Tag: Photography Basics

  • Moon Photography – Photography Basics

    Moon Photography – Photography Basics

    The moon

    It’s such an alluring photo subject and confounds beginning photographer more than it amazes. The problem is, when the moon is high in the night sky, it is contrasting the blackness of space more than most people realize. Our eyes and our brain do a great job of making the moon appear just right. But cameras don’t have it so easy.

    One big tip; shoot the full moon as it is raising the night before it is full, or as it is setting the night after it is full. This way it is raising and setting against a brighter sky, making exposure easier.

    Second, spot meter off the moon itself to make sure it is exposed correctly. The moon will trip you up with how bright it is. It is just a really big reflector of the sun and needs to be exposed as such. The problem is it tends to be so small in the frame that the metering favors the blackness of space over the moon. Spot metering will be your friend. Don’t have spot metering? Underexpose by 1-2 stops.

    Theory Into Practice

    For instance, in a situation like the one below, taken at Bryce Canyon National Park as I waited for the sun to rise, the meter wanted to hold the shutter open much longer to bring in the sky and tree. Instead, I chose an evaluative metering pattern and underexposed by 1 2/3 stops to make sure the moon wasn’t too bright. ISO 100, 320mm, f/6.7, 1/350 second

    Moon Photography

    When focusing, don’t swing all the way to infinity and call it good. The moon, believe it or not, is not that far out there. If you choose to manually focus, as a lot of cameras will have a hard time locking focus, bring it back from infinity just a bit.

    Also, bring something into the photo. If you’re lucky, that something might be right in front of the moon as in this shot from New South Wales, Australia. ISO 1000, 300mm (and then cropped more), f/5.6, 1/1000 second (This was pure luck as I sat with friends on a deck enjoying conversation and not really thinking of the moon.)

    Moon PhotographyIt’s important to note in the photo above, the tree in the foreground is slightly out of focus because the aperture is open all the way. The moon is quite far from the tree and a bit more aperture would have brought the tree into sharper focus. And as the shutter speed was 1/1000, I had room to close the aperture at least two stops and brace the camera.

    The Moon With Grounding Elements

    Even if something isn’t right in front of the moon, give it a bit of perspective and size. Try to catch it low to the ground or mountains or hills to anchor it just a bit.  Wasatch Mountains, American Fork, Utah, USA ISO 800, 400mm, f/6.7, 1/250 second

    Moon PhotographyIf you are trying to capture a lot of ground in the image and it is a full moon, be careful with exposure and play a bit. In the image below, I manually exposed for what I thought was a proper setting and then moved the shutter speed around to get it right. Mind you, this image needed a lot of work in post processing to make sure the moon wasn’t too overdone nor the foreground not too dark. Whidbey Island, Washington ISO 500, 300mm, f/5.6, 1/320

    Moon Photography

    When the moon is a couple of days past full, you can expose as if for a normal sunny morning and not worry too much. Nepal ISO 50, 300mm, f/7.1, 1/400 second

    Moon PhotographyLikewise, crescent moons can be easier or harder, depending on whether they are waxing (moving towards half then full) or waning (moving towards new then half). For shots when the sun is out, expose as you would for the normal sky. That’s pretty easy.

    When the crescent is coming up or is already up at night, you might need to underexpose by an even greater amount as the moon is reflecting even less light. ISO 640, 135mm, f/5.6, .3 seconds

    Histograms Can Help

    If you are using the rear display of the camera to check settings, use the Histogram feature (explained here) and make sure the spikes on the right side of the screen drop to the bottom before moving off. If they aren’t at the bottom, you are losing detail in the moon.

    For instance, this is the Histogram of the tree and the moon shot far above.

    Moon Photography

    Quick Histogram lesson: Left side is dark, right side is light. If that mountain, representing where light is falling, is not at the bottom before it hits a side, detail is lost. In this case, some black is lost, and that’s ok. The moon is represented by the mountain in the middle.

    When the exposure is jacked up 2.25 stops, we get this:

    Moon Photography

    And the image looks like this:

    Moon Photography

    That’s a quick way to use the Histogram to tell if your moon shot is truly exposed properly against a black sky.

