LEARN TO TAKE PICTURES RIGHT THE FIRST TIME!

woman taking picture near lake with view of mount fuji
Photo by Casia Charlie on Pexels.com

Photography has certainly changed a lot from the days when I first got involved in photography. The film era created real professionals, because they had to do it right the first time, because there was no Photoshop to help fix their mistakes. It kind of bothers me that almost every photographer relies on “Post Production” work to get their photo the way they want it.

So, what is the big difference between the “film” photographer and the “Digital Photographer” really? I think the difference is that film photographers had to use “filters” or “lens filters” to do some of the work that we do now with Photoshop (or equivalent). I think of the countless hours photographers spend now working their magic on Photoshop. The “film” photographer would have to know how to fix a photo by adding a filter on the camera lens, in order to get the photo to turn out the way they want.

I know now there are a lot of “film” photographers who still use filters when they take photos on their digital camera. I asked one why? He said, “so I don’t have to spend so much time in “post Processing”. I want to get it right the first time.”

So, this blog today is to introduce you to filters that you can use to get great photos the first time. Once you understand what filters will do for you, you can get time back on your side. Now, I admit I do use Photoshop and Lightroom occasionally, but, I know what filters will get me what I want so I don’t have to go use that “post production” stuff so much.

Today and tomorrow, I will spend time going over certain filters so that you too, might be able to take the photo right the first time. Understanding filters is just one more thing to learn in the great photographic world.

As you go through this article, you will see words in red. Clicking on that word in red will take you to a link on Amazon.com that will give you the price, and sizes needed to purchase these filters. I want to make sure you have all the tools available.

Let’s start off with the most important filter you can own. The UV Filter or the Skylight 1A filter is, by far, the most important filter you can own. How much do you value your lens you have on your camera now? Did you spend $100, $400, or more? The Skylight 1A filter or the UV filter has no real help for your current digital camera lens other than to protect it. All digital camera sensors have a UV/IR filter in front of the sensor, so there is no more need to use UV filters on DSLRs. But, it’s value is incredible. If you have ever dropped your camera, or imagine that it happens to you, you can probably guarantee that it will land on the front of your lens. If you have clicked on the links (the words in red), you will notice that these are not very expensive. Good ones are around $7.95 depending on the size. With the Skylight 1A filter and the UV filter, you might break that filter. But, it’s only $7.95! How much would it cost to replace your lens if you didn’t have that filter on there? Or to even get it fixed. I have recently heard a photographer who sent their lens in for repair, and the repair facility said it could cost up to $800 to repair it. It only cost him $400. Really photographers. You have to invest in your equipment or you may lose it in one small accident.

One thing you have to make sure before you purchase a clear filter, is that you buy high-quality glass with the special multi-resistant coating (MRC). The worst thing you can do is mount a low-quality filter in front of an expensive lens. Not only will it hurt image quality, but it will also add nasty reflections, ghosts, and flares to your images.

The next most important filter is:

The next most important filter to have on your lens is the polarizing filter.

There are two types of polarizing filters – linear and circular. Linear polarizers should not be used on DSLR cameras, because they can result in metering errors. Circular polarizers, on the other hand, are perfect for DSLRs and do not cause any metering issues due to their construction. Circular polarizing filters are essentially linear polarizers, with a second glass element attached to their back that circularly polarizes the light, giving accurate exposure results when the light hits the light meter. When the two elements are aligned at the right handle and orientation from the sun, the captured image could have more saturated colors, bluer skies, fewer reflections, and higher overall contrast. Polarizing filters can also reduce haze, which is very useful for landscape photographers. It reminds me that this piece of glass works a lot like the “dehazer” setting in Lightroom, and Photoshop. This filter eliminates the haze in the sky. Our eyes don’t really see the haze so much out there, but it’s there. Every little piece of dust floating out there in the air, actually reflects light, and thus causing a haze. The circular polarizing filter will take off the reflection from all those little dust particles, and give you a beautiful landscape photo. This is how they used to do it with film, and you can still do it with a digital camera.

You will find once you use this circular polarizing filter, you won’t leave home without it.

