Color is one of the most obvious elements of composition. Everyone knows that intense colors make people take notice of your images. Ever wonder why there are so many sunset and flower shots? Color is the reason.

Color has a couple of functions in photographs. First, color grabs the attention of the viewer. Perhaps, because this function of color is so palpable, many photographers miss the more sophisticated function of color: color sets the mood of an image. Since color is such an important compositional ingredient, we should use color to its fullest extend — incorporating both functions of color into images.

Grabbing the Viewer’s Attention

Utilizing color to grab attention is often rather straight forward. Generally, what is required is a saturated or intense color (or colors). This type of color tends to grab the viewer’s attention and focus it on the area of color. Furthermore, the color tends to keep the viewer’s attention for an extended period of time. When the viewer’s eyes do wander, the color tends to bring the attention back.

There are a couple of primary ways to use color to grab a viewer’s attention. The first way is to use very bold colors. An example of this approach would be a dramatic sunset. The second way to use color to grab a viewer’s attention is to use a mix of contrasting colors. An example of this approach would be an image of fall colors where there is a combination of red, orange, and yellow leaves.

Mood

Setting the mood through the use of color tends to be a more subtle application of color than when color is used to grab attention. However, that does not mean that it is any less powerful.

Different colors elicit different moods. Since there are a huge number of colors, it is not possible to cover all of the colors and their impacts on viewers’ moods in an article such as this one. Instead, a few colors will be reviewed in an effort to convey how colors affect viewers’ feelings.

Blue

Blue tends to bring forth feelings of calm or cold depending on how the color is used. This is a reflection of how we perceive the color in nature: the deep calm ocean is blue, peaceful cloudless skies are blue, and large amounts of ice have a blue tint. Therefore, when we wish to create a feeling of calm in an image, we should include blue objects in the image such as a peaceful blue stream or a blue lake.

Green

Green often communicates a feeling of lushness and vibrancy. Again, our feelings about this color are tied up with how we frequently experience the color in nature. We tend to associate green with spring and new growth. Green is frequently used in landscape photography. Green meadows, plants, and fields can be used to convey the mood of a flourishing scene.

Yellow, Orange, and Red

The last colors to be evaluated are the warm tones: yellow, orange, and red. These colors are associated with feelings of warmth and comfort (again the colors are tied to how we experience them in nature). Sunsets are a perfect example of how these warm colors create a comfortable feeling. When we wish to take advantage of these colors to create a feeling of comfort in our images, we can include objects such as flowers, plants, food, and rocks that contain these colors.

Light

So far, we have looked at using color to create mood in photographs by means of including objects, with the appropriate colors, in an image. However, there is another way to use color to create mood in an image – the use of light. Early morning and evening provides us with colored light which can be used to powerful effect in images. Before sunrise and about twenty minutes after sunset, everything is bathed in a soft blue light. This light can be used to create a calm mood such as an early morning shot of a beach bathed in the cool, blue light.

Just after sunrise and before sunset, the light is often very warm with red, orange, or yellow hues. This light can be used to create feelings of comfort such as a beautiful mountain peak bathed in a soft, warm, golden light.

Summary

When properly utilized, color can be one of the most effective methods of grabbing attention and conveying mood in an image.

Interested in finding out more about color and photographic composition? Check out Ron’s full length advanced composition article @ Advanced Composition.

When we, as photographers, plan a shot, one of the fundamental decisions that we must make is what we want to be in sharp focus. What we desire to be in focus can vary radically from one image to another. For an expansive vista of the Grand Canyon, we may desire that everything from the foreground to the farthest recesses of the canyon be sharp. For a macro shot of a flower, we may want a very narrow range of focus so that the viewers’ attention is concentrated at a specific point in the image.

The issue of what is and is not in focus is referred to as depth of field. From a practical point of view, depth of field can be defined as the nearest point to the farthest point that appears sharp in an image. So, the question now becomes, “How can we control the depth of field?” Actually, there are several factors that we can control that will affect the depth of field.

Aperture

The camera aperture has a very large impact on depth of field. Basically, the smaller the aperture is, the greater the depth of field that will result. So, if you want a large depth of field, you should use a small aperture. For a small depth of field, you will need a large aperture.

