A Flash Lesson That Needs To Be Exposed!

First, let me share with you still yet another example of personal ignorance, and hopefully, after careful thought on your part, I can save you some money! I am the proud, (or shall I say 'stupid') owner of 5 Nikon SB-900 Electronic Flashes. Yes, you read that right-FIVE! And as I have learned, I have on average, 3 too many! I initially bought 5 of these darn things because I had visions of not just lighting a single subject on a darkened street, but rather I wanted to light up entire city blocks! Trouble with lighting up entire city blocks is that they looked exactly like a city block would look like when lit by 5 electronic strobes-ALL LIT UP! Trust me on this: a city block ALL LIT UP by 5 electronic strobes is anything but sexy or moody or ominous. It is nothing more than a city block in daylight, but lit up at night!

Furthermore, in the first few months of working with the SB-900's, I soon discovered that MANUAL EXPOSURE MODE was my only option when attaching them to a Pocket Wizard. I have nothing against MANUAL FLASH EXPOSURE MODE as I often prefer it, but considering the EXORBITANT cost of the SB-900 Electronic Flash, (over $400.00!), one would think that TTL Flash Exposure would be a constant, with or without a Pocket Wizard . It was on this momentous day that I first whispered these words to myself, "What the heck was I thinking? I could have saved a bundle, if I had bought the Vivitar Series 1 285. It's only $89.95!"

Over the course of next six months, this would become my refrain and finally, after a great deal of careful thought I have concluded the following, some of which you may already have guessed, but here goes. My total investment in 5 Nikon SB-900's came to a little over $2,000.00. Combine that with 6 Pocket Wizards Plus II's at a cost of $169.00 each for a total cost of $1,014.00 and my portable electronic flash system has now cost over $3,000.00 and we haven't even added in the Flashpoint portable light stands or umbrellas, and small softboxes nor the Justin Clamps, colored gels and grids OR the roller case from Lowepro that carries it all-YIKES!

Sure, I look impressive - very professional in fact - but truth be told, 95% of what I do with an electronic flash involves the use of ONE or TWO Electronic Flashes, (the other 5% of the time, has found me using no more than THREE flashes). In addition I am often using the flash(es) with the Pocket Wizards which of course means NOT using TTL! So, let's do the math one more time, only this time let's substitute the SB-900 with a Vivitar Series One 285 . Better still, let's just cut to the chase: for the price of ONE Nikon SB-900, (remember it's over $400.00!), you can buy two Vivitar Series 1 285 Electronic Flashes and two Pocket Wizards Plus II and at that point you will be a wee bit over $500.00. And as far as I am concerned you are now fully ready to set the explosive charges to that reservoir of electronic flash creativity that lies inside you! (Someday you will probably realize that having three Pocket Wizard Plus II's is t he ultimate way to go, one for each strobe and one for the camera, but even then you are still well under $1,000.00!)

Forgive me for a moment as I am being distracted by the Nikon purists out there who insist that the SB-900 offers up wireless remote TTL via Nikon's Commander Mode. Right you are, but for the most part, it only works within a short distance AND on the "line of site" principle, which of course means, you too will resort to the use of Pocket Wizards and at least at this writing, that means you will be operating in Manual Flash Exposure Mode! Yes, I also know, that the Vivitar Series 1 285 is a will only operate in Manual Flash Exposure Mode when attached to the Pocket Wizards too, but at least it never purported to be a $400.00+ flash that then acts like a $89.00 flash when attached to a Pocket Wizard!

And, finally, I might add, TTL is not in my humble opinion the "end all to be all!" As many of you have learned from reading my book Understanding Exposure, setting a manual daylight exposure is not only easy, but it affords you a great deal of creative latitude and the same is true of manual flash exposure. Manual flash exposure is not only easy to learn, but incredibly reliable; unlike the few happy 'accidents' that were achieved when I shot in TTL.

Here are several examples of One Light Set-Up.


An overcast day at a park in New Zealand finds me greeting a juggler. Overcast? You bet it was, as the first image clearly shows, but that didn't stop me from shooting him again, with the 'sun' going down beh ind him! Nikon D300, Nikkor 70-300mm at 250mm, Nikon SB-900 and Pocket Wizard on light stand behind him about five feet with Amber gel attached. Flash set to f/5.6, but actual ambient reading of face was used, f/11 @ 1/125 second, resulting in flash exposure being two stops over-exposed. That explains the 'over-exposed' backlit hair-just like the actual sun would do!

