By applying curves in an inverse S and adjusting the levels to bring down the shadows, and raise the midtones and highlights, I was nearly complete. The next step was to reduce noise and apply an unsharp mask at about 3px radius, 90 strength, and 2 clipping.

The final image grew on me. At first, being satisfied with the image, it was ok. After editing and revisiting the image several times, I realize it had become something I really liked. It showed that the system of metering for the highlights when you plan an image to be presented digitally, can lead to some really nice results.

By exposing on the plus side, it brought out some detail in the shadows, allowing just enough to bring the eye to them in the middle of the brights. Our eyes are generally drawn to the brightest part of a scene first, which is why we often keep our subject 1/3 to 1 stop brighter that the surrounding. In cases like this, it sets our darks apart and brings focus to the play between shadow and light.

I hope I haven’t bored you too much! Enjoy the rest of a lovely evening, maybe using this time to get some blue or golden hour shots in. Take care and keep shooting.

Don’t forget to post any of your images you’d like to see here at the Hohenfels Volks Facebook page. Of course, commenting on both Facebook and here is always appreciated, too! Don't forget, we're on Google+, too!

Color and Perception

Greetings, volks. Welcome to Hohenfels Volks, THE place for our place! How’s everyone faring with this week’s exercise? I trust you’re seeing things take shape.

Today we’re going to take another look at metering. From previous posts, we know that we can control our exposure by increasing or decreasing our exposure time or aperture to achieve the levels we want. For instance, making a white cloud white, while retaining its texture, we’d meter the cloud and add 2 to 3 stops of exposure. If we add 2 stops, we can further close the distance between our vision and what we shot.

Today, we’re going to look at how color and saturation work with exposure to give us a better rendering of our vision. Generally, we perceive saturation different than reality. In the most general of terms, saturation appears more thorough in an image when we darken it by some small amount and increase our contrast.

The reality reason for the apparent change in saturation is the actual change in chrominance. Chrominance relates to the levels of luminance present in each particular color. For instance, taking an RGB value of r=100 and increasing it to r=200 increases the chrominance, without changing the saturation. We perceive a difference only because of the resulting change in luminance. This is an extremely basic and simplified explanation, but helps to understand what we’re discussing next.

By knowing what we just discussed, we can change the viewer’s perception of the saturation in our scene, and therefore the mood we’re trying to convey. Without knowing the above and the basics of color theory, it becomes difficult to use color in our compositions as a tool of our message or mood.

By increasing or decreasing our exposure for a certain color’s luminance to create the color we visualized, we can change our message, theme, or mood some. We also change our perception of a color’s saturation, giving either a rich look or a washed out appearance. Try taking some shots of a strong color in a scene at various exposures and comparing the results. For a more noticeable impact, you can try a brighter color in a darker environment or vice versa. As you range through several exposures, you begin to see how our key and our brightness change. You’ll also notice a change in feeling as you view your images.

By throwing a bit of the color and saturation into your metering, you’ll be better equipped for this week’s exercise. Changing your vantage will change the luminance available to you, and require ways to get around the change in feeling that comes with it. Keeping your vision in your mind as you change vantage points, and knowing that exposing for a particular color or set of colors, you can put your original intent across.

I’m looking forward to seeing the results of this week from everyone, and hope the rest of this week treats you well!

Don’t forget to post any of your images you’d like to see here at the Hohenfels Volks Facebook page. Of course, commenting on both Facebook and here is always appreciated, too! Don't forget, we're on Google+, too!

Monday's Exercise

Greetings, volks. Welcome to Hohenfels Volks, THE place for our place! I hope everyone had a chance to grab a shot you can be proud of this weekend.

As promised, today we’re introducing our first exercise. With this exercise, you can learn a lot about composition, as well as spatial compression, DOF, and lighting.

The exercise is simple, for the next week, you’re to only shoot with 1 prime lens. That means if you choose your 50mm, then you can only shoot your 50mm. Whatever the focal length, stick to only one prime focal length lens. If you don’t have a prime, if you only have your kit or some other zoom lens, then choose only 1 focal length, either racked out full zoom, or minimum zoom. Don’t cheat and use the zoom for any of your work.

This simple exercise will teach you how to be creative in your composition. It means you will need to visualize your shot, see the framing and cropping before shooting. You will almost definitely need to move to get the shot. Either move in, out, or change your angle, and you will have something entirely different. Just using zoom doesn’t give you that.

Zooming your lens will change your perspective and create the framing you’d like. However, it also compresses the perspective, which can make for really good DOF. Zooming with your feet and opening your aperture can give some nice DOF effects, too, and does so without compressing perspective. Zooming can change the impact of your lighting, so can moving.


ISO 400, f/5, 1/100, 44mm, daylight balanced. The shot was metered for the rotunda and exposed for M+1, then edited for M-1, increasing the saturation and improving the tonal range.
This was one of the sunset shots taken in Prague last weekend. It took several attempts to get it right, but just moving around made the scene match what I had envisioned. Give it a try for yourself before you shoot that next pic!

Take a walk around your subject. Approach from different angles and distances. You will start seeing how these little limitations can open up a whole world of possibility. The old masters had to work with 1 focal length or lens for a long time. Lenses were heavy, cumbersome, and often not the way to get the shot. Learning to see in this way is a great tool to open up your creativity and improve your composition.

Rise to the challenge and share your shots. We’d love to see your work and the fruits of your exercise. Enjoy the rest of a wonderful week and make sure you get 1 in the can!

Don’t forget to post any of your images you’d like to see here at the Hohenfels Volks Facebook page. Of course, commenting on both Facebook and here is always appreciated, too! Don't forget, we're on Google+, too!