Focal Length

Increasing the focal length reduces the depth of field. Conversely, decreasing the focal length increases the depth of field. Thus, long lenses typically have small depth of fields, and wide angle lenses have large depth of fields. This is one of the reasons that landscape photographers often use wide angle lenses. A wide angle lens combined with a small aperture produces a very large depth of field.

Distance

The greater the distance is from the subject, the greater the depth of field that will result.

Lens Sharpness

Lens sharpness has an impact on depth of field. Sharp lenses are sharper throughout the field of view. This increases the depth of field.

Sensor or Film Size

Okay, this one is a little bit more complicated. In one way, larger sensors in digital cameras or larger film in film cameras produce greater depth of field because the image from a larger sensor or piece of film does not need to be enlarged as much in order to create a print. The less an image is enlarged, the sharper it will appear. This increases the depth of field. On the other hand, cameras with larger sensors or film tend to use longer lenses which decreases the depth of field. So, what is the overall impact? Usually, the larger sensor or film cameras will produce a smaller depth of field. However, that is not a guaranteed thing as much depends on how the camera is used.

Print Size

The general, the larger the print is, the smaller the depth of field that results. This is because the print has to be enlarged more from the original size of the sensor or film in order to create a large print. This softens the print detail and reduces the depth of field.

Focusing Distance

When it comes to the focus distance, there is one very special focusing distance called the hyperfocal distance. The hyperfocal distance is the shortest distance from the camera such that everything from approximately half that distance to infinity will appear sharp. Focusing the camera at the hyperfocal distance results in the greatest depth of field possible for a given combination of aperture and focal length.

There are a number of ways to determine the hyperfocal distance. Probably, the most common method is to use a depth of field guide. A depth of field guide is an inexpensive, small device that allows a photographer to determine hyperfocal distances as well as other depth of field parameters.

In addition, photographers that have older lenses may find that their lenses have depth of field scales engraved on the lenses. To set the hyperfocal distance, one simply aligns the infinity symbol with the color coded depth of field lines. Unfortunately, most modern lenses no longer have depth of field scales.

Summary

With the above information, you should be ready to head into the field with full control over the depth of field in your images.

If you are interested in learning even more about depth of field, please check out Ron’s full length depth of field article at Depth of Field

Wildflowers really attract attention. After all, they offer beautiful colors, graceful pedals, and dynamic color contrast. Just watch next time you pass a field full of wildflowers, and you will almost certainly see photographers nearby. On the other hand, while wildflowers are so beautiful, capturing that beauty in a photo takes some skill. In that light, this article looks at seven things that you can do to capture beautiful wildflower photos.

Start with Pristine Flowers

In order to create great wildflower images, one must start with the proper components. In this case, the proper components are the wildflowers. However, not just any wildflower will do. The wildflowers must be in pristine condition. Wildflowers that are not perfectly fresh, have marks, or have been partially eaten by bugs should not be used.

Identify a Center of Interest

Next, it is necessary to identify a strong center of interest. The center of interest is the part of the image that draws the viewer’s attention. A couple of examples are a ladybug on a wildflower pedal or a wildflower center that stands out from the rest of the wildflower. The center of interest is very important because it not only draws the viewer’s attention but also helps hold the attention on the image. Viewers quickly lose interest when an image has a weak center of interest.

Composition

Great composition (the way the images are arranged with respect to each other in an image) creates great photos. Now, there are many ways to compose an image. However, one very easy to use method that produces very good results is the rule of thirds. The rule of thirds requires the photographer to mentally divide a scene into thirds (both in the vertical and horizontal directions). Then, the center of interest is simply placed at one of the intersections where the lines cross.

The rule of thirds can create some create compositions. These compositions usually have a balanced yet dynamic feel to them. Conversely, placing the center of interest at other points in the image can sometimes create weaker compositions. As an example, when the center of interest is placed at the center of an image, the result may be a weak image that has a static or less dynamic feel.

Subtract to Improve

With the center of interest properly placed within the image composition, the rest of the image objects should serve to draw attention to the center of interest. In other words, the other objects should direct the viewer’s eye toward the center of interest. The art of subtraction becomes very important at this point.