Nikon D300, Nikkor 14mm full frame fish eye, f/8 @ a 1/250 second.

As far as the Karate Kid seen here, he came flying out of nowhere! Fortunately, on a light stand, off to my right, my Nikon SB-900 and Pocket Wizard were ready for his surprise visit! The all-encompassing forest was shot with the Nikkor 14mm Full Frame DX Fisheye. (actually a special note of thanks to Ann Worthy who provided the talent and the idea!)



So you say you have a leaky faucet? Well heck while you are waiting for the Plumber, get out your flash and Nikkor 200mm Macro lens and start shooting the steady drip, as it leaves the faucet head! But before you do, grab a colorful piece of fabric, (those Hawaiian shirts work well!) and place it in the background-a 6-8 inches behind the drip and voila, you end up with a composition of water that when FLIPPED looks like a work of art that was produced by the Glass Blowers of Murano Italy!

Below we have examples of a Two Light setup:

In front of me is a large bowl of cream on the kitchen counter and a large bowl of strawberries sits off to the side. One by one, I drop a single strawberry into the bowl of cream with my left hand, while my right hand is hooked up to Nikon's Electronic Cable release firing, hopefully, at the exact moment the strawberry 'splashes' into the cream. Eighteen shots later, I was successful. As you can see, on each side of this bowl, my Nikon SB-900 's with their attached diffuser's, got creamed-LOL! This is one of the few times I used Nikon's Commander Mode, because the strobes were well within "range". (Pocket Wizards would of course do the same thing). As usual, I am in Manual Flash Exposure. Nikon D300S, Micro-Nikkor 105mm, f/13 @ a 1/250 second.

Nikon D300S, Nikkor 35-70mm f/2.8 at f/8, ISO 200, 1/125 second.

For years I would haul out the two large 3X4 foot softboxes, attach the powerful 1600 WS White Lightning Ultra's and place one on the floor facing up and the other on a light stand pointing straight down towards the one on the ground. Atop the one on the ground I would place a large piece of frosted white plexi-glass and over the course of hours if not days, I would place subject matter such as flowers and sliced fruits and vegetables atop the plexi-glass and fire away. The top light and the bottom light were set for the same exposure value, (the same amount of flash output) and I would end up with 'floating' objects', backlit and front lit, thus getting a glowing front lit subject. I don't have to do that anymore. The power of the SB-900, just like the VIvitar 285, is sufficient to achieve the same effect.

No need for a softbox either-an ordinary cardboard box lined with white poster board is sufficient and atop the box you place the white frosted plexi-glass. Inside the cardboard box is one strobe and outside the box, pointed down towards the plexi-glass is the other strobe-both at the same distance from the plexi-glass and in this case an aperture of f/8 was indicated for that distance. With a set-up like this you can let your imagination run with the plethora of subject matter that is available.

All My Best,

Bryan F Peterson
Founder/PPSOP.com

Look Up!

Four of PPSOP instructors are all lucky enough to be invited back again to teach at Gulf Photo Plus, in Dubai, UAE. Bobbi Lane, Robin Nichols, David Nightingale, and Chris Hurtt are teaching a selection of workshops that range from post processing, to beginning photography classes, to advanced lighting seminars. We had a free afternoon and were able to go out and do some shooting together. This city is home to the world's tallest building and reminded us all of a great tip we are often passing on to our students. Changing your perspective to something that people don't see every day is a great way to make compelling images. One of the things you find yourself doing over and over in this city is looking straight UP! Keep your eye trained UP and there is a whole world waiting for you up there!

Bobbi Lane

Chris Hurtt

David Nightingale

Robin Nichols

Bobbi Lane

Chris Hurtt

David Nightingale

Robin Nichols

NOTHING WRONG WITH BEING A 'LITTLE FLASHY'! NOTHING WRONG WITH BEING A 'LITTLE FLASHY'!

Now if you know anything at all about me, I am not known as the guy who often climbs to the highest rooftop and shouts to the world, "I LOVE MY ELECTRONIC NIKON SB-900 FLASH!" In fact, even if I was world-renowned for my electronic flash expertise, I could not, in good conscious, shout to the world from the highest rooftop that I love my Nikon SB-900 electronic flash, because quite simply I don't believe it is deserving of such a shout. I do own one, or shall I say, with great humility, I own five of the darn things, but let me be quick to say it is not because of some mad love affair but rather it is because of a combination of impatience and not looking before I leaped.

