The Psychology of the Wide-Angle Lens

Some folks choose a telephoto lens to see how close a subject can appear to be – to say a bear, for instance. These same people doubtlessly chose a wide-angle lens so they can get-it-all-in the picture, usually a landscape picture.

If these people studied the work of professional photographers they would probably be surprised to find that the pros do just the opposite. A professional photographer picks the lens (tool) to use based on what that tool will allow him to do. It is the same for a professional carpenter; he picks a tool to carry out a certain task.

Get Closer 

Robert Capa, a famous war photographer once said, “If you pictures aren’t good enough, you’re not close enough.” Mr. Capa wasn’t advocating the use of longer lenses, he was telling us to physically get closer, to become more involved and intimate with our subjects.

A telephoto lens and a wide-angle lens help us to tell the same story in different ways. The choice of which lens is like a writer choosing which words to use. It depends on what needs to be said.

A telephoto lens not only brings subjects closer to the viewer, it makes objects in the photograph appear closer together than in reality. A wide-angle lens does the opposite. Objects appear further apart than in reality.

Keeping the rendition of special reality in mind consider perhaps the most creative or powerful use of a wide-angle lens; when you are especially close to someone with a wide-angle lens a lot of the surroundings are included. This is great. The viewer sees not only the subject, but their environment as well.

Move closer with your feet
 
By using our feet and not just our zoom lenses to approach a subject we are able to make “environmental” portraits. We can now show what they look like and were they are and/or what they are doing. It is now easy for our viewers to relate to our subjects. The photo carries a great deal of information.

I love to show where someone works and what he or she does for a living. By getting close, the subject is predominate and not a little speck in the middle of a photo.

I can have the person pause whatever they are doing and just casually look at the camera and if I time it just right I can show them at ease with a pleasant expression. Being so close the photo becomes personal with the viewer because I became personal with the subject. You can’t communicate what you do not experience with the camera.

Why is a photo usually better when you are closer to the subject? The wider the lens the more you get this feeling of being there.

Problems to avoid
 
There are a couple of problems to be aware of in working with wide-angles this close to a subject.

1) It is difficult to use a wide-angle lens in tight without distortion of people and the surroundings. The wider the lens the more pronounced this problem. A moderately wide lens like a 28 mm is much easier to use than an extreme wide-angle like a 20 mm or wider. Of course, the wider lenses seem to help with creativity – when used correctly.

We’ve all seen shots where the walls look as if they are falling forward or backward or the clock on the wall and the place on the table are ovals instead of circles. This type of distortion, converging lines, can be used for good, but rarely; the general rule is to avoid these distortions. Practice helps.

Keep the subject out of the corners of the picture to avoid bending their head or body out of shape. Keep them out of the center as well since this creates a negative tension (but may be that’s what you want). Using the super wide-angle lenses is a real balancing act. Nothing is cut and dried in creative work and that’s why two photographers can cover the same story and their pictures will be nothing alike.

2) Another problem, if these weren’t enough, with up close and personal wide-angle shots has nothing to do with technical evils. Working this close to someone can make you awfully uncomfortable. This feeling will transfer to the up close person causing another problem.

To avoid this “in your face” quandary, remember some of these tricks to keep you comfortable while close.

Tips on getting people to relax
 
First, tell them what you are going to do and get their permission before you move in for the shot. A funny thing happens when you do this—they usually get a little excited, are cooperative and feel like they are a part of the making of the photograph rather than just the subject.

Second, they understand that you (and/or your client) consider them valuable and that you think enough of them that you want their picture. You want to include them in the project.

Third, most people (regardless of what they may say) are flattered when they are asked to be in a photo, however, they need help to make it enjoyable.

Using a telephoto lens you can make a great head and shoulders portrait with good perspective, but it can be too selective, to narrow a view, to tell a story about a person. It is possible and it depends on what you want to say and the circumstances of the shoot.

Working close to people with wide-angle lenses tells their story in an intimate and personal way.