The art of subtraction involves removing every object from an image that does not help direct the viewer’s attention to the center of interest. For instance, if a stick is along the edge of an image and does not help the center of interest in any way, the stick should be removed from the image. This may require that the photographer recompose the image.

The art of subtraction is one of the best ways to strengthen an image. This is because any object that does not support the center of interest will distract from it by drawing the attention of the viewer from the center of interest.

Move in Close

When you move in close to the center of interest, the center of interest becomes larger and stronger. Moving in close also removes uninteresting detail that may be located along the edges of the image.

Contrasting Colors for more Dynamic images

Our attention is strongly drawn to color contrast. Furthermore, this is not just a psychological phenomenon. It is actually build into our sensory/perceptual systems. In other words, we are hard wired to respond to color contrast. As photographers, we can use this to our advantage by seeking out wildflowers with high color contrast. Thus, wildflowers with two or three contrasting colors make great subjects for photos.

Leading Lines

This is a very powerful technique. In an image, leading lines point toward the center of interest. Leading lines actually do two things simultaneously. They strongly direct the viewer’s eye to the center of interest, and they emphasize the graceful nature of the wildflower in an image. Leading lines can be formed by the edges of the wildflower pedals, by colors of the wildflowers, or any other line or object that points toward the center of interest.

Summary

With these seven techniques, you should be on your way to creating great wildflower photos.

Interested in finding out more about photographing flowers? Check out Ron’s full length flower article at Flowers.

Now that we have completed setting up for a waterfall shot in Part 1 of this series, we are ready to look at actually taking the shot.

Composition

Identifying and capturing strong composition is an extremely important part of creating powerful waterfall images. While the purpose of this article is not to carry out a thorough review of composition, a couple of aspects of composition (curves and environment) will be covered.

When used properly, curves can really strengthen an image. There are two types of curves that can be used to improve waterfall images. The first type of curve is formed by the water itself. When the flow of the water forms curves as the water flows toward, down, or away from a waterfall, the waterfall is much more interesting than a waterfall where the water just flows in a straight line. Basically, this type of curve adds some elegance to a waterfall image. The second type of curve that works well with waterfalls is any object that forms a curve that points toward the waterfall. This type of curve serves to direct the viewer’s eye toward the waterfall. This reinforces the waterfall as the center of interest and strengthens the image.

The other component of composition that we will cover is a waterfall’s environment. A waterfall’s surrounding environment can really spice up a waterfall image. Sometimes, the falling water alone just isn’t all that interesting. However, when the falling water is placed within the surrounding environment of rocks, trees, and vegetation, the waterfall can come alive. In essence, the surrounding environment can add character to the waterfall.

Shutter Speed

What shutter speed should be used to blur the falling water? That seems to be the first question that people usually ask about shooting waterfalls. However, there is no such thing as one correct shutter speed for shooting waterfalls! Rather, the proper shutter speed is a function of five factors:

1. The amount of blur desired
2. The volume of water
3. The speed of the water
4. The distance between the camera and the waterfall
5. The direction of the water flow with respect to the lens

So, the best shutter speed for one waterfall is different than the best shutter speed for another waterfall. That may seem a little bit disappointing. However, if you are using a digital camera, it is actually pretty easy to determine the best shutter speed for a particular waterfall situation. All you need to do is take a few test shots (each at a different shutter speed) and check the results on the camera monitor. Zooming in on the monitor will allow you to examine the image detail to determine if the water looks the way you want it to look.

Of course, it is nice to know where to start testing. When photographing large waterfalls that have significant volumes of turbulent water, 1/100 second is a good shutter speed with which to start. This shutter speed will capture the fierce nature of the water fairly well. Smaller waterfalls that have less water tend to use longer shutter speeds. When it is desired to create a blurred look to the water, a shutter speed of 1/2 second to 2 seconds is a good place to start.

