Tuesday, January 31, 2017


Photographing water:  do we freeze it or "silken" it?

Photo by:  Lino Cannizzaro

Article by:  Amy Renfrey:

If you’ve ever wanted to freeze the action on a water droplet or create a silky effect in a running stream then listen up. Shooting water is one of the most enjoyable and challenging ways to photograph really interesting natural photography. The loveliest thing about shooting water is that you can produce different effects every time you shoot. Some of these effects can be soft and flowing while other effects can be dynamic and commanding. It all is dependent on your light and your shutter.

photo by Anna Oh
In order to get a clear photograph of your water photograph you need to have the accurate level of light. Because most flowing water images are done outdoors you will have to prepare yourself for different weather. You will also need to be able to work with natural light in an effective way. Let’s take a fountain for example. Fountains in the city can supply beautifully creative shots. We can try to take photos of them two ways. We can shot the motion of the water to give the appearance like a silky-smooth ribbon. Alternatively, we can shoot the flowing water so we see every drop.

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These two things depend a lot on your shutter speed. A speedy shutter means that you can stop the action. This means that you will be able to spot every droplet of water poised in the air as it shoots out to the fountain. To do so, you need a large amount of light so that you can have a fast shutter. A slow shutter speed means that you can slow the speed of motion. This produces what is called a silken effect. A silken effect is where your shutter speed slows down and the water seems like it is streaking across your shot. You also need to carefully watch your light so that you do not over expose your photograph. So how does this become applicable?

silken effect with 5 second shutter speed, photo by Dave Doe
Let me go into more detail. The longer you have your shutter open, the more light enters the sensor. It works the other way, too. The quicker your shutter speed, the less light that you have to work with. You must find the balance between what outcome you want to create and your lighting. For example, you wanted to photograph the water fountain on an dull day. Perhaps there are clouds approaching and producing some overcast light. You already have in mind that you want to stop the motion of the water so you can see each separate water drop. You know that you need a fast shutter speed to do this, but there is not much daylight in the scene. So how do you get a fast shutter speed so you can stop motion and be able to get just the right amount of light?

You would choose a very high speed of the shutter—1/8000 of a second may be your favorite. However, you see that the camera is telling you that to capture at the speed you are going to have a very underexposed and dark photo. This will not suffice at all, therefore you select a wide aperture. Remember, a wide aperture will blur your background. This might be okay given the situation. So, consequently, you choose f/4. An aperture this large will let a lot of daylight in.

photo by Kirt Edblom
You have set your shutter at 1/8000 of a second and f/4 as your aperture, but now there is another setback. The camera’s light meter is suggesting you are still not getting sufficient lighting. Is there something else you can do? Of course there is!

This is where your ISO comes in. Your ISO is the light sensitivity. When you do not have enough light you can increase your ISO. When you take pictures in auto mode, the camera will choose the ISO for you. But, when shooting in manual you have to decide it yourself. If you’re shooting fast moving water on an cloudy day, opt for a higher ISO. A high ISO is like getting another two or three f-stops of light. Even though you might not be able to get extra light through your manual setting, you can get additional light by increasing the ISO.

photo by Brad Higham
Now, what about the silken effect? You will not have to use a very high ISO if you want the silken effect on a gray day. However, if you are photographing water in a dim forest you may still have to boost your ISO.

Your ISO is a clever function that gives you more light. Keep in mind the key to images of moving water is light and shutter speed. Your shutter captures the movement of water, your aperture and ISO can take care of the light for you.

About the Author: Amy Renfrey writes for DigitalPhotographySuccess.com. She’s photographed many things from famous musicians (drummers for Prince and Anastasia) to weddings and portraits of babies. Amy also teaches photography online to her students.


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Monday, January 30, 2017



We live in a world where there are a lot of photographers, and all have different styles of photography, different types of photos, etc.  We all have different styles of photos that we all like and we have photographers that we like, etc.  But, how do we develop a style of photography that makes us unique and people will like?  That is the trick to becoming a good photographer.  I see some photographers who have totally mastered doing sunset photos and are so good at it.  I try it, and I just don't quite do it as good as they do.  And then one photographer just is so good at capturing the perfect child portraits, they can totally become famous doing just that.  So, how do they do that?

Well, I have found a great article from Dennis Nikols and from PictureCorrect about just this subject.  So, if you will read through this, I think we will learn a lot from this:

In the artistic community much is said about style and how that style is more often than not linked to some innate talent. The style side is mostly true. Each artist, irrespective of their specific discipline, brings their own voice and vision to their chosen art. That which is internal to the intellect of the artist, is unique and independent of external training.