Watch the distortion, the composition, the projecting of uncomfortable feeling to your subject as a result of working so close, use the background to help tell the story, keep your eye on the ball, your shoulder to the wheel, tote that barrel, lift that bail, load sixteen tons and if all this seems to freak you out—call me. When the pipes are clogged or the water heater leaks I get freaked out. That’s why I call a plumber.

What Kind of Photographer Are You?

I’m not asking if you shoot weddings, sports, or just make snapshots of your family. These are one way to define a type of photography, but there is another way to describe your pictures.

If you have your subjects turn and look at the camera and say “cheese” there is a good chance you enjoy making photos for mainly your personal use. You like making photos and putting these in photo albums so you can revisit these moments in time. I think everyone likes to make these types of photos for recording their family history. Earlier in my career when I managed 1-hour photo labs I saw some incredibly well done photography that would fit into this category.

I had a few customers who did an excellent job of getting good expressions of their friends and family looking at the camera. The photos were not so tight of the people that you didn’t know where they were, but they would show their friends in front of the Eifel Tower where you could see the people close to the camera with the location in the background easily identifiable.

This type of photographer, snap-shot or memory jogger photographer, is concerned in recording a moment in time and who was there at that moment.

Another style is abstract photography. This would be an instrumental composition with no words to use music as an analogy. The composition and lighting may be well done, but the viewer’s responses are usually wide-ranging.

Ansel Adams is one of the most prominent abstract photographers. His photos create a mood and tone rather than deliver a specific message.

Elliott Porter, another giant in the genera of abstract photography, gave a prefect example of the portrayal of beauty or eliciting of an emotion with his photography rather than a photojournalist statement of fact. When asked (by a photo editor for a news magazine) what he would do if he came upon a stream polluted and covered with oil Porter said, “I could not help but show the beauty of it regardless of the tragedy.”

In some abstract photographs the subject is recognizable, yet others may be so bizarre there is no subject recognition at all. The common theme for these types of photographers a striking image. A specific message is not the purpose.

Then there’s the communications photographer. Their goal is to deliver a precise message. Many techniques used by the abstract photographer are employed, but the message is the thing.

Some communication photographers are conceptual in approach. Their work is thematic. The theme maybe as simple as illustrating an intangible, say hot or cold or “going green.” Their photos communicate an idea.

Life magazine was one of the first places Americans were exposed to photojournalism. These photographers deliver a message, but beyond the message they are pursuing truth. They want to tell the subject’s story accurately in order to obtain a response from the viewer; to make those seeing the photos want to take some action.

In between the conceptual photographer and the photojournalist are many breeds of photographers who are concerned with capturing a message and having the audience engaged with it.

Some photographers can move easily between these approaches. One day they may be covering a news event for a wire service (photojournalism) and the next day shooting and annual report or recruiting guide for a college. They know how to adjust the approach so they are not violating ethics of the professional photojournalist.

What do these styles have in common? The finest photographers shoot what they love most. This enjoyment usually means they have invested time into their subjects and know them well.

Understanding these approaches will better help you identify the best photographer for your projects. Maybe you’re the best for the job. Maybe you need to hire someone to shoot the project for you.

Most clients look beyond a photographer’s ability with the camera. Can you trust this photographer to do the job on his own? They will be representing you. Do you need to be there directing this person?

If you have a message you need communicated you don’t need have a snap-shooter or an abstract photographer – they can fill the “holes” where the pictures are to go, but that doesn’t express your message to your audience.

Be sure your photographer can communicate your message and be someone you can trust. It is easy to hire a known quantity. It’s not so easy to find the one who will get the job done, but the search is worth the trouble.

The Rekindling of Relationships

Christmas 2010 in Morganton, NC. Nikon D3, 14-24mm, ISO 200, f/2.8, 1/2500

Listen to me, O house of Jacob, all the remnant of the house of Israel, who have been borne by me from your birth, carried from the womb; even to your old age I am he, even when you turn gray I will carry you. I have made, and I will bear; I will carry and will save. Isaiah 46:3-4

Chelle helps decorate ginger bread house at our friend Jackie Reedy’s “Cookie Day” in 2010. Lumix DMC-TZ5. ISO 100, f/3.3, 1/4

“Chelle can you help me put up the Christmas tree?” was my question a few years ago. Our family uses a fake tree due to our allergies and it takes time to unpack and put it together each year. My daughter had gotten finally big enough to help hand me the branches. So together we got the tree assembled and then Dorie, my wife, helped with the ornaments and other decorations around the house. The following year Chelle asked me, “Daddy when are we putting up the tree?” Dorie reminded me we now had a tradition. It continues to this day.