    Our Atmosphere Has An Impact

    A golden moon will, when just popping over the horizon, be as dark as it looks. Meaning, it’s not as bright compared to the scene around it. In this case, such as during a harvest moon, the exposure for the moon is often the same as the scene around the moon, much like a shot a couple of days before a full moon rises. But this effect changes quickly with the color of the moon, once it starts getting away from the colored sunlight striking it (and the horizon) and takes on the full power of the sun going past our atmosphere.

    Moon Photography BasicsLastly, scout out a location before the moon comes up if you are looking for an added element. Remember that, month to month, the moon will change positions on the horizon as it raises and sets, so don’t expect it to be in the same spot the next month. Use a tool like the Photographer’s Ephemeris to help you plan ahead.

    Oh, one more thing, zoom in as much as you can. You may notice all of these shots start at 200mm and go up. A good zoom lens will be your friend and don’t expect great shots with a point and shoot unless it has more zoom than 4x. 10x is a good place to start with those type of cameras.

    And use a tripod!

    Speaking of which, only one of those shots up there was taken completely handheld. Knowing what you know about shutter speed and the general 1/focal length rule, can you guess which one?


    Photography Basics – A 43 Day Adventure, and its companion 40 Photography Experiments, are series written by professional photographer Peter West Carey. The series are designed to unravel the mysteries of photography, helping you can take better pictures. Subscribe here to receive all the updates and bonus material. Your comments are always welcome.

    Photo ToursIf you enjoy the series, consider learning photography first-hand on a professionally led international photo tour in Nepal or Bhutan. More information can be found at Far Horizon Photo Tours

  • How Your Camera Works – Photography Basics

    How Your Camera Works – Photography Basics

    Yesterday’s topic was:  The Exposure Triangle

    Before we dive too deep into other subjects, I thought it best to explaining how your camera works. While not all the mechanics are the same for DSLR, smartphones, mirrorless, drones, etc… the principles are the same.

    We’ll use this DSLR image for reference:

    How Your Camera Works

    How Your Camera Works

    First, there is light. Let’s say it is coming from the sun and it hits our demonstration bunny here. Next, the light bounces off that bunny (she’s a tough bunny) and scatters in every direction.

    Next, some of that scattering light comes in through our lens. The lens will have a number of elements, some made of glass and sometimes some made of acrylic or other materials. All these elements (think of them as type of lenses, like a contact lens) help to focus the light. A focus ring on a lens, as well as the auto-focus capabilities of the camera, will move one or more elements front to back ever so slightly in order to achieve focus. Think here of using a magnifying glass to get something into focus.

    As light comes into the camera it is flipped vertically because of the convex shape used to concentrate the light into the sensor area (think of looking at your reflection on the inside part of a spoon). You’re now taking a foot tall bunny and shrinking it down to the size of the sensor. Poor bunny.

     

    How Your Camera Works

    Detour For DSLRs

    Before the light passes out of the lens and into the camera body, it goes through the Aperture (explained next week) which, as you read yesterday, reduces the amount of light passing through to increase Depth Of Field. It then hits the reflex mirror (DSLR stands for Digital Single Lens Reflex, meaning it only has one lens and a reflex mirror that pops out of the way) and bounces up.

    How Your Camera Works

    Next, it passes through the focus screen. To put it mildly, different cameras are different. On average, the focus screen is a transparent screen often with an overlay showing actual focus points and other stuff overlayed in your viewfinder. This screen is the same distance away from the mirror as the sensor and this is the main reason the SLR became so useful. There was not a need to keep film out of the way, focus, put film in, expose, remove film as in the days of large format cameras (those ones with the big bellows and Ansel Adams come to mind).

    Let Me See The Light

    After passing through the focus screen, the light will bounce around the pentaprism (crudely drawn in this diagram; here’s a better version on Wikipedia) which will flip the image the correct way for presentation at the eyepiece. Tada! Some cameras will have a light meter above the eyepiece, reflected with a transparent mirror. Other cameras will have the light meter behind the main mirror, which is also semi-transparent. Don’t get too hung up on where yours is.

    Now For Some Action

    When you press the shutter release (or ‘button’ as a lot of people call it) your camera locks in the focus and light metering settings before flipping up the mirror. As later explained in the Shutter Speed post, it then activates the shutter (and closes down the Aperture to the appropriate size) to let light hit the sensor, which has had its sensitivity set by the chosen ISO. The shutter closes, the mirror drops back down. Below we have the shutter in action.

    How Your Camera Works

    What About My Smartphone, Mirrorless, Drone Or Action Camera?

