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Anecdotes: Egypt

I finally had my few seconds.

I was sent to Egypt to photograph the country and it’s people by Oil Tools Limited, a company based in London. The company was going to partner up with the Egyptian government to begin drilling in the coming year; I had pretty much a free hand which made it all the sweeter.

Whether it was the country, the people, or the historical monuments, the company really didn’t care as long as they had enough of each to use for the next couple of years. In those days we called these kinds of assignments Plums.

Early one morning I went out with a group of Egyptians to take their portraits…my transportation? A stubborn, uncomfortable, smelly camel. It didn’t take long for my new friends to figure out that I wasn’t keen on the idea of spending several hours trekking across a very hot desert that even Moses wouldn’t have willingly done; especially when he had to do it for forty years!!!

Egypt 2 Getting to the locations wasn’t too bad, at least it was cool since the sun had not come up. I had a real band of comedians that laughed at everything, and would not give each other one second of peace as I was photographing each of them; In the photo above the model kept turning away from the camera.

Finally I told everyone that if they would give me just a few seconds with him I would jump on my camel and shoot while riding…they did so I did!!!!

FYI, the shift in color of me on the camel is what happens when the sun had been up for twenty minutes.

They did, so I did!!!

They did, so I did!!!

Visit my website at: www.joebaraban.com, and check out my 2017 workshop schedule at the top of this blog. Sign up for one of my “Stretching Your Frame of Mind” workshops I conduct around the planet, and come shoot with me sometime…but not on a camel.

Sign up for my online class with the BPSOP, and I’ll show you how to incorporate the elements of visual design into your imagery.

Send me your photo and question to: AskJoeB@gmail.com, and I’ll create a video critique for you.

JoeB

 

 

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    Much more better

    Much more better

    I’ll use it only when I know that the people reading it will realize that I really do know that it’s incorrect to say it… grammatically illegal!!!

    However one must note that one cannot place more or most before better. Why is that? Simple. Better itself means “more good”. So “more better” would be “more more good” which doesn’t sound good.

    But I digress!!

    Ok, you’re asking yourself how in the world can he (Joe) segue this into something that relates to photography?

    When I’m talking to one of my students that take my online class with the BPSOP, or when I walk up to someone that’s in one of my “Stretching Your Frame of Mind” workshops someone on the planet, or in the daily critiques during that said workshop, I’ll say it’s “much more better” if you compose your photo so as the subject is way off center…Why?

    Well there’s two answers: The answer to the first why is to get a reaction from them since what I say is not grammatically correct. I want the short discussion to be remembered, and I’ll do that anyway I can; a brief chuckle before my explanation is just the ticket!

    The answer to the second why is that when you place the subject close to the edge of the frame, you’re creating visual tension. Don’t ever let anyone tell you different. Especially those old school hardliners (usually the officers in their camera club) that live and will die by the ever so silly Rule of Thirds.

    So the next time you’re out shooting and you’re in a position to have your subject either somewhere in one of those pesky (Rule of Thirds) intersections go ahead and take the shot. However, before you move on to the next photo, try placing the subject close to the edge of the frame. Realizing you’ve probably been brain-washed, take a leap of faith while getting over the hump.

    When you’re sitting in front of your computer place both versions side by side and really study them. Be honest with yourself and decide which one offers the viewer not only decidedly more visual interest, but visual tension as well.

    Visit my website at: www.joebaraban.com, and check out my 2017 workshop schedule at the top of this blog. Come shoot with me sometime.

    Don’t forget to send me a photo and question to: AskJoeB@gmail.com, and I’ll create a video critique for you.

    JoeB

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      I see three triangles with the help of the edges of my frame.

      I see three triangles with the help of the edges of my frame.

      In my latest part I post, I was dealing with distortion. I talked about the difference you get when you stand off to one side or the other while photographing a building, or standing in the middle of it to achieve symmetrical distortion.

      In this post I want to talk about the entire composition; thinking about everything that’s contained within the four edges of your frame. I’m talking about both the positive space (the space that has mass), and everything else that would be called the negative space. I call it,  “The whole enchilada”, and several years I wrote a post on it.