It would be convenient for us to instantly associate a photographer’s work as that of their own signature style. Were it only this easy, but alas, it is not so transparent. Theoretically, most well known artists have an inherent recognizability; for example, in a room full of impressionistic paintings one instantly knows which images are van Goths’. Yes, but not always.

"Facing your fears" by Ji Yeon So
The question is are van Gogh’s paintings all so unique they will always be instantly recognized or is it that we have been so widely exposed to them that most his work has been seen by us before? My experience would suggest the latter. Before anyone starts writing me, give this just a bit of thought and perhaps a personal visit to the van Gogh museum in Amsterdam. Think of Pablo Picasso, his work is instantly recognizable right? Well, maybe not… that is only true through prior exposure to his paintings. If my art history courses are remembered correctly, his work is usually divided into 7 sections or time periods. The first three are very different from that of the later sections. If you see representative examples of all seven periods together, one quickly recognizes distinctive transitions and minor elements that are thematically carried through from one phase to the next. If you did not know, or had never seen a selection of his work from all these periods, you would be hard pressed to identify them succinctly.

The point is that Picasso and van Gogh both developed unique and distinctive styles over the course of time. To that end, the photographer is no different, perhaps just a little subtler. For the purpose of this essay, we are keeping “photographic” tricks and “darkroom” magic between minimal and intermediate levels. Extreme manipulations, while artistic, slip into the world of graphic art and many would argue, lose their place as purely photographic art.

In photography, we find the same kind of pseudo-recognition. When we examine the portraits of Karsh or the landscapes of Adams they are often mentioned in the literature as being both distinctive and fundamentally unique to the inherent style of the photographer. Both are responsible for creating truly iconic images which now have a universal recognizability. In this way, they share a common thread to the works of van Gogh and Picasso in their notoriety. However, I have seen portraits with every bit of Karsh’s style and vision, that are every bit as well done, but were done by others and predate Karsh, forcing the viewer to question the assumptions being made. Now I am a big Karsh fan and have been since I was a boy. In a room full of his work, that one might find at the Chicago Art Institute, the style simply screams at you. Similarly, I have taken black and white stills of Half Dome at Yosemite and if you didn’t know better it would be impossible to say which was mine and which was Adam’s. I did not copy Adams in any way, except for the general subject matter. I have one of his famous images on the wall of my office too. It is hanging there as a sort of inspiration, a reminder if you will of what constitutes a great image and a truly creative vision.

Photo captured by PictureSocial member saswata bandyopadhyay
We photographers are often faced with a minor dilemma; we often know exactly what we want. That does not mean we will have the right conditions to create it. I am talking non studio images here. The studio is a different thing. Every bit as creative, it is a control of conditions inside or lack of control outside, that makes the difference. You can go the same place, at the same time of day, a thousand time and never completely reproduce the exact conditions of any previous encounter. That is the challenging situation the photographer faces every time they picks up a camera. I believe that it is in how the photographer overcomes this challenge that defines their own personal style. It is how our unique vision of the world interacts with how the world is being presented, that produces that personal style. I must warn the reader that the style differences among many photographers is subtle and at times barely discernible to the naked eye.

There are those that say it can be learned and talent is not required. There are those who say the opposite. There are others, I among them, who say that learning hones an innate talent. Every one of us has a unique vision of the world and not everyone wishes to express it and fewer still wish to express it via photography. None of us can ever be a Karsh or Adams or any number of other well known or lesser know photographers of the past or present. I often photograph with a fellow photographer. We stand side by side and use essentially the same equipment, yet our images are different and although we recognize it instantly most viewers would be hard pressed to tell whose was whose. On the other hand, if one were to examine our respective body’s of work the comparison reveals individual uniqueness in our distinctive styles.

Ultimately, both the famous and the anonymous photographers offer something worth learning. Wikipedia publishes a list of famous photographers. I never pass up a visit to any museum of art or any collection of high quality images. I would like to think I have developed one of those individual, instantly recognizable styles. I find it rather impossible to look seriously at any photograph and not learn something about image making and presentation.

My personal philosophy is quite simple. I try to present my subject in the best possible way, given the prevailing conditions. This is however, highly subjective and purpose dependent, resulting in the occasional failure or lack luster outcome. When that happens one of three thing seems to have influenced the objective: the light conditions were poor, or I lost a crisp focus on the subject and/or purpose, or I lacked the skills and necessary equipment to deliver the vision I set forth to create. The reality is I am good at what I do and when compared to others I possess a unique view of the world, but is it instantly recognizable? Why, not at all.

“Peloponnese” captured by PictureSocial member Giovanni C.
You can do what I have done, continue to hone your individual skills and express your unique vision.

