50 tips for better pictures - popphoto - june 2004
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50 Tips For Better Pictures
BY THE EDITORS
June 2004
Cheap, easy, and effective
1. Too much is enough, baby Best way to expose color negative film in wrong light, low light, or mixed light: Give it one stop
(or more) than the meter reading. Shadows and color will be better, highlights will still be under control.
2. Conversion experience Get a basic color conversion set: Buy 85B and 80A
filters for your most used lens(es). They let you shoot tungsten film outdoors and
vice versa, and are also strong warming/cooling filters for any shooting. Shoot a lot
under fluorescents? Consider an FL-D filter, too.
3. Bring your own light show Use a sunrise or sunset filter: Screw it on when you
arrive at midday at any location famous for sunrises or sunsets. Want to push itfurther? Use a red/blue Cokin Variocolor filter.
4. Be a card-carrying member
Take a photo gray card along: Its
much better for setting digital
white balance, for accurate
spotmeter exposures with slide film,
for a photofinishing reference point
for color-print film, etc.
5. Finder yourselfGet an auxiliary
finder for panning shots: Scrounge
for an auxiliary finder and mount itin your SLRs flash-shoe (insulate
first with tape!) for panning shots. This gives you an uninterrupted view, without mirror blackout, and lets you pan much more
smoothly. Get a finder about the same angle of view of the taking lens, or a little longer.
6. Try mine, comrade Carry a small bottle of vodka: No, not to steady your nerves, but because its a great solvent for cleaning
up smudged lenses and finders (but dont use on color LCD monitors). The cheaper the bettercheap vodka is more highly
filtered.
7. Legal slavery Carry a cheap, old flash unit fitted with a slave trigger. Position it behind your subjects head for rim light and
against a back wall to eliminate shadows. It works fine with point-and-shoots, and it doesnt even have to be automatic.
8. Background check Scout locations: Use a digital P/S at low-res to take grab shots of interesting backgrounds and locales (add
a voice clip to remember where they are). When light is good, go back to take real pictures. Also use for a portrait setup and such.
9. Stash the glass If you simply cant keep your subjects glasses from reflecting (and he or she really wants to keep them on):
Remove the lenses. Best way is to loosen the temple-piece screws with the appropriate small screwdriver.
10. Be a pod person Always carry a minipod: Take one around in your pocket. The idea is not height, but ready steadiness and
the ability to adjust camera position; also great for those self-timer shots of yourself on vacation. One of our favorites is the
Ultrapod II by Pedco ($20 street).
11. Skins game Put darker-complexioned people in the front of a group shot with flash, and lighter people
in the back: Flash falls off over distance, so you want darker people closer. It will make for better overall
exposure and easier printing.
12. Cast eyes downward Use swivel LCDs like reflex finders: Swivel it up, and brace the camera against
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your belly. Its steady!
13. Sneaky tweak Use digital white balance for color conversion: Want a winter/rainy scene to look
deliberately colder? Set the white balance for tungsten. Use the custom white balance aimed at something
blue to get a warming filter.
14. Just do it Own a camera that gives you no excuse to leave it home: Put a film or digital
point-and-shoot in your pocket. Keep it loaded with fast film, or a high-capacity card.
15. Off the record Always take another shot after the shooting gallery picture: Get the lineup shot at the wedding or birthday
party or whatever occasion. Now say thank you! loudlyand resume shooting when people re-engage in conversation.
16. Semper snappatus Keep the camera snap ready: Many P/Ss, film and digital, have a snap mode for fast shooting. At the
very least, keep the setting on program autoyou can always adjust later. With SLRs, set hyperfocal distance, use moderate wide
angle, release-priority AF, etc.
17. On the level Carry a shoe-mount bubble level: Even with viewfinder grid lines, it can be tricky keeping the camera
absolutely square to the scene. The bubble level helps keep horizons straight, and reduces keystoning in buildings.
18. Get hyper about focusing Use hyperfocal focusing: If your lens has a depth-of-field scale, simply set the infinity mark to the
scale line of the aperture youre using. Use it for deep scenic space, quick people snaps, and such. No depth-of-field scale?
Prefocus about one-third of the way to the farthest object you want to keep in pretty good focus.
19. Ride a rail Get a focusing rail: These relatively inexpensive gizmos are great for really tight macro focusing, regardless of
whether youre using auxiliary close-up lenses, extension tubes, or a dedicated macro lens.
20. Tape out redeye Use invisible tape to avoid redeye: Foggy tape, layered two
or three times over the flashtube area (not the entire flash lens), can reduce redeye
in some instances, and wont create a problem with TTL flash exposure.
21. Stiff body language Be your own tripod: Stand with your feet apart for best
steadiness. Hold the camera with both hands, preferably with your left hand under
the camera. Keep your elbows tucked as much as possible into your torso. Squeeze
the shutter release, dont stab at it. Hold your breath or breathe slowly when firing.
22. Chinning exercise For better portraits, lower the subjects chin to make the
eyes look larger. Or tilt the camera forward slightly. This also cuts reflections on
eyeglasses.
23. Mirror, mirror in the shot: If you are absolutely, positively, stuck making a flash shot of a group standing in front of a
mirror: 1) shoot at an angle to the mirror; 2) scrunch down low so that their bodies and heads block the flash reflection; 3) move
them closer together to avoid reflective gaps.