      When I talk to my online students at the BPSOP, and in my daily critiques with those that take my “Stretching Your Frame of Mind” workshops I conduct around out planet, I talk about why we shouldn’t crop anywhere but in the camera.

      There are several reasons, one of them is to use the edges of your frame as a compositional tool.  If you’re familiar with my teachings, that is incorporating the elements of visual design into your photography, You know that shape is one of the basic elements, and squares, circles, rectangles and triangles are the four basic shapes.

      If you were to think about those four shapes when you’re composing one of your photos, it would open up a new door for you as far as creating visual interest and tension. Of course, this would take right-brained thinking to be able to see these elements.

      Keeping in mind what I just talked about in my part I post on symmetrical distortion, and add to that thought this post on shapes, and using the edges of the frame as a compositional tool, you’ll come up with images as the one I submit to you now.

      In composing this photo of an office building in the Galleria area of Houston for the oil company that took up several floors, I thought about shapes; specifically triangles. By using the right side of my brain, I no longer saw a building (left brain thinking), I saw a triangle. I thought about  the triangle I was creating with the building by standing (up close and personal) in the center, and the two triangles I created on either side all with the help of the edges of my frame.

      So my fellow photographers, the next time you go out shooting, think about the effects of negative space that borders and defines the positive space ie., your subject, and try to create shapes wit

      Visit my website at: www.joebaraban.com, and check out my 2017 workshop schedule at the top of this blog. Come shoot with me sometime.

      Send me a photo and question to: AskJoeB@gmail.com, and I’ll create a video critique for you.

      JoeB

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        Symmetrical distortion

        Symmetrical distortion

        To many of my fellow photographers, distortion is very bad and would rather not take the shot than to have it look distorted; I agree, in part. Having said that, there are times when distortion is not a problem and can actually help you take your image what I refer to as “up a notch”.

        There’s two aspects to distortion that I want to talk about in my part one and two posts on the subject, and that has to do within the  architectural  genre, and both come up in my online class with the BPSOP, and in my “Stretching Your Frame of Mind” workshops I conduct all over our planet.

        I often get submissions from photographers that have buildings in them, and the majority of the time they are falling/leaning over to one side or another. The most common reason for that is where the photographer decides to take the picture from. Where you stand is very important in keeping the building straight.

        If you’re standing off to the right or left of the middle of the building and aim your camera back placing the building in where you think the center of the frame is you’re going to get some form of distortion; and to me it’s not the good kind.

        You’re not going to be able to straighten both the vertical and horizontal lines at the same time, you’ll only be able to straighten one of them and there lies the problem. You’re going to have distortion if you tilt your camera up to get the entire building in no matter what; it’s called Parallax Distortion.

        What you can do to make it look better is to make the distortion symmetrical by standing right in the middle of the building, as seen in my photo of the First International Building in downtown Houston.

        My next post will deal with the second aspect of distortion, so stay tuned.

        Visit my website at: www.joebaraban.com, and check out my 2017 workshop schedule at the top of this blog. Come shoot with me sometime.

        Send me a photo and question to: AskJoeB@gmail.com, and I’ll create a video critique for you.

        JoeB

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          Workshop Stuff: Maine 2017

          I was walking around the festival when I saw this happening.

          I wanted to repeat some of my earlier posts that dealt with photos taken from my Maine Media Workshops to show you some great images that are taken during the week. This coming July marks my 29th year there and I look forward to teaching there every year.

          There’s several workshops going on that week so the energy level is way up there. All classes eat all three meals (great food) at the homestead so there’s constant photography chatter and you see people taking pictures all around the campus. Each year starting from the beginning I’ve picked the same week because it coincides with the Lobster Festival just down the road in Rockland; the reason is simple.

          Beside what my fellow photographers have come to expect as far as small fishing villages, lighthouses, flowers in peak season, and landscapes in general, the Lobster Festival offers a completely different set of photo opportunities: color, light, design, great people watching and portraiture, and lots of movement; not counting the variety of foods including seafood and plenty of lobster.