About a year ago, I decided it was time; time to put away my fears of an electronic flash and simply "go for it!" Needless to say I went for it alright and proceeded to buy 5 Nikon SB-900 Electronic Flashes since I KNEW I would soon be doing all sorts of "tricky, make you stop and scratch your head, kind of flash images and darned if I would be able to execute any of these ideas with a single flash." Well, despite having five Nikon SB-900 Electronic Flashes, I have had most of my greatest adventures with just one of them. I can't say which one, since all five are in the flash case and I just grab one and "go for it", but one thing I have learned in owning these five electronic flashes and it is this: with just one flash, a world of fun and adventure are yours for the taking. It seems everyday, I am discovering something new and a new idea comes to the surface and well, suffice it to say, that is exactly what happened two days ago in this wonderful wintry city of Chicago.

Tom Skilling, weather guru at WGN-TV, was forecasting still yet another "worthy" winter storm and since I missed the last "worthy" winter snowstorm of several weeks ago, (I was in New Zealand, so shed no tears on my behalf!), I was determined to try my hand at being a "little flashy". All I needed was some light snowfall and a willingness to arise before dawn. I had this idea to capture falling snowflakes against the dawn sky that would also include one of my favorite 'naked' trees over at Horner Park, just off Irving Park Blvd.

Now you might be asking yourself-"How is it possible to have a dawn sky of any color when it's snowing?" First of all, I wasn't expecting a clear dawn sky, but the typical grey sky that one gets with snowfall, BUT I also know that at this hour, even a grey sky will record a bluish hue and the bonus on this day was that there was a really small sliver of clear sky on the horizon, somewhere over Lake Michigan, cause I also recorded some subtle magenta near the bottom of my composition.

Okay, so there I was laying in the snow, with my camera mounted on tripod along with the Nikkor 12-24mm set to the focal length of 20mm. With my aperture set to f/5.6, I focused on the tree, and adjusted my shutter speed until a 1/15 second was indicating a correct exposure. All that remained was to fire up the flash in manual exposure mode, setting the flash to f/5.6 at full power AND then setting the zoom of the flash to 105mm. Now why would I set the zoom of the flash to 105mm when I am shooting with my lens at the 20mm focal length? Because I wanted the flash to travel further into the scene with thus illuminating snowflakes that are further away. This in turn created far more depth then if my flash were set to the 20mm focal length. Well, did it work? Seeing is believing and what was most surprising and NOT expected, was the initial reaction of myself and several of my trusted neighbors-at first glance it looks like one of those star-trail time exposures or even a meteor shower. Just another example of having fun with a single flash!


All my best
Bryan F Peterson
Founder/PPSOP.com

Shooting in Bright Sun

Most photographers, including myself, don't normally shoot under bright sun. The light is harsh and usually not very flattering for your subjects. Ideally, you want to use diffused light from a soft cloudy day or that magical early morning/early evening light. But sometimes you don't have a choice and you have to shoot in bright sun. You may be shooting an event that is outdoors. You don't have control over the time and you don't have control over the weather. So you have to make the best of it. Think outside the box, think perspective and most of all think shadows. Probably the only advantage about shooting under bright sun are the amazing shadows you can capture.

I took the following picture during a bright day at an old Western Town in Arizona. There were people walking around dressed in western period clothing posing for tourists. I noticed the shadows being cast on the dirt. They were fantastic. As I was looking down at the shadows, I saw a cowboy wearing knee high black boots pass by. They made an immediate impression on me. I asked the cowboy if he would pose for a couple pictures. He obliged and said yes. I asked him to turn around and told him I wanted to shoot him from behind. I got a few heckles and laughs from other cowboys. It was pretty funny. I sat on the ground, got very close to the cowboy (more laughs) and got out my wide-angle lens. I wanted the boots to be large in the frame with a strong shadow emerging out of the boots. The bright sun gave me exactly that. When shooting in bright sun, look for interesting shadows and show the connection of your subject to the shadow. The results can be striking. I shot this using my Nikon D2X, 12-24mm lens @ f/5, 1/320, 12 mm.
TIP: Think of the person, animal, object as a supporting actor. Your main character is the shadow.

Don't overlook shadows on walls. I took the following picture of my dog, Gracie. She loves to sit in the sun for a few minutes every day. The light is harsh, but the shadow is awesome and this portrait really defines her. I love how she is connected to her shadow and the contemplative look on her face. Don't overlook unguarded moments. They can be some of your most intimate portraits. I took this picture through my kitchen window. Gracie had no idea I was photographing her. Use shadows to tell your story, make it personal and keep it simple. I photographed Gracie using my Nikon D2x, 28-70mm lens @ f/10, 1/100, 48mm.

