by Jim Krause
And that's not to say all photos of sporting or play outings need to be of the planned variety; whenever you're with someone who has spontaneously decided to express herself physically (jump on the couch, do a handstand, dance one-legged, etc.), that's about as good a time as any to reach for a camera and begin shooting.
The low morning sun casts a long shadow as a lone runner makes her way around a quarter-mile track. The image was converted to monochrome using Photoshop's BLACK AND WHITE controls. Contrast was heightened with CURVES adjustments. After these effects had been applied, a visual implication of motion was added to the scene by incorporating a subtle layer of horizontal texture (created by applying the MOTION BLUR filter to a semi-opaque layer of noise that had been generated with the NOISE > ADD NOISE filter).
It's not like I arrived at this photoshoot specifically hoping to capture a dramatic black-and-white image of my model in action. When I'm taking pictures for my own enjoyment (or for my own book…), I usually wait until I see the results of a photo session before deciding which treatments will best enhance the images. Consider doing the same with your cache of keeper photos: Treat each image according to what you think will best suit that photo's content and conveyances.
The warm-up portion isn't always the most exciting part of an athlete's workout. Still, a lot can be done to spice up the more relaxed moments of your subject's sporting routine: camera angles that create dynamic compositions can be sought; lenses that produce intriguing views can be used (the near image was shot with a fisheye lens); and color-enhancing and contrast-boosting treatments can be applied in Photoshop.
Speed can be conveyed through the blur induced by the motion of the camera and/or the subject. When you follow the motion of a moving subject (known as panning), the resulting image will tend to record the subject clearly while blurring the background (as long as the shutter speed isn't too fast or too slow). When the camera is held still as the subject goes past, the subject will appear blurred against a sharp background (again, shutter speed will affect the outcome).
A climber considers her options as she makes her way up a sand-stone cliff. Consider your options, too, when finalizing images. Conveyances of action can be boosted by increasing a photo's contrast. How much is enough? How much is too much? Find out by using CURVES controls to push the level of contrast beyond the point of reason, and then pull back on these controls until you like what you see. Consider using the masks of CURVES adjustment layers to apply different amounts of contrast to different portions of a scene.
Clear skies are fine and dandy on my days off, but on days when I'm shooting pictures for a living, bring on the clouds. I love clouds — many or few; big or small; high or low; fluffy, puffy, stringy or strung out; with or without silver linings. The forms, shapes, values and textures of clouds within a scene can turn a ho-hum scene into a image filled with intriguing visual extras.
Time out: With her arms folded behind her back, our subject takes a breather during a soccer game. A much taller player from the opposing team keeps watch on the action as well (players come in a wide variety of shapes and sizes in the junior leagues). This photo was shot with a fully zoomed 70–200mm telephoto lens. The lens' aperture was opened to f2 — a setting that resulted in a shallow depth of field around the position of the two players.
Whether you're taking action photos or photos of inaction, always look for vantage points that contribute to an interesting composition. The near image was composed with the subject well off-center and pushed to the top of the frame — a composition that allowed for the inclusion of a bit of tiled typography and plenty of watery-looking water. The adjacent photo was snapped with half the lens underwater (the camera was housed in a waterproof case). More images from this photoshoot are featured.
I'm holding her, so who's holding the camera? The photos on this spread were recorded by hanging my SLR by its strap around my neck and securing the strap against my body using a length of rope. Not a very elegant setup, but it worked. I put the camera in continuous-shooting mode and used a small battery-operated remote unit (on which the button could be locked in the “on” position) to get the shutter snapping photos right before liftoff.
Since I was swinging my young friend in circles with the camera in continuous-shooting mode, I ended up with what looked — and functioned — like a series of motion picture frames of her airborne adventure (this spread features four of my favorite frames). How about shooting a continuous sequence of shots such as this, and then using software to compile them into a looping QuickTime movie? (Inexpensive stop-action image-compiling programs can be found online.)
Join in on the fun. The near shot was taken by riding my bike in front of the model while aiming the camera backward with one hand and steering with the other (you may have noticed my shadow to the right of the model's). Naturally, I wasn't able to look through the camera's viewfinder while taking pictures this way. The wide-angle view of a 12–24mm lens helped ensure my aim was more or less on target. The far image on this spread was shot with a fisheye Lensbaby lens.
Why not add a mask of some kind to your sporty model? Here, the model has been given an industrial-grade respirator and a pair of aviator goggles to mask his identity and add ambiguous counter-culture conveyances to the images. What about dressing your model in a serious, silly or whimsical full-body costume and having him perform some action scenes?
If you have a digital SLR, then you probably also have a wish list of lenses you'd like to purchase. I shoot most of my photos with one of six lenses, three of which were used for this spread. The near image was recorded with 70–200mm telephoto, a 12–24mm wide angle was used to for the next photo, and a Lensbaby was used for the two on the opposite page. My other preferred lenses are a 50mm fixed focus, a 24–105mm standard zoom and a 15mm fisheye. My advice: Make the most of what you've got and add lenses when finances allow.