There are a couple of potential issues that you need to understand when using a polarizing filter:

  1. There is a minimum and a maximum effect of polarization, depending on the filter alignment. You should rotate the filter every time you compose for best results. Take a look at this example of minimum and maximum effect of polarization:
NIKON D700 + 24-70mm f/2.8 @ 26mm, ISO 200, 1/640, f/8.0

2- The effect of polarization changes relative to the sun. The maximum effect of polarization is achieved when the lens is pointed 90 degrees from the sun (in any direction). A simple trick is to form a pistol with your index and thumb fingers, then point your index finger at the sun. Keep pointing at the sun and rotate your hand clockwise and counter-clockwise. The maximum effect of polarization will be where your thumb points in any direction.

3- Avoid using a polarizing filter on ultra wide-angle lenses. You might end up with a partially dark sky that will be tough to fix in post-processing. Here is an example of what happens when using a polarizer on a wide-angle lens:

Wide-angle lens polarization

4- In some cases the maximum effect of polarization can result in an unnatural-looking dark blue sky as shown below:

Extreme case of polarization

I have seen photos enlarged, and hanging on the wall of this unnatural dark blue sky. So, some people really like it.

5- There is a loss of approximately 2 stops of light when using polarizing filters, so you should watch your shutter speed when shooting with a polarizer hand-held.

6- circular polarizing filters are typically thicker than regular filters and therefore can result in unwanted vignetting.

To avoid vignetting,circular polarizing filter should not be stacked with other filters. Due to light loss, you should also use a polarizing filter only when needed. In some high-contrast situations, it might be necessary to stack a circular polarizing filter with a neutral density filter (see below).

As you go through this article, you will see words in red. Clicking on that word in red will take you to a link on Amazon.com that will give you the price, and sizes needed to purchase these filters. I want to make sure you have all the tools available.

One more filter that is very valuable to have:

Neutral Density (ND) Filter

The purpose of neutral density filters is to reduce the amount of light that gets to the camera and thus decrease the shutter speed and increase exposure time. These types of filters are particularly useful in daytime, because of the abundance of light that cannot be significantly reduced by stopping down the lens aperture and decreasing ISO. For example, if you are photographing a waterfall and your starting point is ISO 100, f/2.8, 1/2000 that results in good exposure, stopping down the lens to f/22 will only slow down the shutter speed to 1/30 of a second. This would be too fast to create a “foggy” look for the falling water. By using an 8 stop Neutral Density Filter, you could slow down the shutter speed all the way to 2 seconds while keeping lens aperture at f/11 instead of f/22 (using apertures beyond f/11-f/16 in normal lenses decreases image quality due to diffraction).

A Neutral Density Filter does not have any color to it. It looks gray in color, but, it is a light reducing filter, not a change in color.

NIKON D3S + 24-70mm f/2.8 @ 32mm, ISO 200, 6 sec, f/9.0

That is all the filters that I want to explain today. There are 3 different types of filter categories. The protective filters that include the Polarizing filter as well as the Neutral Density Filter. The second group of filters would be the “Color Correction” filters (and we will discuss that on Thursday. And the third group of filters is the “special effects” filters. And we will discuss that on Friday this week.

Just a note: some of this blog or article was also written by Nasim Mansurov. The bulk of this article written by Lanny Cottrell of 123PhotoGo

Special items of interest:

DAY 10 – LEARNING BASIC PHOTO SKILLS: “ARCHITECTURE” & “MONOCHROME”

Day Ten: “Architecture” — Go Monochrome

From the geometry of skyscrapers to the ironwork on historical buildings, there are many opportunities to capture the beauty and complexity of architecture.

Walk through this intricate, organic doorway of La Pedrera, a famous building by architect Antoni Gaudí in Barcelona, Spain:

Perhaps there’s a grand spiral staircase at your favorite museum. A stunning Art Deco movie theater in your town. Or a futuristic micro-house on your block. How will you interpret this theme?

Today’s Tip: As we explored yesterday, color is a powerful element in photography. But black and white, or monochrome, can also be very dramatic. Today, look for architectural elements that translate into black and white: sharp lines, patterns, defined shapes, large surface areas, and a mix of very light and very dark colors.