Our Christmas tree in 2011. Nikon Coolpix P7000, ISO 1600, f/2.8, 1/30

While I could tell you about all the symbolism of the Christmas tree, for us it boils down to what Christmas is about—the tradition of a relationship being rekindled through a simple tradition of putting up a Christmas tree. It is like the official start for the season for our family. It is a time my daughter enjoys with her father as a special time together. It is my time, as a father, to spend time with my daughter.

Tacky Christmas Sweater Party for Kelly Stancil graduating from Georgia Tech December 2010. Lumix, DMC-TZ5. ISO 250, f/3.3, 1/30

Maybe this is what the season is really about—rekindling our relationship with the father through his son, Jesus Christ. As long as all these traditions help us and remind us to spend time with God, then the season will have been fully lived.

Dear Lord, may these traditions remind me of spending time with you. Help us to not only grow closer to you, but to those around us this season. Help us to celebrate the traditions in a way that draws us closer to you. Amen.

Be a Joiner

Too many individuals are isolated in their jobs. Outside of their work they are unknown. In today’s volatile economic times this may prove to be a costly mistake. Staff positions have been cut, freelancers’ clients have cut budgets or gone out of business.

If your source of income is drying up one good way to find new work is through your network. Membership in professional organizations can be an outstanding resource. Having your name on a membership list can give you access to others in the organization, but to make the organization work for you – you must work for it.

Volunteer. Become involved. Help the group accomplish its goals. Volunteer to call members and invited guest to attend meetings. In the process of making these cold calls you are laying the foundation for a stable career.

You are getting to know others and they are getting to know you. If you ever need to call one of these people for a job you will be way ahead. They know who you are and it is no longer a “cold call.”

Serving on committees lets others see your skills and how you work and communicate. Committees provide an opportunity to show what can’t be shown in a resume, portfolio or reference letter.

You are probably considered an expert due to your experience. People want to employ experts. It is a good idea to volunteer to lead seminars and workshops. While this shows your knowledge in their field, it also shows your ability to communicate clearly your ideas to others. It shows you as a person who wants everyone to succeed.

Volunteer with more than one organization. They don’t all need to be within your work area so long as the help you connect to your community. Rotary clubs, coaching a youth sport team, volunteer for the Red Cross and other groups will help you expand beyond your profession.

Industry leaders are involved in community programs. What better way to get to know leaders than to volunteer along side them?

The number of groups you are a member of is not important. What is important is not to be just a name on the membership role. Active involvement develops the all-important network.

I have been working with college recruiters and admissions offices for most of my career. Many of the suggestions I have listed are things colleges look for when going through applications. They want the best students to attend their college. It is the same with employers and clients they want the best.

Networking builds communication skills. Volunteering improves skills in service roles and leadership positions.

All this volunteering is not just for the future it is for right now. The benefits of networking help in current jobs.

The foundation of building a network is giving. As we learn to give of our time and talents to those around us we learn that our greatest rewards are all the relationships we develop in the process.

How to improve your flash photography

This is the third article I have written on using your flash. My first one was about avoiding the dreadful red eye syndrome and here is a link. The second article I wrote was about should you use flash or not and this article is here for you. I want to address specifically the technique of off camera flash in this e.Newsletter.

First let’s start with what we do know about flash. We know that most cameras that come with a flash built in them give straight on harsh light and subject to red eye. This is due to how close the flash is to the lens. There are times this is the only option you may have for a situation. In this case getting the photo is more important than no photo. Almost every point and shoot has a flash built into them and most people’s photos have this harsh look. The other place we see this straight on flash a lot is in crime scene photography, which has been made more famous through TV shows like the CSI series.