          As I do in my online classes with the BPSOP and my own personal “Stretching Your Frame of Mind” workshops I conduct around the planet, I show photographers how to incorporate the elements of visual design into their photography. I go out with the class in the mornings as well as the sunset shoots to see what people are thinking and I’ll always talk to each one individually offering advice and perhaps a different way of looking at the same subject.

          Here are some classes:

          2012 Maine Media Workshop

          2013 Maine Media Workshop

          2014 Maine Media Workshop

          2016 Maine Media Workshop

          2015 is not shown because of the recovery of hip replacement surgery.

          Since I know that so many photographers have to plan so far ahead for vacation time, I wanted to send a link out now so people have a chance to read the description and sign up:

          https://www.mainemedia.edu/workshops/photography/stretching-your-frame-mind

          Visit my workshop at: www.joebaraban.com, and watch for new workshops at the top of this blog. Come shoot with me sometime.

          Send me a photo and question to: AskJoeB@gmail.com, and I’ll create a video critique for you.

          JoeB

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            My Favorite Quotes: The Temptations

            It was a smiley face winking at me.

            It was a smiley face winking at me.

            I usually read or hear something first that get my attention and gives me some of my ideas, then I apply it to conversations I have with my online class with the BPSOP, and with my fellow photographers that sign up for my “Stretching Your Frame of Mind” workshops I conduct around the planet. In this case I had the idea/feeling before hearing or reading it somewhere, and followed it up by searching the web to see if others experienced similar ideas or feelings.

            The feeling I had was when I remembered my mother always telling me that I had a huge imagination and it was always running away with me.

            im·ag·i·na·tion

            iˌmajəˈnāSH(ə)n/
            noun
            noun: imagination; plural noun: imaginations

            “The faculty or action of forming new ideas, or images or concepts of external objects not present to the senses. The ability of the mind to be creative or resourceful”.

             Here’s what made me remember that:

            I was in Rockport, Maine conducting a workshop and while shooting down the road in Camden, I saw a table with an umbrella and a coffee cup against a wall. I moved the table over to the right to avoid a broken window to keep it clean and to have balance and negative space surrounding  and defining it.

            When I stepped back to take the photo, I didn’t see what I thought I was going to see, instead I saw a smiley face winking at me!!

            The next day I took my class to the Lobster Festival down the road in Rockland (which is the reason I have picked this same week to teach there for twenty-eight years) and while walking around I stopped suddenly to take a photo of a man putting batter on fish. All of a sudden I was no longer looking at a man, but instead a living American flag…Old Glory. It was my imagination running away with me once again.

            "Old Glory"

            “Old Glory”

            So my fellow photographers, the next time you go out shooting open up your mind and let it wander around. Give it a try, follow it because it just might lead you to a place you’ve never been before. Use that imagination of yours and you’ll see that it’s a very powerful tool.

            Henry David Thoreau once said, “It’s not what you look at, it’s what you see”.

            Btw, one of the first things that popped up while searching the web (and what this post is named after and for) was this song, and one of my favorites by the Temptations…how serendipitous was that????????????

            Just my imagination running away with me

            Visit my website at: www.joebaraban.com, and check out my 2016 workshop schedule at the top of this blog.

            Don’t forget to send me a photo and question to: AskJoeB@gmail.com, and I’ll create a video critique for you.

            JoeB

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              Look ma, no Photoshop!

              Look ma, no Photoshop!

              I miss the good old days when you had to actually think before you pressed the shutter; you had just one click to do it right.

              By today’s standards, it was very difficult to do it all in the camera, but since we didn’t know any better it seem the natural thing to do; it was the only thing to do!

              I often think back to some of my photos and think what they would have looked like if Lightroom was around and Adobe was not just a type of house in New Mexico. Maybe I would have been dangerous, but i like the way it turned out.

              Having said all this, I certainly don’t sit around every day pining for days gone by. I like to rely on Photoshop when something I want to do can’t be done at that moment…the decisive moment when I press down on the shutter and record what is.

              What I don’t do and what I tell my online students with the BPSOP and my fellow photographers that sign up for my “Stretching your Frame of Mind” not to do is tell yourself that you’ll just fix it later. Instead of moving to the right to create a better balance between the negative and positive space, or to get that telephone out of someone’s head, or to fix the ridiculously overexposed  subject the meter told you was just fine by bracketing, people will sit in front of the computer and deal with it then.

