Using photography contest judging criteria to help photographers self-assess

Many photographers struggle to create an insightful set of principles to self-assess their work. Getting a critique from trusted photographers is an excellent idea, but without regular in-depth, honest image critiques of their own work, photographers will have a tough time improving and growing.

I offer for consideration, using the criteria photography contest judges use to assess images, as the basis for photographers to develop their own workable, rational approach to self-assessment.

When I began to ask colleagues for assistance, by having them critically assess my work, I found that they typically zeroed into the technical aspects of my images. While there is little doubt the quality of focus, bokeh, color, exposure, lighting, composition, etc. are important, I knew that there were other issues that should be included in any image critique. Over the years I developed my own assessment checklist.

Interestingly to me, many years later, when I began to be invited to be on photography contest juries, I found that my list and the contests' guidelines for judging entries were essentially the same. Therefore, for photographers serious about improving their craft today, rather than struggle to create their own checklist, I suggest using the criteria developed by photographers to judge work in photo contests across the globe.

To chimp or not to chimp, that is the question

Had the Bard of Stratford-upon-Avon been writing about a renowned photographer rather than a prince, the famous soliloquy might have started, “To chimp or not to chimp, that is the question.”

Regardless of what the Bard might have written, that's a question I'm often asked.

In the early days of digital photography, as it began to supplant film photography for professionals and amateur enthusiasts, many photographers discovered a feature of digital cameras never possible with film cameras. It's the ability to review images immediately after making them on the small image display monitor on the back of digital cameras.

At that time, more than a few photographers seemed to constantly review their images on their camera's monitor screen. The practice became known as “chimping.”

On July 4th, are you photographing fireworks?

The U.S. has celebrated its independence with fireworks in towns and cities across the nation since 1777. History tells us John Adams, second President of the U.S. is in large part responsible for the way we celebrate the Fourth of July. In his July 3, 1776 letter to his wife, Abigail, he said that the occasion should be celebrated “with Pomp and Parade, with Shews, Games, Guns, Bells, Bonfires and Illuminations from one End of this Continent to the other from this Time forward forever more.”

The first Independence Day commemoration occurred the next year in Philadelphia. The Pennsylvania Evening Post stated, “The evening closed with the ring of bells and at night there was a grand exhibition of fireworks (which began and concluded with thirteen rockets) on the Commons and the city was beautifully illuminated.”

Secrets of photographing birds in flight: Part I

Travel to destinations to view wildlife in their native habitats is getting more and more popular. Images of flying birds are among the most coveted photos for “wildlife travelers,” because making photographs of flying birds is both challenging and satisfying.

Over the years, I've learned a few secrets about wildlife photography, and how to make great images of birds in flight. I'd like to share what I've learned, which may help you make wonderful photos of flying birds for yourself.

Avoiding Beginner Photography Issues and Mistakes

Travel photography requires versatility and knowledge of a variety of photography genres. Beginner travel photographers must be serious about learning the craft if they want to produce solid travel images. Beginner photographers, especially when engaged in travel photography, have two major issues to overcome; a lack of confidence and basic photo knowledge.

It's hard to gain essential knowledge and experience when you have little confidence, which often shows up in beginners thinking their equipment is letting them down.

Often, when I'm leading photowalks or workshops I hear, “If only I had your gear.” Just about every beginner I've worked with has gear capable of capturing magnificent images. Today's consumer Digital Single Lens Reflex (DSLR) and Digital Mirrorless Interchangeable Lens (DMIL) cameras are excellent. I've proved this to more than a few beginners by swapping cameras with them, then making some great shots with their gear, better than they've produced with mine.

Top 8 Photography Myths

Like many fields of endeavor, photography has many misconceptions and myths which can hold photographers back from producing their best work. Here are my top eight photography myths.

8. Never shoot into the sun — Most photographers will tell you to always shoot with the sun at your back, so that your subjects will be well lighted with few shadows. The problem is that precludes getting wonderful backlighted images, especially portraits with great backlighted hair which can make very interesting and outstanding portraits possible.

Shooting new year's fireworks in cold weather

While it's not as cold in most of the northern hemisphere as it is in Prudhoe Bay, Alaska and Longyearbyen, Svalbard, it still can be frigid enough to affect your new year's fireworks photography.