What we do know is when we use the flash on the camera pointed straight at the subject it will look like most all amateurs’ photos and crime scene investigation photos. In other words anyone can get this type of photo and it is almost the norm when it comes to flash photography.

When creative directors, art directors and editors hire professional photographers there is an assumption which is expected and not always stated. The professional is hired to get something different than what they would do with their camera. While picking a unique angle with a different lens may give the client something different, the minute the straight on flash is introduced it immediately looks like something they would or could have done very easily themselves.

Lighting has more impact on a photograph than any other aspect in photography. Without light there are no photos and what kind of light determines much more than weather you can see the subject. It actually helps shape the subject and creates a mood more so than camera angle or lens choice.

When shooting in black and white the direction of the light helps shape the object and can make a photo have more pop or subdued for example. In color the color of the light as well as the direction will help establish the mood. Theater type of lighting makes your subject look dramatic for example. And lot of white light can make something look clinical or even used to simulate the feel of being in heaven.

To avoid red eye I have mentioned in earlier articles bouncing your flash off a ceiling or wall. What I consider one of the most dramatic types of lighting requires your flash to be off camera.

There are two angles which I like the best. First, having the light 45 degrees to the either side of the subject relative to the camera give a lighting affect used by the great artist Rembrandt. Rembrandt liked to have the light 45 degrees to the side of subject relative to his perspective and about 45 degrees up above his perspective as well. If the subject is looking straight at you will get a small triangle on the cheek which is on the opposite side of the light. The shape of the nose and brow help create this triangle. You may have to ask the subject to move their head just slightly to make this work just right.

Second, I think side lighting the subject works really well for people. This is where the light is 90 degrees from the camera on the left or right side of the subject.

There are basically two ways to achieve this technique. You can use a cable to go between your camera and flash. The second way is to use a remote to fire the flash.

When using a cable (check your manual for the flash and camera to get the one for your camera) you will need to be very close physically to the subject to get this to work. The reason is the further back you are from the subject the angle between the lens and the flash relative to the subject will diminish and you will have photos that look more like on camera flash. One simple solution is to buy a longer cable. There is usually a limit as to how long this cable can be and still work with your flash.

A little more expensive solution is to use a remote. There are two kinds of remotes for flashes: a generic radio remote and a wireless one designed to work with your flash. Both of these will let you place your flash away from the camera and each one has its advantage and disadvantage.

The advantage of the radio remote is it works up to a distance of up to 400 feet—depending on the unit. It works around walls and even through them. The disadvantage is if you need to adjust the power of the flash you must go to the flash and adjust it manually. Your TTL function—where the camera pretty much figures out the correct exposure is lost.

The advantage of the wireless system, like the SU-800 for Nikons, is you can control each flash unit separately through the unit. Your camera will fire the units and since it is working in TTL mode will properly adjust the exposure. While both systems will let you use numerous flashes together, the TTL wireless system lets you ratio the lights from the unit and therefore you can look at your LCD and make an adjustment and never have to move. One more major advantage of the wireless system like the one for the Nikon, you can use a shutter speed greater than the sync speed of say 1/250. This opens up many possibilities—especially outside on sunny days.

Using off camera flash requires a lot of practice to master the technique.

Will your photos be better because you use this technique? Maybe, but most importantly they will look different and sometimes this is enough to get the attention of your audience.

Presidential Politics Teaches Us Something About Marketing Ourselves

How is running your business like running for office? For one thing, the candidates are scrutinized for more than just their position on issues. We are also evaluated for more than just our product.

Just like the politicians we are evaluated on our looks, our color, age, how healthy we appear and how well groomed we are. Our clients and prospects note all this and more about us.

What message are we sending by how we look? What part of our message as an individual can we control? Well, there’s our choice of clothing. Occasionally someone may compliment us on what we are wearing, maybe the like the color or style.

Some people have gone so far as to wear certain types of clothing to distinguish themselves from others in their field. Take my lawyer for instance. I think he dresses funny. But I have to give him credit, people remember him, first because his clothing makes a bold statement, but then they remember what a good lawyer he is. Your business success may profit from a little more attention your visual presentation of yourself.