I took the following picture at a Renaissance Fair. It was a bright sunny day, so I had to make the best of it. I was photographing a group of dancers in period clothing. I loved their clothing, especially one of the female dancers. I noticed that every time she hopped, her skirt would fly up and expose these amazing bells attached to her shins. The flare and lift of her skirt looked so cool. The bright sun actually shined through her skirt and helped to illuminate the underside of her skirt. I knew I needed to photograph this from a very low angle to capture that and also shoot fast to freeze the skirt in mid air. I lay on the ground and started taking pictures of all the dancers as they passed by. And sure enough, she finally passed by, hopped and I got the picture. I took lots of pictures before I got the one I wanted, but it was worth the wait. Observe your subjects before photographing them. Look for interesting characteristics and ask yourself what you want to focus on or portray. Then take it one step further and think about perspective. Consider lying on the ground and looking up. It's a great way to photograph your subject. I shot this using my Nikon D2x, 12-24mm lens @ f/11, 1/320, 24 mm.

Neat buildings and architecture are perfect candidates for showcasing great shadows. I took this shot under a patio cover in Tucson, AZ. Bright sunny days in Arizona are a common occurrence all year round. The sky was a brilliant blue with patches of clouds here and there. I looked up and saw an amazing display of lines, light and shadows. The contrast of the bright blue sky against the architecture was beautiful. I thought it would look great to fill the frame with the slats of the patio cover and showcase the geometric pattern and interplay of light and shadows. Interesting shadows are not always on the ground or against a wall. Don't forget to look up. I shot this using my Nikon D2x, 12-24mm lens @ f/13, 1/200, 12mm.

TIP: Use bright sunny days to find interesting shadows. Look up, down on the ground, against walls .... every where. Bright light is not always bad, even when photographing people. Find an interesting focal point, think about perspective, tell a story, be creative with light and seize the moment!

Jill Flynn
PPSOP Instructor

Video Tips from Kevin Focht

Kevin Focht

Photographing Flowers

One of my favorite ways to photograph flowers is to move in really close, and fill the frame with a single flower, or sometimes just part of one. When I am making this type of image, I'm thinking more about line and color and shape, and less about capturing fine detail. When choosing your subject, look for flowers with great curves and soft color, such as roses, orchids, tulips and calla lilies. (Choose a pristine subject, when you are photographing this close, any flaw will be magnified and prove distracting). Really look at the flower you have chosen, examine it from every angle, decide what you find most interesting and capture it! This type of photography is interpretive, you want to capture what you are seeing and feeling about the subject in a simple manner.


You'll need equipment that lets you move in really close to fill the frame, use either a macro lens, extension tubes, or a wide angle lens with a reversing ring. Extension tubes are great, you can use them individually with larger flowers, or stack a set of two or three for really moving in close to smaller blooms.

Set your aperture to the largest your lens has, these images should be all about romance, soft and sensual, you don't want or need every detail in sharp focus. (If you are using a Lensbaby, use extension tubes or the macro filters and shoot wide open or with the F/2.8 aperture ring). Manually focus on a single petal edge, line or curve, and let the rest of the image go to soft blur. Shooting so close with such limited Depth of Field can create a very romantic image, with soothing lines and curves and relaxing colors. You can do this type of shooting year round, flowers can be purchased everywhere these days! Who couldn't use a little flower therapy in February? If you start practicing now, and you'll be ready when those spring flowers bloom!




Kathleen Clemons
PPSOP Instructor & Director of Student Happiness

Shooting Bird's Nest - Make The Best of Any Situation

On a recent trip to China, I got a chance to pay a visit to the National Stadium-"Bird's Nest", where 2008 Olympic Opening ceremony was held.
It's a cold week day afternoon in the winter, I arrives at the stadium around 5:00pm, the air is hazy and heavy. To my disappointment, all adjacent areas around the Bird's Nest are closed to public due to a Formula-One car racing event at the stadium that evening. Well, I just lost a great amount of point of views to shoot Bird's Nest as planned. Only one venue is open-the promenade in front of the stadium where tourists gather. I have no choice but going there and make the best of the situation.

As I am walking down the promenade, trying to find a good shooting position, the Bird's Nest went alive-the beautiful red and yellow lights lit up the whole stadium. I am filled with joy at the moment! What a roller coast ride-from disappointment to excitement. Usually, Bird's Nest is not fully lit every evening. Thanks to the car racing event, it's fully lit and I am here with my workhorse Canon 5D II, my 24-70mm and 70-200mm lens. Time to shoot.