              I was shooting a calendar for Shell Oil, and every year owners drive their huge eighteen-wheelers to a designated city in hopes to be featured on one of the month’s pages.

              In the past they simply rented a huge warehouse that had a large overhead doors at each end, put up white seamless paper and each rig drove through, stopped, had it’s picture taken and drove out; I wasn’t interested in doing that.

              I presented an idea to the art director. The idea was to take portraits of all the owners and try to make it work with a particular month. I sent my producer ahead of time to find me interesting locations I might use as a backdrop. We arrived in Nashville a couple of days early to look at the locations and decide on the twelve trucks we wanted to use. I walked among a hundred rigs looking to pick out the ones that were simply the coolest!

              Since I love purple and Manny and his son (who was spending the summer driving around with dad) were great guys I picked their rig to be on the July’s page. We found this great location and went for the 4th of July theme.

              What you see was taken on one 35mm Kodachrome transparency, and just one click of the camera.

              Visit my workshop at: www.joebaraban.com, and check out my 2016 workshop schedule at the top of this blog. Come shoot with me sometime.

              Don’t forget to send me photos and questions to: AskJoeB@gmail.com, and I’ll create a video critique for you.

              JoeB

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                What did I wish?

                What did I wish?

                This is what I talk about when I’m working with my online students with the BPSOP. During my “Stretching Your Frame of Mind” workshops I conduct around our planet, we have daily critiques in the late mornings. We discuss images they’ve shot either the evening before or after the morning shoot. One of the first questions I ask someone when talking about a particular image of theirs is what do you wish.

                It’s a little mental game I’ve played with myself for as long as I can remember. I’m always wishing something that’s not in my frame would be, some additional layer of interest that would hold the viewer’s attention and keep him around longer; I’m always looking for ways to make my photos stronger.

                When I ask someone this question, I want them to think, to color outside the lines. This keeps their mind flowing with ideas, and helps them become more of a storyteller ( a photo maker not a photo taker) when composing their own images. It doesn’t have to be a big thing like a hot air balloon landing right behind the subject.

                It can be as subtle as a black cat in an area in the foreground where nothing is going on…maybe even its shadow.  A person riding a bike through the frame with a white shirt on and wishing it were a red one. Maybe the subject is two feet to the right to get a little more of the light on the face. Or a little more to the left so that huge telephone pole isn’t sticking out of his head!!!

                🙂

                Since I hope that all my fellow photographers always take more than one photo of any particular subject, your wish might just be walking down the street towards you, or coming up behind you, or maybe that yellow cab you wanted pulls up and man wearing a red shirt climbs out.

                I’m personally not a big fan of sunrises over the ocean. However, this one is not bad. So what did I wish that would have created another layer of interest? Something to have kept the viewer around by offering him something to think about? How about a cruise ship (all lit up) about to leave the edge of the frame on the left; leaving a wake all the way across to the right edge.

                Btw, if a hot air balloon all of a sudden does land right behind your subject with Dorothy and Toto waving to the lens, I strongly suggest you immediately wish for World Peace…then a billion dollars!!!

                Try it yourself sometime. As you’re composing wish for something else happening and who knows, maybe your wish will come true.

                Visit my website at: www.joebaraban.com, and check out my workshop schedule at the top of this blog. Come shoot with me sometime.

                Keep sending in photos and questions to: AskJoeB@gmail.com, and I’ll create a video critique for you.

                JoeB

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                  Quick Photo Tip: Using the Least Likely Lens

                  I never thought about using this lens.

                  I never thought about using this lens.

                  I’m a huge believer in coloring outside the lines and I’m always telling my fellow photographers that take my online classes with the BPSOP and the ones that join me in my “Stretching Your Frame of Mind” workshops I conduct around our plant to do just that.

                  I wrote a post on it almost four years ago and because of it I followed my own advice. I was in an area in the south of France, and when I got out of my rent car to walk along the area surrounding a chateau, I decided to not use my usual go-to lens and put on something I would never think about using for this type of situation…my 100mm Macro.