Day Ten: “Architecture” — Go Monochrome

When we talk about monochrome in photography, we’re referring to images developed or executed in black and white or in varying tones of only one color.

Today, think about how black, white, gray, and the shades in between can interact in your frame in dynamic ways. As you compose your architecture shot, look for sharp lines, distinct patterns, defined shapes, large surface areas, and very light and very dark colors.

Compare the color and monochrome versions of today’s featured image — the lines, shapes, and surfaces come alive in both versions in different ways:

color versus monochrome
Photographer Merilee Mitchell, who blogs at The Gravel Ghost, often shoots in black and white:

It’s difficult to describe in words, but I innately know what something will look like in black and white. I see things geometrically: I sense large shapes in view, I see “values” (the degree of lights and darks) in a shot, and I know how they will translate.

If you’ve never shot in black in white, many devices and phone cameras let you switch to black and white shooting mode right in the camera. In the iPhone, for example, select the Mono, Tonal, or Noir settings to shoot in monochrome.

Or, shoot in color and convert your images to black and white (or grayscale) after you shoot, which is how Merilee works. You can convert your image in Photoshop or a free image editor like PicMonkey, GIMP, or Pixlr Express. The change is simple — for example, in PicMonkey, select “Colors” and then adjust the lever under “Saturation” to remove the color. Or, in Pixlr Express, click on “Adjustment,” then “Color,” and adjust the bar under “Saturation” to remove the color.

Don’t miss tomorrow’s blog: “Getting your photo right the first time”. Back when film was king, you had to take the picture right the first time. Colorful, light corrected, and rich in color. There was no “Post Processing”. But, photos were just beautiful, and contrast was perfect, and the skies were rich blue. How was that done? And can it be done right that way now? Read tomorrows article.

Today’s special:

READY TO GET A NEW SERIOUS CAMERA, THEN CLICK ON THE SPECIALS ABOVE ^^^^^^

DAY 9 OF 10 – LEARNING BASIC PHOTO SKILLS: “INCORPORATE COLOR”

exterior of shabby pharmacy building in mediterranean country
Photo by Maria Orlova on Pexels.com

Day Nine: “A Pop of Color” — Incorporate Color

The colors in our photographs are evocative and rouse emotions within us. Color can elevate a mundane image into something beautiful and intriguing, and can tell a tale within the frame.

In this image of a door in Malta, the two shades of blue brighten an otherwise nondescript scene, and also add layers of story and perspective: Who lives in this building? What’s behind that door?

Today, pay attention to how color affects your image. Let color be the star!

Today’s Tip: Keep it simple: experiment with only one color.

Day Nine: “A Pop of Color” — Incorporate Color

In today’s featured image, the color blue is whimsical yet strong. Sometimes, blue looks and feels soothing and serene, but it can also look and feel cold and apathetic. While other shades are eye-catching in their own ways, here, the blue works well. A red door might change the mood of the picture, for example, and signal excitement or danger.

As you look through your viewfinder today, think about how a color makes you feel. Calm? Agitated? Energetic? Somber? As you focus on one color, consider these tips:

  • Choose a bold shade against a neutral background, instead of several colors competing for attention in a scene.
  • Look for a strong color within a basic composition of uncomplicated lines — your pop of color will stand out more.
  • Continue to experiment with POV as you shoot your color-as-subject — the color may transform as you move.
  • Don’t ignore soft, pastel shades — colors like mint and pink can make statements, too.
  • Juxtapose pastels with black and darker shades.
  • When in doubt, pair an accent color with white — you’ll see its impact immediately.
A green door against a white wall in El Albayzín, Granada. Photo by Cheri Lucas Rowlands.
A green door against a white wall in El Albayzín, Granada. Photo by Cheri Lucas Rowlands.

Want to learn how to enhance your colors in your photography without having to go to Photoshop or Lightroom? A special course on using circular polarizing filter (click on it), to help reduce reflections, and adding color on your scenery and other things. Look for it next week. circular polarizing filter

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