24. Reference set Make reference slides: Shoot a sequence of a gray or
dull-colored wall (or a gray card) with your favorite slide film, 2 stops in half
stops. Put them in a slide sleeve and keep them in your bag/pocket. Spotmeter an
important area of the scene youre shooting, then pick the slide with the tone you
want to match. Use that exact exposure compensation.
25. Zap lens gremlins For outdoor shots, never shoot a big sky at the first two
maximum apertures (to avoid light falloff) or the smallest two or three apertures in
backlight (to avoid ghost images).
26. The unreflector Block unwanted light: Get a folding gobo (a black reflector) and use it to shield your lens from stray light, to
cut down glare from reflective surfaces, or to keep the sun out of your subjects eyes. Alternative: Carry a big piece of heavy
black paper, folded, in
your camera bag.
27. Discover the ordinary Run out of ideas on what to shoot? Stieglitz shot cloudy skies, which he called equivalents. Shoot
36 different pictures of the same tree. Make a collection of interesting manhole covers, hands, feet, mustaches, alphabet letters.
Shoot the insides of a piano. Use your kitchen tools for a still life.
28. Post fact-o Tripod too flimsy to be useful? Employ your own weight: Grasp the tripod collar or centerpost firmly in your left
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fist and press downward while operating the camera with your right hand.
29. Holy macro! Force yourself to shoot close: Put your camera on manual focus, set the focusing at its closest distance, make
close-ups of items in your house or around your neighborhood without changing focusing distance.
30. Manual labor Read the fact-filled manual: Yeah, yeah, yeah, the same old boring advice, but once you get the basics of your
camera, sit down and read the manual with the camera in your hands. Youll be amazed what you learn. Put tabs on the pages with
features important to you.
31. Street beat Dont be timid with street photography: Wade into the fray and get up close and personal. Try putting the
widest-angle lens you have on a camera and shooting close-up pictures as people are waiting for a traffic light to change.
32. Observe yourselfPractice holding your camera while looking in a mirror: This is particularly important for teeny
point-and-shoots. Make sure you can aim the camera quickly without blocking the flash, covering the lens, shading the
viewfinder.
33. Dots the trick Check the steadiness of your camera on your tripod: Attach a
laser light to the camera (use gaffer tape), pointing at a wall. Photograph the laser
dot at various shutter speeds. If you dont get a round dot in your images, youre
going to get blurry pictures.
34. Face backward Shoot your friends from the back: Try it with them looking
forward, and to the side. Use different focal lengths and try various lighting
directions.
35. Track em down Distance sequence a portrait: Start at full figure, then approach closer and closer, shooting one or two
pictures every few feet until you are crawling up inside a nostril.
36. Regroup the group When shooting a group portrait of your friends or family: Dont group them all together! Have some sit,
lie on the floor, lounge on the couch...
37. Monochromania Print casual snapshots (parties, short trips, etc.) in b&w: Its much more forgiving of redeye, pasty skin,
and other imperfections. Your friends will love you.
38. Orientate orientation Take a vertical photo: Snap one immediately after taking a horizontal. And vice versa. Youll be
surprised how often the second one turns out better. You can get two good shots, too.
39. Reach for the ceiling Use bounce flash when possible: It makes for more natural lighting in indoor flash pictures. Forverticals, try side wall bounceit usually works quite well.
40. Spec out your specs Get better glasses: Progressive lenses, such as Varilux, work like bifocals except they offer continuous
correction from very close to far distance. You can make all camera adjustments, see LCD screens, and frame and shoot without
juggling glasses on and off or extending your arms back and forth. Expensive, but worth it.
41. Crosswalk fandango Shoot spaghetti headlight trails: Find a busy intersection, set up your tripod just before dusk, set the
camera to aperture priority and f/22. Without moving your tripod or changing camera angle or settings, shoot a series of pictures
until its totally dark.
42. That syncing feeling Drag the shutter in indoor flash portraits: Its called slow-sync flash, or night flash, and it leaves the
shutter open longer to capture more of the background detail than plain autoflash. But hold the camera steady!
43. Weight watch Pose according to girth: Put heavier people centrally (where they will look thinner) and thinner people alongthe edge (where the lens fattens people).
44. Narrow your wide-angle The most effective use of a wide-angle lens: Emphasizing a foreground feature. Place it to the side
of the frame (in horizontals) or to the bottom (in verticals) and move in close to crop out other clutter.
45. Quick pix fix Use 5-minute Photoshop (or another image-editing program: Try auto levels/contrast to add snap and lighten a
little, add small catchlights (especially in pet photos), and crop out as much junk in the background as you can.
46. Beauty in the beasts For easy, charming pet shots: Use available light, fast film, or high ISO capture. Fill the frame with
their faces and throw the background out of focus, in warm indoor or soft outdoor light.
47. A different gloss Try different print options: white border instead of borderless, matte instead of glossy, textured surfaces,
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sepia, and such. Its a subtle but effective way to change the look of a picture.
48. Sight reading Look at great photography: Open a book, go to a show, browse online galleries. No one ever learned to
compose music without listening to music. No one makes good photos without seeing good photography.
49. Flash dance Great fun while dancing: Hold a small point-and-shoot, set to slow-sync flash, and shoot from the hip or
reaching overhead on the dance floor. Wild pictures guaranteed.
50. In the zone For fast shooting in low light: Use the cameras manual-focus mode and scale or zone focus. Practice estimating
distances. Hint: Use floor tiles as a guidemost are exactly one foot square.