                  It was a fortuitous decision as it turned out giving me what I still consider to be a very unusual depiction of swans that were nestled in a small stream next to this incredible well-known chateau. Although (sadly) it looks like I did considerable post processing work to it, it was shot in the camera, one exposure on one 35mm Kodachrome frame with no post work done to it; this is what Kodachrome looked like, and boy do I miss it!!!!

                  I know so many of you out there get comfortable with one or two lens that always reward you with good photos. The only problem is that they always look the same, as in the same compression or lack thereof, the same focal length that might be on one of your zooms, or the same dOF because you’re using a lens (like a prime) and rendering the same F/stop to all your compositions.

                  So my fellow photographers bite the bullet, take a leap of faith and grab a lens you haven’t use in forever, or one you would never use in a situation you’ve been in a hundred times and have been comfortable to the point of being complacent.

                  Visit my website at: www.joebaraban.com, and check out my workshop schedule at the top of this blog. Come color outside the lines with me sometime.

                  Keep sending in your photos and questions to: AskJoeB@gmail.com and I’ll create a video critique for you.

                  JoeB

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                    Does it draw you in?

                    Does it draw you in?

                    Why do we look at some photos more than others? What compels us to stick around longer for some and not for others? How we can control what the viewer perceives and processes when looking at our photos? The answer will differ and the different methods we use will vary. For me, the important part is to draw the viewer into your photo.

                    I teach an online class with the BPSOP, and I also conduct my “Stretching your frame of Mind” workshops around our planet. I teach people how to use the elements of visual design to create stronger images.

                    I discuss how humans rely on the perception of their environment and that visual input is a part of our everyday life. If we can present this information (photographically) in such a way we can make him a visual partner, an active participant, and when we do we’ll have his undivided attention.

                    Our eye is constantly moving around and notices elements in out photos that stand out, and for one reason or another are significant. An example is the fact that the eye is drawn to light; like a moth to a flame.

                    One of the best ways to do this is by incorporating visual tension, a compositional tool,  into our imagery. Visual tension gives your photograph strength and intensity. Tension equals energy, and it’s a psychological force to be reckoned with and used correctly can take your photography what I refer to as “up a notch”.

                    They’re many ways to create visual tension, and I have talked a lot about them to my fellow photographer. The use of light, contrast, i.e.,  shadows and areas in shadow, framing within a frame, combining opposites or unrelated objects, peak of action, body language and gestures, showing the subject and its reflection are some of the ways.

                    The way we place the elements, and creating design imbalance giving off the feeling of instability, will generate visual tension. Where we pace the camera in relation to the viewer will have an impact on the viewer and will help generate the tension we’re looking for. Conversely, the placement of the subject in the frame will have an acute effect as well. Using the Rule of Thirds to place your subject will NOT create the visual tension as placing it close to the edge of the frame would.

                    So, I don’t know about you, but I like attention when it comes to people looking at my photos. I want them to walk away shaking their heads in amazement after being totally immersed in my imagery. If indeed you feel the same way, then think about incorporating visual tension into your photography.

                    Visit my website at: www.joebaraban, and check out my workshop schedule at the top of this blog. Come shoot with me sometime and we’ll create some visual tension together.

                    Keep sending me photos and questions to: AskJoeB@gmail.com, and I’ll create a video critique for you.

                    JoeB

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                      I blow out highlights!!

                      I blow out highlights!!

                      During my last (my 28th year) Maine Media Workshop, I was working with a fellow photographer and the moment before she clicked the shutter, her LCD screen exploded with blinking black areas going on in the hightlighted areas. This meant that those areas were being overexposed or “clipped” as what’s said by those that don’t know what they’re talking about.

                      I think “visually undesirable” is what I’ve been told by students (who were told this) that take my online class with the BPSOP. I’ve also had similar conversations in my own “Stretching Your Frame of Mind” workshops I conduct around the planet.

                      I digress.

                      “Egads”, I yelled to no one in particular, “make it stop blinking, I’ll tell you anything you want to know!!” The student relayed to me that she had been told that whenever she encountered the blinking, to immediately stop what she was doing because she was about to overexpose an area. It also annoyed her (not knowing what it meant) and how did she take it off.