    The biggest difference between all the cameras listed above and a DSLR is the lack of all the stuff to bounce the light. They look, more or less, like this.

    Most of the cameras listed above have a fixed aperture. Other than that, the light still comes in and gets flipped but now the sensor is hooked to the screen on the back (except for drones and some action cameras) and the software flips it back around so you can see it.

    In smartphones, action cameras, drones and some mirrorless cameras, there is no physical shutter to block light. Instead the camera scans the sensor very quickly to simulate a shutter. Sometimes it doesn’t scan fast enough if something is moving very fast, which is why you get images like this iPhone shot:

    Pretty funky, huh? That doesn’t happen with DSLRs.

    More On The Actions

    How Your Camera Works
    Blue Morpho Butterfly (Morpho peleides), Costa Rica

    Most cameras come to life when you press the shutter release half way down. At that point auto-focus (if engaged) and light metering become active. These two functions control most of the camera when in Auto and Program mode. Shutter and Aperture modes follow suit and we’ll cover these modes next week as well. If a lens has vibration reduction or image stabilization, it will turn on as well.

    After light hits the sensor and the image is captured, the information drops into a buffer. A buffer is a holding pen for information. Inside the camera are one, two or more processors, just like in your computer and, eventually, toaster. The processors need a bit of time to crunch the raw information from all those millions of pixel sensors. The buffer allows a space for incoming images to hold up until the processors can work. then it will dump the images onto your memory card. Light goes:

    Subject->Lens->Sensor->Processor->Buffer->Memory Card

    Think of your buffer as those long, long, swerving holding pens….errr….lines at Disneyland. If more people come into the line than the ride can load at one time, eventually the line gets full. Pretend no one else is let in when the line is full. That’s what happens with the buffer.

    Shooting at eight frames a second will fill a buffer and the shooting speed of the camera will slow to the point where a new picture can only be taken when another has been written to the memory card and removed from the buffer. Don’t worry though, they keep coming up with faster and faster processors (although they also keep coming up with bigger and bigger sensors which fill more space!).

    NOTE: Camera memory (both internal and memory cads) has gotten to the speed that there isn’t much buffering with smartphones, action cams and drones these days. Even DSLRs can shoot almost continuously in certain modes.

    Process All The Things

    How Your Camera Works - Hippos
    Running Hippo (Hippopotamus amphibius), Ngorongoro Conservation Area, Tanzania.

    Information processes before it hits the buffer, making JPEG files, with their smaller size, take up less space in the buffer. Again, different cameras are different. If you are shooting in RAW mode, the information will essentially be written to the memory card untouched while a companion file is saved along with it. This companion file has all the information about the image when it was shot, including what the white balance was, which shooting mode was used, the metering mode at the time, how sweaty your palms were as the crazed hippo was charging your truck….

    In JPEG mode, the RAW information compresses to save space. Some cameras have another processor that just compresses files, creating the JPEG files. I discuss RAW vs. JPEG later this month. For now it will suffice to say that RAW files can be 3-5x larger than JPEG and that’s why they take longer to handle.

    Lastly, the information writes to a memory card and your image is saved!

    I know this information might be basic to some of you and thank you for bearing with me, as I want to make sure the basics are covered.  We’ll begin to pick up speed from here and and get into the meat of Photography Basics.

    Experiments For You To Try

    Now that you know how your camera works, try these experiments at home:

    Tomorrow we will cover Understanding Shutter Speed.


    Questions?  Pop ’em like Pez in the comments section below. or email me at peter@peterwestcarey.com.

    Photography Basics – A 43 Day Adventure, and its companion 40 Photography Experiments, are series written by professional photographer Peter West Carey. The series are designed to unravel the mysteries of photography, helping you can take better pictures. Subscribe here to receive all the updates and bonus material. Your comments are always welcome.

    Photo ToursIf you enjoy the series, consider learning photography first-hand on a professionally led international photo tour in Nepal or Bhutan. More information can be found at Far Horizon Photo Tours

  • The Exposure Triangle – Photography Basics

    The Exposure Triangle – Photography Basics

    Photography Bascis - Exposure TriangleWith our law and rules finished, let’s jump into how to make a photo.

    The Exposure Triangle

    First, there is The Exposure Triangle. It balances all things. Makes things right in the Universe. Or maybe it is just a handy metaphor.