A Lensbaby was attached to my SLR to record the two photos on this page. (Lensbaby is the trademarked name of a type of lens that's mounted to the end of a short flexible tube.) When taking pictures with this lens, the photographer can bend and twist the lens' mount to achieve different focus and depth of field results. Lensbabies are relatively inexpensive. They are also small and a lot of fun to shoot with. I almost always make room for one in my shoulder bag when I'm out taking pictures.
Man or motorcycle — who's the model here, anyway? If the sporting equipment involved in your photoshoot is attractive enough, consider switching your camera's focus from the model to the machine (or the ball, racquet or mitt — it all depends on the sport). This shallow depth of field image was recorded with a fully zoomed 24–105mm standard zoom lens with its aperture opened wide. I was on my belly for this shot since I wanted the model and the motorcycle to appear on the same horizontal plane.
Speaking of low perspectives, when was the last time you crouched, sat or lay prone in order to frame a photo? Try it out the next time you're having trouble finding a satisfying viewpoint of your subject (it works for me, more often than not). If you find yourself being as fond of low vantage points as I've found myself to be, you may want to consider doing what I've done: Purchase a pair of semi-fashionable utility pants with a double layer of fabric in the knees.
15
Aqua
Colorful, colorless, agitated, placid, frozen, boiling, shallow, deep, falling, rising, flowing, still, abundant, scarce.
It's easy to think of adjectives — many of them contradictory — when describing the attributes and conditions of water. And few, if any, readily available natural elements can compete with the variety of ways in which water can be incorporated into photos of people.
Taking pictures around (or in) water means taking extra care to keep the camera safe. In most cases, the risks can be easily minimized: Many of this chapter's photos were taken from dry land, others required that the camera be carried into the water and held high, and a pocket digital camera was placed in a waterproof housing for the shots where contac
t with water could not be avoided.
The plan for this photoshoot was to have my model wade into the tide wearing a vintage dress fitted with a long train of sheer fabric. Beyond that, there was no plan other than to see what kind of photos we could get. The evening was perfect, the dress and the model looked great, and because darkness was falling quickly I began shooting before we even stepped into the water. (And I'm glad I did; this shot of the subject fanning her train into the wind was one of my favorites from the evening.)
The seashore is a great place to visit if you want to take a lot of different kinds of pictures of one person, and want to stay in one place doing it. My model and I arrived at this beach in the afternoon and left after dark. During that time, my model posed with a veil, leapt along the shore, defied gravity wearing a tutu, climbed rocks and took a walk into the waves (as seen on this spread and the next).
We hiked for two miles through a forest wearing packs filled with clothing, props, camera equipment, water and food to get to this beach. This set of photos was our last of the day, and by the time we began shooting, the September sun had set and the air felt nearly as chilly as the frigid coastal water. Wading into the ocean for these shots required working quickly. It was only about ten minutes before our feet and legs grew too numb to continue. All this to say, thank goodness for uncomplaining models with a sense of adventure.
The photos in this series were captured using a 12–24mm wide-angle lens — a nice lens, but not one particularly suited for low-light conditions. A flash was used to add fill-in detail to the scene on the far page. The near image was taken minus the flash, and with the camera's ISO setting raised to 800. The colors in each picture were muted and shifted using Photoshop's HUE/SATURATION controls. Tints were added to each image using PHOTO FILTER treatments.
Waterproof cases for cameras can cost about as much as the cameras they're designed to protect — and that's the reason I don't own a waterproof case for my SLR. I do, however, own a relatively inexpensive watertight case that seals around my pocket digital camera. How about you? Interested in going underwater without going into debt? What about shopping for an affordable case that will protect your pocket digi-cam?
Given the lack of strong light in this pool's environment, my pocket camera was incapable of recording crisp, natural-looking photos (especially when shooting underwater). This prompted me to look for interesting ways of processing the photos — ways of overcoming the shortcomings of the originals. Resist the urge to panic if your photos are less than impressive straight from camera. Instead, see it as an opportunity to explore the image-enhancing capabilities of software.
The images on this spread were recorded at the deep end of the pool. I submerged by blowing the air out of my lungs until my feet hit bottom and waited there until my model jumped in from above. I had to spring to the surface after each shot and take a few breaths before going under for the next photo.
Keep in mind these pictures were snapped with a basic pocket camera in dim underwater light. As a result, the original photos were pale and lacked contrast. A strong application of CURVES controls was used to create the high-contrast images seen here. SOLID COLOR adjustment layers were used to add a wash of color to each photo (this adjustment layer's pull-down menu was set to “multiply” for the far image, and “color” for the near photo).
Watertight cases are good for more than just taking pictures underwater. They can also be used to protect the camera if you want to get close the action as a friend waters the lawn, reads in the rain, hangs out in the shower, takes part in a water-balloon fight or rides a water-based amusement park ride.