                      Seriously? The only reason anyone (not in their right mind) would want to do that is if they wanted to be led (blindfolded) down that one way path to mediocrity. Or maybe they wanted to have the slightest chance in winning a blue ribbon at their camera club’s annual competition.

                      Here’s what I think…Get that blinking stuff off you camera. Go to settings on your camera and where it says “highlight alert” disable it. Believe me it’s a better thing you do than you’ve ever done before…why?

                      Because one of the ways to generate visual tension is contrast and another is the use of light. Those blown out (clipped) areas brings energy to your images. I don’t always blow out the highlights because there’s a time and place for everything. That said, whenever there are bright highlights in my composition I’m always looking to blow them out.

                      It’s easier said than done because if you use the meter in your camera, more than likely it’s going to give you an average exposure of the highlighted and shadow areas; based on what the meter is set on. For best results, set your meter on spot and try exposing just for the areas in shadow; this will blow out the highlights.

                      For most of my almost fifty year career, I’ve used a Minolta One-Degree Spot Meter. It’s an external hand held meter (you can find them on e-Bay) that can read just one degree of reflected light, which gives me total control to do as I please to my photo.

                      I prefer the energy, so next time blow out the highlights my fellow photographers and you won’t spend eternity in photographic purgatory.

                      Visit my website at: www.joebaraban.com, and check out my 2017 workshop schedule at the top of this blog. Come shoot with me in Vienna/Budapest next May and enjoy two beautiful and historical cities.Don’t forget to send me a photo and question to: AskJoeB@gmail.com, and I’ll create a video critique for you.

                      JoeB

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                        Anecdotes: Apache Oil and Gas

                        The one I pre-visualized

                        The one I pre-visualized

                        I was shooting the annual report for Apache Oil and Gas, and the company sent me to Egypt to pretty much shoot whatever I wanted that represented the people and country. The reason being that they were going to enter into a partnership to begin drilling there.

                        The one photo they did want was a photo of a new tower that was recently built in Aswan; a city just south of Cairo. When I got to Aswan, I was driven out to somewhere close to the middle of nowhere, and there was absolutely nothing around except this tower.

                        Photo #1

                        Photo #1

                        As the sun was getting ready to set, I was doing the best I could to try and create an interesting picture out of basically nothing but a tower and some rocks.

                        In my online classes with the BPSOP, and in my “Stretching Your Frame of Mind” workshops I conduct around our planet, never give up! There’s always something you can do and whatever it’s going to be, it’s going to be better than what most people would shoot…why?

                        Because not only do I show people how to incorporate the elements of visual design into their imagery, but I also give my Did It Do It list for good composition out to my fellow photographers; on that list is pre-visualization.

                        Btw, I also send them a link to one of my favorite quotes said by Eddie Adams.

                        Photo #2

                        Photo #2

                        As I was thinking and scratching my head, this man appeared out of nowhere and came up to see what we were doing. I thought to myself, “Did I just get really lucky or what??? I told our driver to ask him if he would be willing to be in my photo, and that I was willing to pay him the equivalent of ten dollars in his currency.

                        Even though that was more money that he would see in several months, he was simply to shy to pose for me; and the money wasn’t really a factor. We finally got him to be in it providing he was far away from the camera…photo #1.

                        Photo #3

                        Photo #3

                        As he became more comfortable, I moved him closer to the camera, knowing where I wanted him to end up…photo #2

                        FYI, the featured photo above was what I had pre-visualized all along.

                        When I was done and gave him his modeling fee, his friends decided to get in on some of the action; they were also each paid, but just half…photo #3

                        Visit my website at: www.joebaraban.com, and check out my workshop schedule at the top of this blog. Come shoot with me sometime.

                        Keep sending in your photos and questions to: AskjoeB@gmail.com and I’ll create a video critique for you.

                        JoeB

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                          00080005

                          Gary, one of my long time blog followers, sent me this photo to talk about. As usual, I like to let my readers know what my fellow photographers had to say. The reason being that there might have been times when the same situation happened to them, or perhaps they had or have a similar question.