    To be honest, the Exposure Triangle, to me, is better explained as two Teeter-Totters, which isn’t nearly as sexy as a triangle. What the Exposure Triangle is trying to tell you, is there are three things which have an impact on proper exposure of an image on film or on a camera sensor:

    • Shutter Speed
    • Aperture
    • ISO

    We’ll be going over each of those in more detail in the following days.

    Shutter Speed

    Photography Bascis - Exposure Triangle
    Tree Amongst Rock Formations, Bryce Canyon National Park, Utah, USA, North America

    Essentially, this is how fast your camera blinks. Remember the days of film and how you were never, ever, ever, ever supposed to open the back of the camera while the film was loaded? That’s because film reacts to light and if you don’t control how much light hits it, it freaks out and exposes EVERYTHING. Much cursing typically ensued.

    So the shutter does the blinking of the camera (from closed to open and back to closed). Everything is dark inside the camera and then “BLINK”, the shutter lets in how ever much light it is told to. More on this tomorrow.

    Aperture

    The Aperture is analogous to the pupil in your eye. It’s a hole that lets in light and can be changed in most cameras and even some smartphones.

    Let’s use an analogy. It’s pitch-black inside this room the is 20′ x 20′ and you are standing in the center. Outside the room is daylight. Are you with me?

    Next to you is a 40 ton, 8′ wide wrecking ball. You’ve been working out and are feeling destructive so you swing the ball forward and BAM! 8′ wide hole in your wall. How much light do you think is coming in right now? Tons.

    Now back up and let’s do this again. Instead of a wrecking ball, let’s use a 1” wide drill bit on that wall. POP! Hole is in and, if you are standing back 10′, how brightly lit is the room now?

    Can you see now how Aperture affects how much light comes into the room? More on how the aperture does other cool stuff on Friday.

    ISO

    Photography Bascis - Exposure Triangle
    The ferry boat Kittitas approaches a dock in a high key photograph

    People often ask what ISO stands for; International Standards Organization. I get blank looks after that answer or “Oh, ok” looks followed by, “Huh?”. Wikipedia has thousands of words on ISO as it relates to photography, but in short, we’re talking about sensitivity here.

    It’s the exact same sensitivity as if I punch you. If you’re a body builder, you’re not that sensitive to a punch. But if you’re….oh jeeze, now I need to come up with an example where I punch something sensitive…a cute, fluffy bunny. Sorry bunnies. Chances are, with the same punch the bunnies would yelp and jump a mile because of the guns I’m packing on this 6’1” frame. (sorry, obscure, and sometimes old, pop culture internet references may come up this month)

    Better yet, let’s go back to the wrecking ball analogy. You’re in the pitch black room before the ball smashes an 8′ hole in the wall. If you’ve been in the pitch black room for an hour, your eyes are far more sensitive to light, aren’t they? Your pupils are open wide, trying to gather as much light as they can.

    BAM! The ball smashes a hole and ARGGHHH!! You sensitive eyes don’t like all that light.

    Same scenario but this time, before the ball strikes, we’ve been holding a flashlight pointed into your eyes for 10 minutes. By ‘we’ I mean me and the bunny you made me punch. Your eyes are now constricted and not so sensitive, are they?

    BAM! Hole in the wall and you think, “Eh, not so bright”. Your eyes were less sensitive.

    ISO will be covered on next Monday.

    Got all that? Shutter speed = how long light hits your camera sensor. Aperture = how wide is the hole letting in light. ISO = how sensitive the sensor is to light.

    Visualize

    Here’s where the triangle comes in. Visualize it like this:

    Exposure TriangleExcept for the bunny, it’s a nice balanced triangle. However, the moment one of those corners changes, let’s say you change the ISO from 100 to 400, then the triangle gets all fuddled up and is not in balance any more.

    If one, or both, of the other variables aren’t moved as well, the bunny picture won’t come out properly exposed. And by properly exposed I’m talking about an ideal here. After you learn the rules through these 43 days, you’re welcome to break them as mentioned yesterday. But until then, we’re shooting for properly exposed images.

    Revisualize

    Another way to think of it is:

    Exposure Triangle

    With the Exposure Teeter Totters Of Doom, if ISO wants to move up or down, one of his buddies (or possibly both) needs to go in the opposite direction to make all things even. This is all in regards to the amount of light hitting the camera sensor. Any of the three could be in the middle and if it is changed, one or both of the other two needs to change to keep exposure proper and level.