The way we talk, how we express ourselves can make a major impression on clients and prospects. As we watched the debates we listened to see if the candidates answered the question. We listened to how clearly they stated their ideas. We listened to their inflections and pace of their comments to see how confident and knowledgeable they seamed to be on the topics.

The candidates wanted to answer the questions in ways that they thought would connect with the audience at home. We too must be aware of our client’s perspective. Are we addressing their concerns or our concerns?

The candidates are being evaluated for the company they keep and so are we. This is where your community involvement makes a difference. We should let our clients know when we go a mission trips. We need to find ways to let them know that we volunteer as a coach for kid’s sports, or anything outside of work actually is valued by clients.

Obama’s two young daughters help him appeal to many folks just as Pailin’s special needs child makes her special to others. While our outside activities are not our primary message to a prospect — it may be important to some of them and shouldn’t be left out.

Greg Thompson, director of corporate communications for Chick-fil-A, says when he hires folks he looks beyond the hands to the head and heart of the person. The hands represent to him the transactional relationship within most of business. You need a writer, well hire someone with experience and they can most likely meet the immediate needs. However, if you look beyond the transaction you will see that some writers are experts on subjects and then some have given much of their time to a cause. Their passion for the subject makes them a much better hire than just a professional writer.

The candidates running for office have people give them feedback to help them improve and refine their campaigns. We need to turn those who can offer us feedback. We can all benefit from some sandpaper helping to refine us.

Certainly prospects are interested what we can do for them, but they are also influenced by who we are as people. The candidates must present a pleasing total package, so should we.

I’ve come to realize that the dream job is not determined by pay alone; it’s working with someone who appreciates and makes use of my total package.

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Corporate Communication Visual Tips: 11 of them

Charles G. Goldman, Executive Vice president of Schwab Institutional, leads the opening general session of the Charles Schwab conference for independent financial advisers.

There can be no words without images.
— Aristotle
More than any other technological innovation, computers are responsible for the explosion in images. Today, 20 percent of the U.S. population can use a computer. But 80 percent of school-age children have learned to become computer literate. By the turn of the century, Sculley predicts that 98 percent of all the words and pictures created in the world will be computer mediated. By that time, virtual reality — the ultimate fusion of computer and television technologies in which viewers become active users of the medium — will be inexpensive and accessible.
Educational psychologist Jerome Bruner of New York University cites studies that show persons only remember ten percent of what they hear, 30 percent of what they read, but about 80 percent of what they see and do. When all members of society whether at home, in school and on the job learn to use computers for word and picture processing, the switch will be made from passive watching to active using. There will no longer be the barrier between the two symbolic structures. Words and pictures will become one, powerful and memorable mode of communication.
— Professor Paul Martin Lester, Ph.D., Department of Communications, California State University
Visual forms of communication grab the attention of today’s audiences. Graphic representations such as diagrams, charts, tables, illustrations and photographs not only catch the eye; they draw the viewer into the information being presented.
Corporate communication departments who took advantage of this visual revolution early on are today’s leaders in the communication field. They saw this “explosion in images” coming and jumped aboard.
Endless, long blocks of type spreading across pages are rarely read. Early editors discovered a visual tool that cured this ill… they broke the copy up into short, more manageable paragraphs that didn’t intimidate or bore their audience.
Ted Turner
Today, many no longer read traditional text. Just taking brochures from the past and posting them to the web will not get the message out.
Okay, if it’s true that a skilled use of visuals will improve communication and if expertise in this area seems like a foreign language… what then?
We’d probably take classes to learn a foreign language, so to become proficiency in the use of visuals perhaps we should study art, photography or theater at the local community college. This is one way to learn how the masters in these fields used the visuals.
Mr. Bean was a British comedy television series starring Rowan Atkinson. Bean, an almost totally silent character used physical comedy to entertain. The series did well internationally because words were not important to the success of the show.
Instead of a brain storming an idea try playing a game of Charades to express what needs to be communicated about that idea. The game forces thinking in visual terms. Pictionary is a board game where teams try to guess specific words from their teammates’ drawings. More than Charades Pictionary requires forming mental pictures. Both games provide a fun way to practice visualization.
Here are Ten Tips to consider when thinking about using images:
1. Humanize – Illustrate how products affect people. For example, to show how small something is, rather than using a ruler, put it in someone’s hand. If something improves lives – show it doing just that. Today the trend is to use a more photojournalistic approach or, at least, to make it look photojournalist. To make sure the expressions are genuine set up a situation, give it enough time and it can become real.
2. Good Lighting – Sometime the natural light is perfect. Just cut the flash off and use a higher ISO for the available light. Remember that whatever has the most light on it will become the main subject.

