#Photo3 – Three Rule-of-Thirds Techniques

A weekly trio of top photo tips

The rule-of-thirds composition technique often gets a hard time in photography. It’s one of the most simple and effective rules to apply to an image, yet often is attacked for being too bland and obvious and the first rule that you should break to be more original. However, I’m here to defend the rule-of-thirds. It’s a great rule, does it job well and can make or break an image and in my book, that makes it a winner!

Divide your scene

The classic use of the rule of thirds, is to use it for the positioning of a key subject in the framing of a scene. Instead of putting it dead centre, you instead divide your scene into segments and cross-points with four dividing lines, with the crossing points of these lines being the rule’s ideal placement for your main subject. This takes the subject, just off-centre, to a more natural area of your frame, one that the brain responds to as being pleasing and easy on the eye.

A classic use of the rule-of-thirds

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Beyond the Grave & into the Red

For my infrared project having the right subject to shoot was key. Infrared doesn’t work on every subject. Well, the actual process does, but the successful result is a bit more subjective. Some of the results I have seen published or on the web have often been a bit cliché, even if they work well within that cliché. So, I was looking for a subject that would suit the medium that perhaps hadn’t been done before, or was just less-photographed. In fact, this combination happened the other way around. I’d had the subject in mind for a while, but needed a technique to give it an edge. And so my Beyond the Grave idea was brought to fruition. I wanted to photograph cemeteries and the ‘Into the Red’ tag was the infrared medium I would capture them in.

The camera I used or should I say camera’s, were my Olympus EM1 and EP5. These are the camera’s I use for all my photography and they were actually ideal for this medium. The filter I used was a Hoya R72 Infrared filter. I purchased it in 67mm size, big enough for my standard zoom and I also purchased a couple of step-down rings so I could use it on other lenses too, if required.

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Brompton Cemetery, London.  Olympus E-P5, 10mm, ISO 800, Hoya R72.

This filter absorbs at least 10 stops of light, so it’s a bit like using a Big Stopper filter. This effectively means using the camera on a tripod, as the resulting exposures, even on the bright days, lasted several seconds. This was going to be one of a few downsides shooting with this filter rather than with a converted infrared camera, as I wouldn’t be able to get away with any handheld shooting. The other issue was movement. Subject blur from foliage, important for infrared, was not going to look very pleasing on the final result, so a lack of wind and therefore a calm day was preferred.

Now, as I say the OMD camera’s, especially the EM1 were ideal for shooting with this filter, as it avoids a third issue, composition. Because the filter is so dark, I would normally have to compose the scene without the filter in place, then once happy with my position, focus, screw the filter on and take the picture. If moved position again, I would normally have to take the filter off and repeat the process. Not so with the Olympus system. These cameras have a mode called Live Boost, which increases the intensity of the rear screen and electronic viewfinder view for when using strong filters such as this. This meant I could ‘see through’ the filter enough to compose and fine-tune the focus without forever taking the filter on and off. A godsend, I can tell you!

You can read more about infrared project shooting cemeteries in my eGuide ‘Beyond the Grave & into the Red’, available as part of an e6 Premium subscription. www.e6subscription.co.uk

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The Ultimate Landscape Camera

Landscapes are one of the most popular subjects for photography and having the right tools for the job, makes the experience and time spent of capturing the beauty of our world even more enjoyable. Having the right camera therefore, comes down to having the right features and specifications to match this subject, the shooting conditions and ultimately the final results. So, what is the ultimate landscape camera? In the days of film, it would perhaps have been a 4×5 large format camera, such as an Ebony or Linhof. Ultimate size for ultimate quality. With the advent of digital, the choice is even greater. No longer do you need to shoot with a medium format camera. Both Nikon and Canon have top end SLR’s, seemingly ideal for the job and if Canon’s new 5Ds isn’t the ultimate landscape camera, then what is? Continue reading

Marvellous Malverns

My latest magazine commission took me to Worcestershire and the beautiful Malverns, a location that had been on my ‘must-see’ list for a long time.

The feature centered around the glorious views from the main peaks, Worcestershire and Herefordshire Beacons, which I visited each at sunrise and sunset, though with mixed results due to lots of cloud. Just being up on the hills at sunrise is a worthy experience, plus their ease of access means these summits are a short walk from the car parks. Continue reading

Wonderful Windmills

My first commissioned article of the year, saw me visiting the working windmills of Lincolnshire. Many of these iconic structures have been restored and brought back to full working use, after years of neglect. Now often run by volunteers, they give visitors the opportunity to see the mills working again, get a glimpse inside and discover the history of milling in the area.

It’s great to see them working once again and there’s no better sight than seeing the sails on the mills turning as you approach from the distance. Continue reading