                          Here’s what Gary had to say:

                          “Hello Joe,

                          I know your a big believer in light and how good use of light can really kick your photos up a notch. In this photo I was trying to use the sunlight as best as I could to really make it feel like a tangible part of the picture. Also with virtually every part of the image at the same focus (infinity), I tried using atmospheric perspective with the background mountain ranges to create depth. Lastly I tried using the railroad tracks to create some movement in the picture to help lead your eye to the mid ground rock formation. Of course no train ever seems to come at the right time when I am taking the picture :).

                          Is this a good use of light, atmospheric perspective and line?”

                          Thank you,

                          Gary

                          Gary,

                          First of all it’s important for people to know what is meant by Atmospheric Perspective. I talked about it in my online class with the BPSOP, and in my “Stretching Your Frame of Mind” workshops I conduct around our planet. I actually wrote a post in 2014 that touched on it: http://joebaraban.com/blog/quick-photo-tip-adding-depth-to-your-photos/

                          Atmospheric Perspective isn’t necessarily something you try using, it’s something that’s naturally inherent in our daily lives; simply a scattering of dust particles that’s between you, the subject, and the horizon. As photographers we merely work with it or around it, and it’s not always going to be in our best interest…photographically.

                          The phenomenon has been around since the time of Roman wall paintings. Leonardo da Vinci wrote about it, ” Colours become weaker in proportion to their distance from the person who is looking at them”.

                          For me personally, the fact that the farthest away objects takes on the color of the haze is not appealing and as a result I usually try to avoid it.

                          Take a look Gary:

                          http://www.screencast.com/t/fOqAHtjFRWVQ

                          I’m not sure Line comes into play here as there’s not really any leading or directional lines, or a Vanishing Point that moves the viewer around the frame. It’s the depth from front to back that’s moving the viewer from front to back.

                          One last note…I’m not sure the viewer would ever see the train tracks unless you mention that they’re there. Since you won’t be around to explain your thought process, it would need to be a “quick read”.

                          I like your photo, as it has a certain quiet mood created by the de-saturation (caused by the scattering of water vapor) occurring from front to back.

                          Thanks for the submission.

                          Visit my website at: www.joebaraban.com, and check out my workshop schedule at the top of this blog. Come shoot with me sometime.

                          Keep sending in your photos and questions to: AskJoeB@gmail.com, and I’ll create a video critique for you.

                          JoeB

                          Let people know you saw it here!
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                            Student Work: November Part I BPSOP Class

                            A self portrait in a Vanishing Point.

                            A self portrait in a Vanishing Point.

                            As most of you that follow my blog know, I teach three online classes with the BPSOP. In my part I class, I show my fellow photographers how to incorporate the elements of visual design into their imagery: Light, Color, Line, Shape, Texture, Balance, Form, and Pattern. We also work on the relationship between negative and positive space, ways to create depth , and the power of a Vanishing Point as a tool to move the viewer around the frame.

                            At the end of the four week class, they walk away with what I call an Artist Palette that has all these elements on it. Now, they are armed with the tools to “make pictures” instead of taking them. They can now begin to “see past their first impressions”.

                            The left side of the brain (the analytical side) says it’s a tree, but what else is it? The tree is the completed puzzle, but the pieces of the puzzle are the patterns, the lines, the texture, the way the light hits it, and the color of the leaves; this is what the right side of the brain (the creative side) sees. Besides talking about this in my online classes, I also talk about it in my “Stretching Your Frame of Mind” workshops I conduct around our planet.

                            I just completed my part I four week class and the images that the class created are amazing. I would safely say that it’s one of the all time best classes since I began teaching at the school almost six years ago.

                            I’m certainly impressed, and I hope you are as well. If there’s too many, think of all the ones I’m not showing…just keep the mouse on the arrow and let it roll!!!

                            Enjoy the show:

                            Visit my workshop at www.joebaraban.com, and check out my workshop schedule at the top of the page. Come shoot with me sometime.

                            Keep sending me photos and questions to: AskJoeB@gmail, and I’ll create a video critique for you.

                            JoeB

                            Let people know you saw it here!
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