Bill Griffeth moderates panel with Greg Valliere and Liz Ann Sonders during the Charles Schwab conference for independent financial advisers.
3. Try Black & White – Some war photographers feel that color may make even war look pretty. Black and white is a good way to focus attention on faces and graphics.
4. Get Closer – Almost any photo will be better closer up.
5. Watch the background – Look around the subject. Be sure nothing is growing out of a head or sticking in from the edge on the frame. Use a shallow depth-of-field like ƒ/2 versus using ƒ/16 to make your subject stand out from the background. If the background helps tell the story increase the depth-of-field by using f16 or f22, or vary the background anywhere in between fuzzy or sharp.
6. Consider a worm’s eye view or the bird’s eye view – Shoot really low or high above the subject. Change the height of the camera in relation to the subject; avoid making all the photos from a standing position.

Lou Dobbs
7. Turn off the date stamp – Digital cameras embed the time and date in the photo information so it is not necessary to have it print on the photo itself.
8. Variety – Make plenty of photos from different angles. In addition to using the zoom actually get closer and farther away from the subject. Make wide-angle and close-up photos. Try some without flash, some with direct flash and bounced flash.
9. Give it time – Make a few photos then stop for a few minutes. Let the subject get used to being photographed. After a while they’ll relax and the really great photos will start to happen.
10. Action and posed –Show the subject doing what they do. Let them do their job and make lots of pictures. Pose them for a good portrait, not just a headshot, but do an environmental portrait showing their work environment or signage of the place they work in the background or foreground.
11. File Size Matters – You can always downsize an image, but you can’t do much to upsize the image. Many think they can get more images on their SD or CF card by changing the file size and you can. The problem is unless you are never have plans to use the photo for more than an avatar or profile picture on Facebook then you will not be able to make prints or use it in printed pieces. Use RAW or at least the highest JPEG at the finest setting possible for your camera. You might have to find the owners manual to know how to do this for your camera.
There are many other ways than these that can improve visual communication. Like everything worth doing visual skills come from doing… from practice.
Think about it this way: Who is going to SEE your message today?

What’s a good camera for me?

Jesse Hill Jr. held many positions including the first Black President of the Atlanta Chamber of Commerce, the first Black Member of the Georgia Board of Regents, and the first Black Member of the Board of Directors for Rich’s Department Store. (Nikon D2X, ISO 400, f/5.6, 1/250, Sigma 120-300mm f/2.8 with 1.4 converter)

When I speak to groups someone usually asks me what camera I use. Next someone else will ask, “Would I take better pictures if I had a better camera… maybe one like you use?”

The best answer I’ve ever heard to “The Camera Question” came from Joanna Pinneo, a former colleague of mine. Joanna is an outstanding photographer who has worked for Newsweek and National Geographic. Joanna had just finished wowing an audience with some of her photographs when a little old lady asked, “If I had a camera like yours would I take better pictures?”

“Probably not,” Joanna said, “you will take the best photos with a camera that is easy for you to use. When you see something you want to photograph the less you have to think about the camera the better your picture will be.”

Joanna went on to point out that professional photographers are so familiar with their cameras that using them is second nature to them; like driving a car. She told the little lady that unless she planed really study photography she should find a camera that was simple and easy to use then just concentrate on the subject of the photograph she wanted to make.

She was right, of course. In general most of your best photographs are taken to capture a moment. If you are switching lenses, fidgeting with a flash, or trying to remember how your camera works you’ll miss the moment. By the time everything is set just right the shot is gone, the moment has pasted.