As moviemakers know, it's a real pain to shoot pictures in the rain. That's why most of the rain you see in movies isn't rain — it's the spray coming from one or more well-placed hoses. The rain in these photos was similarly faked: I had an assistant stand on a ladder and use a garden hose to spray water onto the model's umbrella.
A businessman sipping a drink while reading the paper is nothing new. And neither is a backyard swimming pool. But when a way has been found to combine the two, now that's an image that calls for another look. More photos of this kind can be seen in chapter 9, All Dressed Up and…
Don't have a waterproof housing for your digital SLR? Want to use it to record some up-close shots of watery action anyway? Consider wrapping the camera in plastic food wrap to protect it from the spray. When I use this technique, I pull a single layer of the thin plastic tightly over the front of the lens (more layers might interfere with a clear shot of the action) and then wrap extra layers around the remainder of the camera. The string of shots on this page were shot in this manner using an SLR set in rapid-fire mode.
The shower scene: My model and I put on swimsuits and jumped into the shower together to record the shots for these two pages. During the photoshoot, I was reminded of a bumper sticker I saw during a recent water shortage; it read, “Save water, shower with a friend.”
A pocket digital camera was sealed inside a waterproof housing to record the photos on this spread. The action in the four central images was frozen by using the camera's flash. (What looks to our eye to be a continuous stream of water coming from the showerhead is apparently a steady stream of water blobs — who knew?) The two outermost images were shot without the camera's flash. (In these two photos, the water appears more as it would to the eye.)
As though reaching through a silvery mirror, a pair of hands reach into a fish tank (filled with water, but empty of fish). This photo was taken by filling a fish tank with water, setting it on a stool, having the model extend his hands into the water and aiming the camera toward the fish tank from below. A sheet of silver paper was placed behind the fish tank to hide the model's body.
Viewed from certain angles, the surface of water loses its qualities of transparency and acts as a mirror. From other angles, water is so transparent the eye has trouble even knowing it's there. Interestingly, this photo was taken under conditions that allowed water to exhibit these opposing visual states at the same time (a few tiny bubbles on the subject's arm provide the only real clues that this is an underwater scene).
16
Word Play
Given the rise of digital media, and the ease with which words and pictures can be combined, it's a wonder there are still so many photographers who have never explored ways of adding text to their pictures. There is literally no end to the ways in which software can be used to bring letters, words, sentences, poems and stories into the same frame as a photographic image.
Many photographers are far more comfortable shooting pictures than they are with composing lines of poetry or prose. If that's true of you, consider forming a partnership with someone who is as competent with a pen as you are with a camera. How about collaborating to come up with a series of intriguing word-and-image compositions?
Words sometimes appear in the periphery of a photograph. Other times, they show up in center-of-attention roles (as in the case of this image). Words also appear on the clothing of people within a photo, and as part of background elements like signage or graffiti. Words can also be added digitally — either within, over the top of or alongside a photographed image. Examples of all these text-and-image incarnations — and more — are featured in this section.
Thank goodness for Photoshop. It was cinch using a text layer to add words to the blank sheet of cardboard my model held for this shot (hand lettering or silkscreening the font would have been far more costly — both in terms of the time and the money required). Another perk of adding text after the photo was taken was that I was able to think about the message I wanted to add to the scene — and try out a few different options — before committing to something final.
Going commercial: On the near page, a trio of images from chapter 6 have been used as backdrops for a set of layouts for promotional banners. On the far page, a photo from chapter 1 appears as a backdrop for a list of songs on the back of a CD package. If you are a camera-carrying graphic designer, ther
e is no end to the ways in which your photographic skills can be paired with your design know-how.
As any graphic designer could tell you, there are infinite ways of combining text with images. Not only are there endless typefaces to consider, there are also countless ways of positioning text in ways that visually connect words with an image. If you are new to the notion of adding text to images, and would like to become better acquainted with the possibilities, begin by taking note of advertisements and other visual material that feature photos and text together. Learn through observation and hands-on practice.
Glitz by association: A model sneaks a peek into a scene that comes pre-captioned with a complementary word in the back-ground. Keep your eyes open for interesting billboards, signs, street markings and graffiti. Consider using your pocket camera to snap photos of these textual and symbolic messages wherever you find them; snapshots like these can serve as reminders of possible shooting locations for future portraits.
What about making the words, symbols or messages on your model's attire the focus of your photo? How about shooting a “portrait” of one of your subject's favorite logo- or word-bearing shirts or accessories?
A set of labels (also known as call-outs) has been added to the first photo on this page. How about enhancing a photo of your own with informative, descriptive or humorous labels? What about using a symbol or an illustration — instead of words — to convey your subject's thoughts (as seen in the middle image). The type in the third image has been rotated and treated using Photoshop's PERSPECTIVE tool.