    Exposure Triangle
    Silhouette of mountain with trees at sunset – East Africa – Tanzania

    Currently a lot of smartphones, action cameras and drones have a fixed Aperture, so you only have two settings to play with; ISO and Shutter Speed. Most DSLRs and point-and-shoot cameras can adjust all three.

    That’s it!! That’s the Exposure Triangle. It’s not a huge mystery, really. It is simply an attempt to keep all things in balance for a proper exposure. Those three things, explained more fully over the coming days, are what determine a proper exposure. ISO, Shutter Speed and Aperture.

    Experiment With It

    Here are a few practical experiments you can try at home to help the concepts take form:

    Tomorrow we will cover How Your Camera Works.


    Questions?  Pop ’em like Pez in the comments section below. or email me at peter@peterwestcarey.com.

    Photography Basics – A 43 Day Adventure, and its companion 40 Photography Experiments, are series written by professional photographer Peter West Carey. The series are designed to unravel the mysteries of photography, helping you can take better pictures. Subscribe here to receive all the updates and bonus material. Your comments are always welcome.

    Photo ToursIf you enjoy the series, consider learning photography first-hand on a professionally led international photo tour in Nepal or Bhutan. More information can be found at Far Horizon Photo Tours

  • 9 Rules You Should Learn To Break – Photography Basics

    9 Rules You Should Learn To Break – Photography Basics

    Rules to BreakAll About Rule Breakers

    Welcome back! If you missed Day 1 and the one law you can’t break, you can find that post here.

    Now that we have the law out of the way, let’s look at the rules.

    Photography is a subjective art. There’s no real right or wrong way to do it, but if you want to get consistent results and learn, it’s helpful to follow some rules. Once you learn those rules and how and when to apply them, you can choose to ignore them as you experiment.

    That’s the wonderful thing about digital photography; you have a near endless supply of “film” with which to play. So take the time to learn these rules as we go through the lessons, but don’t forget, you’re welcome to break them once you understand them.

    1. The Rule of Thirds

    In this series you will learn about the Rule of Thirds. Take the time to learn it well enough that you can apply it when the situation is right. It’s a helpful tool if you haven’t studied art or photography in the past and it will jumpstart your composition skills.

    Breaking Rules - Rule of ThirdsThen ignore it at will. Because the Rule of Thirds is great at producing pleasing compositions or portraits, landscapes, architecture, etc… But you won’t always want pleasing or balanced or perfect symmetry. Sometimes you’ll want to challenge your viewers or highlight some other aspect of a scene.

    Breaking Rules - Rule of Thirds

    2. Fill the Frame

    Some photographers will tell you to fill the frame with your subject. It’s a reliable technique for helping viewers focus on what’s important, just like the Rule of Thirds.

    Here’s an example of a filled frame.

    Breaking The Rules - Fill The Frame

    Now take a step back.

    Breaking The Rules - Fill The Frame

    And a few more steps back.

    Breaking The Rules - Fill The FrameIt helps put the subject in context and is important in certain photography, like wildlife or environmental portraits.

    3. 1/Focal Length

    1/Focal Length is a simple trick to help you deliver non-blurry photos. And it’s helpful for sure.

    The times when it comes in handy to ignore this rule are when you don’t have enough light (so should you not shoot at all?), when you want to induce some blur or when you’re getting creative with abstracts.

    Breaking the Rules - BlurWe’ll learn more about this rule on Day 10, so just hold tight.

    4. Your Photos Need to be Tack-Sharp

    Hand-in-hand with the last rule is one stating your photos need to be tack-sharp. In other words, some people freak out of if there is one thing in your photo that is a slight bit blurry.

    Ignore those people. While, generally speaking, you will want your images to be in focus and sharp, it’s not alway advised.

    Sometimes you might want to highlight movement, like this:

    Breaking Rules - Blur

    Or you might be capturing a fleeting moment, as in this image:

    Breaking Rules - Blur

    5. Never Center Your Subject

    Art is subjective. Have I mentioned that?

    It really is and as you start to develop your own style you might find you fall in love with certain ratios. But for some, we love our subject front and center.

    Breaking The Rules- Never Center Your SubjectThe Rule of Thirds says this is a big no no. As do a bunch of other ratios (Golden Ratio/Fibonacci Spiral being another favorite you should take the time to learn). Sometimes breaking these rules can produce halting results.