Dennis’ tips for revealing your unique vision escape (in no specific order):

Subject Focus: You could select a few subjects that you feel passionate about. If you have knowledge of the subject it is often easier to see past the superficial and bring out the deeper meaning and emotions. Not all subjects cary deep emotions or have any truly deeper meaning, but that does not mean they lack the challenge of making the mundane interesting. It is what gives you satisfaction and intellectual pleasure that counts most.

  • Style: Style comes down to how you express your vision. It is some combination of methodology, technique and technology. This is a function of: the technology chosen, post exposure processing, your over all approach, the subject and conditions. It is making choices and maximizing the results.
  • Learning: Be open to learning from others as well as from your own experiences. I never discard a poor image without first examining it closely to see why it failed. I suspect that I am like most of you and only like about 10 % of the total images I generate. Sometimes I don’t like any of them because they simply fail to properly represent the subject. If possible, go back and try again, applying your knowledge of what went wrong until you have captured the essence of your initial vision. Keep in mind the original purpose of making the images. It is nice to take pictures of your child’s birthday party and if some qualify as high art, all the better. If the purpose is to record the event for relatives, future nostalgia trips or to embarrass the child later in adulthood then high art is simply not necessary.
  • Rules:   Rules in photography are not so much absolutes as they are guidelines. Lets face it, if we did not set them aside from time to time, originality would be lost. On average, the “rule of thirds” applies aptly, but when it comes to presenting a certain subject the best possible way, at a given moment in time, then maybe not. Simply put, experiment, try it all! Today multi-media is so inexpensive that all other costs are greater. It is more expensive to travel even a short distance than to fill your reusable flash card. Unlike the days of chemicals, film and paper that made us careful and aware of the cost of each frame, today’s digital photos are, in and of themselves, freebies and 100% recyclable.
  • Critic: You are your own worst critic, as every artist is. It is critical to be honest with yourself and with others. We all know this, but more often than not, we are more honest with others and less honest with ourselves. The best way is to look at all our images critically, but not despairingly. Apply a critical eye to which images work and do not work and evaluate honestly why that is so. A great image of someone or something you detest is still a great picture. Understand why.   You are not forced to show it to anyone else. If you find anything that is not quite right understand that too. It is back to the learning thing, isn’t it?

  • “B.R.O.K.E” captured by PictureSocial member InGeniusArt

    Inspiration: We all need it. Some of us thrive on it. Some of us inspire others. All of us are inspired by someone or something. It is that inspiration that turns the ordinary into the extraordinary. Let it work for you. I carry a pocket camera with me almost all the time because sometimes I find a unique moment and point and shoot. They are not all great. Most are just ordinary, but every once in a while I get inspired to go back with my SLR and do it right. We all need to be open to the idea that inspiration occurs when and where we find it or when and where it finds us. Once, my wife and I were touring a 15th century cathedral and I was inspired to photograph the vaulted ceiling. I laid on the floor and did just that, much to her embarrassment I must add, but the results were outstanding.

  • Practice: Don’t always wait for moments to find you, sometimes you need to go exploring with an active eye. Keep lookout for anything new, different, and hopefully, exciting. If I have learned anything living in Alberta, it is the prairies and mountains are never the same. You can travel the same path 100 times and easily get 500 different images! Practicing is just as important in photography as it is in music or any other endeavor. I am convinced that I have trained my eye to see what the lens sees. I know, from experience, that I can size up and compose an image two to three times faster than most. By the time I get the lens cap off, I know what I am going to shoot, at what focal length and from what position. I would like to think this is raw talent; the truth is that it is 50 years of practice.
  • Self Expression: Why do we take pictures or make images? For me, it is my form of artistic expression. For others they sing or play an instrument, draw, sketch or paint, while others act or write. For me, photography is my most important self expressive activity. If you choose photography as your expressive medium, you are also choosing to share your unique vision of the world with that world.
  • Lastly, it is chance, pure and simple that often has the greatest influence on our work. It is what we make of those chances that ultimately defines our individual vision of the world and culminates in the expression of our unique style. Most forms of self expression are directed outward from ourselves towards others. Some would say photography is not just self expression, it expresses or even defines who we are. I think I am still trying to define myself and so for me, photography expresses what and who I am at any randomly given point in time although I am not sure that it ever captures any real totality of my existence.