I make a couple of wide angle shots, as shown above. To me, the images are just plain snaps, weak on energy and expression. What really caught my eyes is the lines, the curves and of course, the colorfulness of the stadium against the deep blue evening sky. Wide angle lens is definitely the wrong tool of choice to express these design elements in the photo, wide angle image includes too many distractions in the foreground like people, fences, trees, etc.


With the pre-visualized image in mind, I switch to 70-200mm lens and walk as close to the stadium as possible(leaning on the fences). At 200mm, I turn my camera and shoot the above images. You can clearly see the colors, curves, lines and textures. No distraction at all. By twisting the camera, I compose the image in which, the lines and curves run diagonally, making the image more dynamic and energetic. As rule of thumb, never forget to shoot both horizontal and vertical. It's a good habit and practice, particularly if you shoot stock images.


Tip: Although most of our images are shot in color these days, it's a good idea to think about the good old black and white from time to time. Especially, when you shoot a lot of night scenes or high contrast images, these are perfect candidates for black and white conversion. An excellent tool that does black and white conversion easily and gracefully, is Silver Efex Pro from Niksoftware, a plug-in for both photoshop and lightroom. The above images are the result of black white conversion using Silver Efex Pro.

Overall, Although I lost chances to shoot from different point of views of the Bird's Nest, I managed to make the best efforts within the limits of the situation, and got some decent images. As photographers, we have to adapt and adjust to whatever the situation are throwing at us, and make the best of it.


William Yu
www.chinaphotoworkshop.com

Shooting Bird's Nest - Making The Best of Any Situation

On a recent trip to China, I got a chance to pay a visit to the National Stadium-”Bird’s Nest”, where 2008 Olympic Opening ceremony was held.

It’s a cold week day afternoon in the winter, I arrives at the stadium around 5:00pm, the air is hazy and heavy. To my disappointment, all adjacent areas around the Bird’s Nest are closed to public due to a Formula-One car racing event at the stadium that evening. Well, I just lost a great amount of point of views to shoot Bird’s Nest as planned. Only one venue is open-the promenade in front of the stadium where tourists gather. I have no choice but going there and make the best of the situation.

As I am walking down the promenade, trying to find a good shooting position, the Bird’s Nest went alive-the beautiful red and yellow lights lit up the whole stadium. I am filled with joy at the moment! What a roller coast ride-from disappointment to excitement. Usually, Bird’s Nest is not fully lit every evening. Thanks to the car racing event, it’s fully lit and I am here with my workhorse Canon 5D II, my 24-70mm and 70-200mm lens. Time to shoot.

I make a couple of wide angle shots, as shown above. To me, the images are just plain snaps, weak on energy and expression. What really caught my eyes is the lines, the curves and of course, the colorfulness of the stadium against the deep blue evening sky. Wide angle lens is definitely the wrong tool of choice to express these design elements in the photo, wide angle image includes too many distractions in the foreground like people, fences, trees, etc.

With the pre-visualized image in mind, I switch to 70-200mm lens and walk as close to the stadium as possible(leaning on the fences). At 200mm, I turn my camera and shoot the above images. You can clearly see the colors, curves, lines and textures. No distraction at all. By twisting the camera, I compose the image in which, the lines and curves run diagonally, making the image more dynamic and energetic. As rule of thumb, never forget to shoot both horizontal and vertical. It’s a good habit and practice, particularly if you shoot stock images.

Tip: Although most of our images are shot in color these days, it’s a good idea to think about the good old black and white from time to time. Especially, when you shoot a lot of night scenes or high contrast images, these are perfect candidates for black and white conversion. An excellent tool that does black and white conversion easily and gracefully, is Silver Efex Pro from Niksoftware, a plug-in for both photoshop and lightroom. The above images are the result of black white conversion using Silver Efex Pro.

Overall, Although I lost chances to shoot from different point of views of the Bird’s Nest, I managed to make the best efforts within the limits of the situation, and got some decent images. As photographers, we have to adapt and adjust to whatever the situation are throwing at us, and make the best of it.

William Yu

http://www.chinaphotoworkshop.com

Senior portrait posing doesn't have to be that hard

One thing that I have noticed that other portrait photographers do, is go way overboard with their posing. They set up the subject and then take a shot, move the subject and take another shot and then repeat this over and over. They are working way too hard. Don't over do it with your poses. Work the poses and make your life easier.