    6. Separate Your Subject From the Background

    Sure, this rule is helpful in portrait work when you want your subject to stand out. But what about when you want a subject to blend in? Or what about when your subject can’t be separated from the background?

    Breaking The Rules- Separate From BackgroundDon’t let that stop you from shooting!

    7. Lead The Viewer Into the Frame

    I wrote about this rule over on another blog I contribute to: Digital Photography School.

    It’s a fine rule. Once you learn to do it well you can mix it up and keep your viewer off balance. Like this.

    Breaking The Rules - Not LeadingWhile viewers like to be led into the frame, our mind does not like being led off the frame into the abyss. Who knows what’s outside of the frame! Probably dragons.

    It also doesn’t like things close to the edge. But so? Maybe you’re in an off-the-edge kind of mood one day while shooting!

    8. How to Hold Your Camera

    This is a hard one for me to admit because I have been dogmatic about this rule for far too long. It’s hard to come to grips with it, but I was wrong all those years.

    In my workshops and individual instruction I profess the “best” way to hold a camera. Heck, I even go over it in this series on day 8. But I’ve learned it’s not the only way.

    If you want to hold your camera like every extra paparazzi in every movie, that’s just fine. Hand on the side, the top, two fingers only, press the shutter release with your middle finger…. go ahead.

    I will be happy to show you a comfortable way to hold your camera and if it doesn’t work for you, try your own. As long as you’re comfortable and getting the shots you want, go for it.

    9. Always Shoot With The Sun at Your Back

    Special thanks to my friend Greg for suggesting this rule on my Facebook page.

    This one is just silly. I have been told a number of times, while around other photographers at a popular spot, to line up the sun so it is at my back. Don’t shoot toward the sun or with angled sun. This just seems like crazy, limiting advice.

    Here are some examples of the sun not being at my back.

    Breaking The Rules - Keep The Sun Behind You
    The Grand Canyon as seen from the South Rim – Grand Canyon National Park, Arizona, USA
    Breaking The Rules - Keep The Sun Behind You
    A happy looking Golden Retriever dog is frozen in midair as he runs toward the camera in a suburban backyard.
    Breaking The Rules - Keep The Sun Behind You
    View of mountains in fog – USA – California
    Breaking The Rules - Keep The Sun Behind You
    A Man Stands Before The Taj Mahal As The Sun Comes Up Behind It, Agra, India, Asia

    Wrapping It Up

    Undoubtedly there will be readers who comment that any one of the examples I posted here does not work for X, Y and Z reasons. They might even go beyond the English alphabet and start using emojis. Just remember; If the photo works for you, it works.

    History is littered with great artists who both followed the rules and those who broke them. There’s no one right way to photograph a scene. Anyone who tells you otherwise is likely trying to sell you something.

    Learn the rules. Know the rules. Then start developing your own style that might break a few. Keep at it and sooner or later you’ll find someone else who connects with your images. That’s the joy of photography; Communicating the scene in front of you in a way that helps your viewer connect with it too. Rules be damned.

    Tomorrow we will cover The Exposure Triangle and really dive into some learning!


    Questions?  Pop ’em like Pez in the comments section below. or email me at peter@peterwestcarey.com.

    Photography Basics – A 43 Day Adventure, and its companion 40 Photography Experiments, are series written by professional photographer Peter West Carey. The series are designed to unravel the mysteries of photography, helping you can take better pictures. Subscribe here to receive all the updates and bonus material. Your comments are always welcome.

    Photo ToursIf you enjoy the series, consider learning photography first-hand on a professionally led international photo tour in Nepal or Bhutan. More information can be found at Far Horizon Photo Tours

  • The Number One Law Of All Photography – Photography Basics

    The Number One Law Of All Photography – Photography Basics

    Welcome to Day 1!

    Let’s jump right in with the fundamental law for all photography; You take pictures of light, not things.

    That’s it! Why is it law and not a rule? For one thing, we’ll see tomorrow that all the rules of photography can be broken in one way or another for creative reasons. But laws? Laws have dire consequences if they are broken.

    By way of example, let’s see if you can spot the difference in the next two photos for Bhutan.