Proper Exposure

As with all images, it is important to get the proper exposure when photographing waterfalls. Probably, the biggest risk that you will encounter when determining the best exposure for a waterfall is the potential clipping of the water highlights. If this occurs, the detail in the water is lost and can not be recovered. As a result, the water becomes a featureless area of white. This degrades the quality of the image. Luckily, there is an easy way to deal with this problem. All you need to do is take a test shot and look at the histogram on the camera monitor. If you see the histogram cut off on the right side, the highlights have been clipped. In this case, you need to reshoot the image with less exposure.

Summation

With these tips, you should be on your way to capturing some great waterfall images.

Interested in finding out more about photographing waterfalls? Check out Ron’s full length waterfall article at Waterfalls.

Waterfalls seem to grab the hearts and minds of people. Go to any location that has one or more waterfalls and it is pretty much a guarantee that they will be a major attraction, if not the main attraction, of the area. However, as beautiful as waterfalls are, it is not always easy to capture that beauty with a camera. It is easy to produce pictures of waterfalls; it is not so easy to produce powerful images.

Waterfalls provide their own unique set of problems which requires a unique set of solutions. This article is about those unique problems and the solutions that allow photographers to produce images that communicate the power and beauty that is inherent in the waterfalls that stand before their lenses. Part 1 of this two part series concentrates on setting up for a waterfall shoot. Part 2 concentrates on capturing the waterfall image.

Waterfalls and Weather

One of the most important factors in waterfall photography is the weather. The problem is that waterfalls do not photograph well in nice weather. Conversely, the best weather for waterfalls is actually overcast weather.

Some waterfalls photograph best in light overcast. Light overcast produces a light that is gentle but still has enough power to bring out the colors in a scene. Other waterfalls photograph best in strong overcast. Strong overcast can produce a very moody image with a power to convey that sense of mood. In fact, very powerful waterfall images can even be produced in rainy weather (during a break in the rain).

Keep Your Old Filters

One of the major challenges in photographing waterfalls has to do with water getting on the lens (or the filter in front of the lens). Powerful waterfalls can drop huge amounts of water which produces a mist. In other cases, the weather may produce fog, drizzle, or rain that gets on the lens. All of this can be exacerbated by wind (which always seems to be pointed directly toward my lens).

While there is no perfect solution, a partial solution can be found in an old filter. Just put the filter on the front of the lens before the equipment is set up. This filter should stay in place while you determine your composition and settings. Once you are ready to take your shot, the filter is removed.

Tripod

I know, it is tempting to shoot a waterfall with a hand held camera. It is so quick and easy. Unfortunately, the quick and easy way will, very likely, not produce a great shot. This is because a large part of the waterfall experience is the large amount of water that goes down the waterfall. To produce a nice waterfall shot, a slow shutter speed is required to properly capture the sense of flow of the water. The slow shutter speed requires the use of a tripod.

Manual White Balance

Light that illuminates waterfalls often has a color cast. In overcast or rainy weather, the light will tend to be a bit blue. Waterfalls that are located in a forest may be illuminated by light that has a green tint that the light picks up as it filters through the leaves. Consequently, it is necessary to adjust for the white balance (i.e., color) of the light. The auto white balance option on your camera is not the best choice under these conditions as it may not produce accurate colors. The preset auto white balance options may also produce less than perfectly accurate colors. Your best choice is to perform a manual white balance (also known as a custom white balance) to get accurate colors. The manual that came with your camera should explain how to perform a manual white balance.

Polarizer

Objects that are wet tend to produce glare. This glare is often polarized. This is particularly an issue with waterfall shots because the rocks and vegetation near the waterfall will be wet and will almost certainly have a certain amount of glare. A polarizer will remove the glare. In addition, a polarizer has a secondary effect. By removing the glare, the color saturation will improve.

Bubble Level

The human eye is good for a lot of things. However, one thing that it is not very good for is judging whether a camera is level. So, in order to get images that are level, it is best to use a bubble level for leveling the camera. Bubble levels are fairly inexpensive, small, and easy to use. They fit into the hot shoe of the camera. They work just like a carpenter’s level. All you have to do is to center the bubble in the level and the camera will be level

Summary

Now that the camera has been properly set up for the waterfall shot, Part 2 of this article will cover the capture of the waterfall image.

If you are interested in learning even more about waterfall photography, please check out Ron’s full length waterfall article at Waterfalls.