If you look at this first shot, it's a really nice shot, so why go and move the subject again until you get the most out of the pose. You already have her in position, so why not just zoom in and take advantage of the nice pose.

All I did with this shot was zoom in to 200 mm wide open at f2.8 and look at how pretty that same pose is. Without even moving the subject, I have 2 sellable shots, and isn't that what we are after.

When I was shooting her, I noticed a nice red background behind her. All I had to do was get lower and shoot up at her. This did two things, it made the background red and I think this angle worked the best for her face. Shooting slightly up at someone makes them look a little more powerful, as in this shot. So without the subject even moving, I now have 3 shots that would not only sell, but I could group them together and sell them as a grouping! I just made more potential money in less time!

I do this a lot with my studio. First off, the clients aren't natural posers most of the time, and it is the hardest part of the job. Trying to find a pose that makes the person feel comfortable as well as looks good in the shot. Once you find a good pose, work your angles and your focal lengths and get as many useable shots as possible out of it.


If you look at the shots posted here in groups, they are all similar in the way I shot them. I start out long and then move in for a head shot. After that, I start walking around and let the subject stay put. The less they have to move the better. This technique saves you a ton of time and in the senior portrait business time is money. The more time you save, the more seniors you can shoot!

The next time you are ready to re-pose your subject ask yourself if you have worked the shot to it's full potential.

Kevin Focht
PPSOP Instructor

For Compelling Travel Photos: Think Like a Film-maker

With Christmas and New Year behind us, the summer travel season is only a few short months ahead. It's not too soon to be thinking about the capturing the best travel images of your life. As a photographer, the chance to travel and immerse myself in another culture while working to capture the essence of a place is a challenge I simply cannot turn down. But creating compelling travel pictures is no easy task. I'm sure you have all had the tortuous "pleasure" of sitting through a friend's travel slide show, where each image is accompanied by the phrase, "This is us in front of the [insert name of well known travel icon]".

When a professional travel photographer decides to cover a destination, the first thing they do is research the location. Travel books, Travel web-sites, both commercial and those of the government tourist agencies are all good sources of information. Learn about what may be going on at your destination when you arrive. On what day of the week is the local farmer's market? When are the local holidays? If possible, plan your trip to coincide with local festivals: these are excellent opportunities photograph people when they are out and about. Google your destination to death! To see how professionals cover your destination, search the web-sites of the major stock photography sites: Corbis, Getty and Masterfile.

Now that you have a good idea about what you will encounter when you arrive at your destination, think about letting your images create a story of what the place is like: what it's like to visit there, perhaps even what it's like to live there.

Good Travel Photography and Film Making share many of the same attributes. This makes sense, since both disciplines are essentially story telling mediums. Film Makers think in terms of three basic types of images: Establishing Shots create the overall view of alocation. "This how the location looks": is it set near the mountains, or the sea? Is it an urban or rural environment? Higher points of view can be useful in creating establishing shots... look for balconies, hillsides or observation towers.

Image 1: Establishing Shots create the overall view of a location

Medium Shots provide the substance of your story; this is where you get right into the locale: street scenes, architecture and portraits shot with normal lenses or so-called "street zooms" are good examples of this type of image. This is also where you should let your compositional creativity loose: use these as an opportunity to look for patterns and colours to enhance the impact of your images.

Image 2: Medium shots provide the substance of your travel story

Detail Shots are in many ways the most important type of travel image: as human beings we are all the same: it's only in the details that we are different from one another. While they need the other two classes of images to provide context, details provide the visual vocabulary needed to define a culture. Without them you're missing the most important part of your story. Used in a slide show, or album of your travels, detail images may not occupy the screen for as long as other images, or they may be smaller and collaged together with other images, but be sure to include at least a few in every show.

Image 3: Details are an essential part of your travel story

With a bit of planning and some thought about what you want to communicate to your viewers, you can tell a story that will convey volumes about your subject; often with almost no need for words. Suppose you wanted to create a story about the life of the small independent lavender farmer in Provence. One of the larger lavender growing regions in this part of France is on the high plateau above Valensole in the Alpes de Haut-Provence. The four images below encompass an establishing shot, (the landscape), medium shots of two brothers in the fields where they work. The details of sun burned faces and weathered hands tell a story of years of labouring under the hot Provencal sun.

Start planning now to make this year's vacation trip the most photographically rewarding one ever, be sure to plan for establishing and medium shots, and keep your eyes open for those telling cultural details.

Best wishes for the New Year to each of you!

Mark English