On the other hand, if you have a point-and-shoot camera you can just (pardon this) you can just point-and-shoot and capture the moment. You’ll take a better picture precisely because you did NOT have a “better” camera.

Ambassador Young was a top aide to Dr. Martin Luther King, Jr. during the civil rights movement, was involved in its inception, and served as Vice- President of the Southern Christian Leadership Conference. He presently serves on the Board of the Dr. Mar Martin Luther King, Jr. Center for Non-Violent Social Change. (Nikon D100, ISO 400, f/4, 1/180, Nikon 70-200mm f/2.8)

Not long ago I was photographing the keynote speaker at an event in Atlanta. Beside me was Ambassador Andrew Young with his point-and-shoot camera. He was photographing the speaker as well. Later he showed me his shot and it was quite good.

This was not the only time I’ve seen him making pictures. I’ve worked with him on several occasions and once I asked him about his photography. He reached into his pocket and pulled out the small point-and-shoot camera. He said he always carried it with him and that he loved to take pictures and share with his friends.

Then Ambassador Young laughed. He told me he even pulled it out of his pocket at his daughter’s wedding. He was officiating the wedding, but he still took a photo during the ceremony at the altar.

Point-and-shoot cameras are not just for amateurs.

My good friend Dave Black, who shoots for Sports Illustrated, used one for a job. One of the greatest qualities of these point-and-shoots is they make no noise. They are so quite that manufacturers have put a speaker in them and created a clicking noise you can turn on or off to let you know when the shutter fires.

Pat Perez during play at the BellSouth Classic being played at Sugarloaf in Duluth, Georgia.(Nikon D100, ISO 100, f/5.6, 1/800, Sigma 120-300mm f/2.8 with Sigma 1.4 converter)

PGA rules will not allow a picture to be taken of a professional golfer during their back swing since the noise might distract the golfer. Steve Williams, Tiger Woods’ caddy has thrown a few cameras into lakes when people have fired away during Tiger’s backswing.

When Dave Black showed the editor from Sports Illustrated at the event the photos of Phil Mickelson in his back swing you can understand why the editor started to quiver and gasp for air. Dave pulled out the little camera and made a picture or two of the editor. When the editor found that he couldn’t even hear the little quite camera he began to breath normally again.

No one had any photos of golfers in their back swing before Dave so Sports Illustrated ran the photos big made with the little point and shoot.

Today’s cameras are so much better than before. Take for example the point-and-shoot Nikon P80. Nikon’s enhanced Face-Priority AF automatically finds and focuses on one person’s face or up to 12 people’s faces within one frame. Face-Priority AF provides faster and sharper focus to produce clear, crisp portraits wherever the subjects are positioned in the frame. The P80 is equipped with an 18x optical zoom lens with a 27 – 486mm (in 35mm equivalent) focal length coverage. The maximum aperture is F2.8 to 4.5. It has 10.1 megapixels letting you capture fine detail with the creative freedom to crop and edit.


The amazing thing is that the professional grade Nikon camera body with all the lenses needed to match the zoom power of the little P80 would cost close to $15,000, but the P80 sells for just $399. (Hay, I’m beginning to wonder if I really need all this expensive photographic equipment!)

Another camera similar to the Nikon P-80 is the Panasonic Lumix DMC-FZ28K. It is equipped with a Leica lens and is similarly priced to the Nikon P-80.

Joanna Pinneo said it so well, when she said, “You will take the best photos with a camera that is easy for you to use.”

Guess the old adage is true after all. I’ll paraphrase: It would be Stupid not to just Keep It Simple.

Little Details Make a Big Difference

“God is in the details” — Gustave Flaubert (1821-80) … or “the Devil is in the details” (a variant of the proverb). However you choose to look at it, there’s no question that little details make a big difference in your work.

The ancient Greek artisans took this so seriously that the statues they carved are complete all the way around, even though they knew their carvings would be in places where no one would ever see those details. This attention to detail is perhaps one of the reasons we marvel at their art thousands of years later.

A Photojournalistic Approach to Corporate Training Materials

Recently I was working on a crew creating training materials for a restaurant chain. We decided to approach the assignment photojournalistically rather than stage the photos. This approach, showing the employees doing their jobs properly, made the photos more believable than set-up shots. These pictures will be used to train other employees and show them in detail how things should be done.