    “the world upside down” captured by PictureSocial member Kelli Ahern

    I have often said, “Some day I will grow up. When I do, I’ll let you know.” I strongly suspect my epitaph will read something like this: “He always said he would let us know when he grew up. He finally did”

    About the Author:
    Dennis Nikols is a long experienced: geologist, philosopher and photographer. He is principal photographer at As I Found It ( asifoundit dot com ), Ideal Totem ( idealtotem dot com ) and writes a photographic blog adding 3 to 4 moderate length essays/month. As I Found It’s blog


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    Wednesday, January 25, 2017



    This week's Photos of the Week, Amazing, beautiful, spectacular.... and on, and on.  I found 6 of the most amazing photos this week that everyone should be excited to see.  Congratulations to this week's winners, and remember, the goal in this is for all photographers to look at these, and to learn from these, the composition, the lighting, and to remember to always have your camera with you.   Enjoy:

    Portrait of the Week:
    Photo by:  Ariel Grabowski
    Simply titled:  Photo shoot with with Margo. 
    This photo has a lot going for it.  The model is beautiful, the lighting is amazing, the placement of the
    lights is amazing.  The softness of the picture, I think makes this just a great photo.  And for some reason, I really like the placement of her hands.  Some people may differ with me on this, but, some
    models don't have pretty hands, but Margo does, and these deserve to be shown.  Great job Ariel.  You deserve to win this week's Portrait of the week.

    Photo by:  Kevin John Wach Photography
    Wow, amazing photo of capturing this Lynx peeking around the tree.  Just being there at the right
    time and right place.  Now that takes patience and certainly deserves some credit for capturing this animal just this way. 
    Great job Kevin, on just working this out this way and sharing it on Facebook for us to
    capture it and sharing it with the world. 
    This Photo was shared on the Group site:  Photo Nerds.  Check it out.

    Photo by:  Tracey Pogson / Tulip Time Images
    Posted in Photoshop and Lightroom.  The second in my zoo series called Dreaming of Home.

    Have you ever seen a chimpanzee in this image before.  I looked at this as a portrait almost and see the dream in his or her eyes.  What a great photo, and the computer retouching after has made this a masterpiece.  That Tracey for bringing this animal out front where we can appreciate this animal more than ever.  It is heartfelt and truly touching, and that is what photography should do to us. 

    Photo by:  Krishnendu Dey

    Simply titled:  "The Face of Nature". 
    Presented in the Group:  Photoshop and Lightroom. 
    Now, I think this is a winning photo because I know very few people who are really good at doing
    a good double exposure.  And Krishnendu has hit this one on the mark.  A beautiful girl, mixed with a tree and birds, like it's her hair or something.  Wait, is this "Mother Nature"?  What a great combination used for a double exposure. 

    From the Facebook Like Page:  Fantastic things in the World
    No photographer mentioned, but the interesting fact posted with this photo, and good to pass on here:
    Perfect Record!
    Did you know? The Owl is the only animal that can fly without causing any kind of noise.
    Now this photo is amazing to capture the owl in flight.  What is amazing about it more than usual is that it is coming straight towards the photographer.  Look at the details and of course it had to have the shutter speed set right so you got a great stop action shot.  Congratulations to the photographer, whoever it is.  This is an amazing photo.

    Photographer unknown, but, Posted in the group:  My World is Beautiful
    Now, talking about a photo that touches emotions.  This photo makes you just kind of think about
    wouldn't this be a great place for a Honeymoon?  As long as I only had to do those stairs once !!! 
    Right.  But, check out the surroundings, the light, the unique island in itself.  The quietness of the
    surroundings, and I am sure that this place is like the most serene place you could imagine.  Your mind definitely wanders when you look at this photo.  What a beautiful photo.

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    Monday, January 23, 2017



    Have you ever thought about what places in the world were the most photogenic?  What comes to your mind?  I am thinking Grand Canyon, Yellowstone, Niagara Falls, Eiffel Tower?  Well, there are a lot of places that are photographed a lot.  Let's take a look at the most photographed places in the world, and see if you agree:

    Grand Canyon

    Norway / Northern Lights

    Santorini, Greece

    Great Barrier Reef, Australia

    Machu Picchu, Peru

    Porto Ferro, Italy

    Algarve, Portugal

    Bora Bora, French Polynesia

    Maui, Hawaii

    Palawan, Philippines

    Manhattan, New York

    The Galapagos Islands, Ecuador

    Rio de Janeiro, Brazil

    Alberta, Canada

    St. Lucia

    Galway, Ireland

    Bali, Indonesia

    Patagonia, Chile : The Marble Caves out in in the turquoise waters of General Carrera Lake sit 5,000 million tons of marble, elegantly shaped by nature into caves. Viewing the caves in person is a far more beautiful experience than looking at any photo.

    Cappadocia, Turkey

    Swiss Alps

    Bibury, England

    The Himalayas, Nepal

    Maasai Mara, Kenya

    Isle of Skye, Scotland

    The Rainbow Mountains, China

    Railay, Thailand

    Arashiyama, Kyoto, Japan

    Prague, Czech Republic

    Wow, there you have some of the most photogenic, most photographed places in the world.  I hope you enjoyed looking at these photos.  And, if you are like me, perhaps a trip to one of these places might be on your agenda? 

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