    This is Dochula Pass with 108 Buddhist chortens overlooking the Himalayan mountains. Glorious light from our sun is radiating down on Earth and bouncing off of all the things and scattering in every direction. One of those directions happens to be right down the barrel of your camera.

    Now, let’s suppose that glorious sun went out. Poof! Besides all the other horrible consequences involved, there is now no light (let’s also suppose all earthbound light sources are wiped out at the same time). Now what does the scene look like?

    The stuff is still there, but the light is all gone.

    Your camera has a fundamental need for photons. Fundamental to the light we see, photons bounce off of things and entering your camera’s lens, be it a DLSR, smartphone, drone, etc…  This is what interacts with your camera’s sensor to produce an image (more info on photons here). While technically not all light contains photos, almost everything you’ll ever photograph will require them.

    That’s the long and the short of it.

    Without light, you can’t take photos. And even with light, the subject can look different in different types of light.

    A little later on I will be giving you some challenges to try out on your own as a way of reinforcing the ideas. And because practice is essential to improving in photography. For now, let me show you a simple example.

    These are the same peppers in the same bin. The only difference is the angle of the light.

    In the first image, the light is coming from in front of (and above) the peppers. In the second image, the light is coming from behind (and above) the camera.

    Just a matter of taking two steps forward to shoot a different angle, but the result is dramatic. From ugly, almost colorless peppers to wonderfully red-orange delights.

    I think it’s important enough of a law of photography to repeat it one more time, but with larger letters.

    You take pictures of light, not things.

    That’s the lesson for today. Nice and easy, but fundamental to understanding all of what is coming over the next 43 days of this adventure into photography.

    Tomorrow we will cover 9 Rules You Should Learn To Break.


    Questions?  Pop ’em like Pez in the comments section below. or email me at peter@peterwestcarey.com.

    Photography Basics – A 43 Day Adventure, and its companion 40 Photography Experiments, are series written by professional photographer Peter West Carey. The series are designed to unravel the mysteries of photography, helping you can take better pictures. Subscribe here to receive all the updates and bonus material. Your comments are always welcome.

    Photo ToursIf you enjoy the series, consider learning photography first-hand on a professionally led international photo tour in Nepal or Bhutan. More information can be found at Far Horizon Photo Tours

  • Photography Basics – A 43 Day Adventure

    Photography Basics – A 43 Day Adventure

    Learn Photography Basics - All The Knowledge A Newbie NeedsIf you’re new to photography or just want a better grip on the basics, you’re in the right place. Smartphone, DSLR, mirrorless, drone…it doesn’t matter what you shoot with, the next 43 days will take you through a learning adventure and improve your skills. Just take it one day at a time and you will see a positive change in your photos!

    My name is Peter West Carey and I’ve been teaching photography since 2008 after starting in wedding photography in 1990. I love helping anyone and everyone get hooked on photography.

    Now then, roll up your sleeves and subscribe to this blog to receive a six week’s worth of fun, enlightening photography education. I’ll be right here the whole time, so feel free to ask questions in the comments section of each post or send me an email directly at peter@peterwestcarey.com.

    Additional Content: If you want some experiments to help this knowledge sink in, try my other series of posts 40 Photography Experiments.

    Core Photography Concepts

    Creative Photography Ideas

    Photography Gear Ideas

    • Day 34 – Help Me Choose A Good Camera
    • Day 35 – Picking A Lens(es)
    • Learn Photography Basics - All The Knowledge A Newbie NeedsDay 36 – Why You Might Want A Reverse Graduated Neutral Density Filter
    • Day 37 – Travel Gear Recommendations
    • Day 38 – Traveling With Gear
    • Day 39 – Neutral Density Filters – A Primer
    • Day 40 – The Difference A Tilt-Shift Lens Can Make
    • Day 41 – Tripod Use and Abuse
    • Day 42 – What Do DSLR, Mirrorless, etc… Mean
    • Day 43 – An Example Of Why You Might Want To Use A Polarizing Filter At Sunrise In Seattle

    Bonus Material

    • Day 44 – Multiple Exposure
    • Day 45 – Negative Space
    • Day 46 – Storytelling in 3 pictures
    • Day 47 – Shooting Abstracts
    • Day 48 – Do’s and Don’t’s

    Weekend Experiments

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    Photo ToursIf you enjoy the series, consider learning photography first-hand on a professionally led international photo tour in Nepal or Bhutan. More information can be found at Far Horizon Photo Tours