Even though we didn’t stage the shots, we still had to set the stage by cleaning up the place. We had to make sure it looked as the company said it should look, that everything was in its place.

In past training programs, the photos occasionally showed that a store didn’t always follow the company line in every detail. It may be as small as some item not being in its normal place, or something that’s not present in every location.

Insignificant, but incorrect, details are not insignificant to those responsible for training employees. In the Nixon/Kennedy debate of 1960, it was the sweat on Nixon’s brow that’s remembered — not what anyone said.

On most high-investment photo shoots, stylists are employed to catch the small details that can distract from the message. Attention to the details is the fine distinction that separates the professional from the amateur.

Communicating Clearly, Without Distractions

I’ve told you this story before, the one about sitting by a grandmother on a flight from Dallas. She showed me a snapshot of her grandchild standing in front of a house. The child was a mere speck in the picture, but the grandmother, so intent on the memory of the child, was not even aware of all the distractions in the photo. She remembers what the child looked like and so she saw her clearly, but only in her mind’s eye.

Musicians, poets, writers and photographers are well aware of how important a detail can be. Musicians listen as they play to keep themselves in tune. Poets search for the one precise word. Writers look for the verb to carry the action. Photographers look at the subject, plus scan the complete frame to eliminate details that distract or add ones that compliment.

As professional communicators, we must show what we want people to see and show it clearly and without distraction.

If a trainee is sidetracked by a detail that should not be there, he or she may miss a point being taught. If there are too many distractions the trainees may not be trained as they should be.

It is our job to make certain the message does not fail due to things overlooked. That’s why details make the difference.

Photographing Fireworks

Good fireworks photos have one thing in common – good foregrounds.

The fireworks are way up in the sky, of course, but what you put between you and the fireworks can make the difference between an okay photograph and a great shot.

During the 1976 Bicentennial Celebration at New York harbor some photographers used the Statue of Liberty in the foreground of their fireworks pictures. In Philadelphia some photographed the fireworks in the sky over Independence Hall. These pictures truly captured the mood and meaning of the celebrations because of the foregrounds chosen. 

Composition 

The most difficult part of using a foreground is balancing the exposure between it and the fireworks themselves. Since it is impossible to know the correct or preferred exposure for the fireworks it is impossible to know in advance how to balance the exposure for the foreground. While this may be done “on the spot” an assistant or two would be necessary because of shortness of time of the fireworks show. To solve this problem use a foreground object that will work as a silhouette.

 

Prior to the event try to find out where the fireworks will be launched. Then visit the site before the show and look around. Sometimes the best location could be really far away and shot with a telephoto lens.

Pick your spot carefully because there will not be time to move once the excitement begins.

It’s hard to know how high the fireworks will go before they explode or how big they will be when they do. So after the first couple of shots check the composition. Make sure it’s not too loose and the fireworks are too small or too tight that they are going outside the frame. 

Equipment and Exposure 

A sturdy tripod and a cable or remote release are needed for successful fireworks photographs.

Start with the camera on the lowest ISO (100 or less). Set the aperture at ƒ/8 or ƒ/11 and the shutter speed on bulb (this keeps the shutter open for as long as the shutter release is held down; hence the need or a cable or remote release to avoid camera shake).

A small flashlight is a nice addition to you equipment for the shoot.

Take a shot or two then check the exposure. It should be close, but tweaking it a little should make the colors pop.

Technique

As soon as you hear the sound of the firework being launched open the shutter and hold it open for two or three bursts before releasing it. Blues don’t photograph as well as reds or greens, so hold the shutter open longer for a blue burst. For different effects change the length of time the shutter is open.

Out of around one hundred shots of a typical show twenty or so should be excellent photos.


The really cool thing about this – an expensive camera isn’t needed. Any camera that accepts a shutter or remote release, can be set to “bulb” and has a tripod socket should work. Many of the point and shoot cameras will work nicely.

So check it out before show. Find a spot with a workable foreground. Take a plethora of pictures. Isn’t digital great – no film cost!