To photograph new year's fireworks in icy weather, photographers must combine good cold weather practices, night photography techniques, and the specific exposure requirements necessary to capture fireworks images. If you don't have a DSLR, don't think you can't make great fireworks images. With intelligent use, quality digital point and shoot cameras can make these photos too.

Travel portraits: family, friends, and interesting subjects

When traveling with friends and family, most travelers eventually want to get a nice travel portrait or two. Travelers often try to capture interesting portraits of a local inhabitants.

Sometimes the friend/family exposure is dictated by where and when you're there. Sometimes the “choice” of background and light is made, in part, to keep a famous background in the photo, to say, “We were there.”

Sometimes you can choose the time of day your photographing, the background, and the way your traveling companions are facing, thereby control how light illuminates your subjects but more often, locations and schedules dictate exposure details.

The place and time for portraits of local inhabitants is rarely in the traveler's control, but the photographer can often control their position to help set up the portrait.

Snapshots versus Photographs — Taking versus Making Images

Periodically I receive emails from travelers who compare travel photographs made by me and other professionals, with their own, taken in the exact same place, why theirs look so different from the professional shots.

They typically send me an example of their photography, although, invariably I already know why there's a difference. It's not that they don't have the technical ability or knowledge to shoot wonderful photographs. It's ordinarily their approach, their conception of their photographs and the process to make them. Simply put, it's the difference between a snapshot and a photograph.

When I'm out touring I don't merely “point and shoot.” I look for specific composition possibilities to show off the natural beauty, the architecture, history, landmarks, the general location, the culture of the location, etc., before me.

I take time to get away from the viewfinder to see and experience where I am, rather than immediately point and shoot at each scene or landmark I see. If your trip is always revealed from the narrow viewpoint of your camera's viewfinder or monitor, you'll miss far too much of the travel experience. You'll miss the fun of travel, much of the interaction with what surrounds you, and you'll miss the best photographs too.

Smartphone Apps for Photography: PhotoCalc

Often, today's SLR/DSLR lenses don't have Depth of Field (DOF) markings, so you can't directly tell, in advance, what will be in and out of focus in your photograph.

When you're using manual exposure, are you experienced enough, and is your memory good enough to know what your exposure reciprocation table will tell you when you want to adjust your aperture and shutter speed to produce specific effects?

Have you been leery of using your flash in manual mode to obtain precise results because your flash exposure calculations are too difficult?

Have you had a difficult time determining sunrise and sunset information for the area in which you're traveling so you can plan those marvelous “golden hour” photos?

Ned's 2010 Annual Photography Gift Guide for Travelers

I'm publishing my guide a little later than I normally do, however, I hope you find my suggestions helpful in getting that perfect gift for the “traveler photographer” in your life.

Photography gear is generally very personal for each person, so most of these suggestions are very “general.” Whatever you get, if possible, I always suggest you have your receipt, or better yet, a gift receipt available, so that the photographer can return the gift if it doesn't quite work for them, or if they have it already.

Photographing Stained Glass Windows

With the tremendous technological improvements in DSLRs and even digital point and shoot cameras, coupled with the improvements in software used to remove lens and positional distortion as well as edit photographs in general, it’s now possible for travelers to make wonderful photographs of stained glass windows in the churches, synagogues and mosques they visit.

In most instances you’ll be able to get very good exposures of incredible stained glass windows while you travel, but there will be pitfalls, and most of the time there will be distortion to deal with in post processing once home.

If you’re going to at an out of the way church or museum you may be fortunate enough to be permitted to use a tripod and remote shutter release, but if you go to busy places like I’ve visited recently in Paris, such as Notre Dame de Paris, Musée de Cluny, or Sainte-Chapelle, that won't be possible.

Basic Composition 001

The best photos taken are the photos which are carefully planned.

Even while traveling, when we’re often rushed, when we’re preparing to go to the next site, or the next destination, taking the time to plan the current photo will produce the best photo of the current scene.

Sure, planning each photograph means setting the proper exposure, getting the focus right, and ensuring other technical aspects of the photograph, such as white balance, are as desired, but making a great photograph goes well beyond that.

Making terrific travel photographs, or any photographs, requires a well thought out composition. Carefully select your precise image and its design, order and presentation of the image’s subject matter to grab the viewer’s attention, and help them understand the photograph’s story.

Panorama Photography Part II

In Panorama Photography Part I, I discussed what panorama photographs are, and why they’re so appealing.

Now in Part II, I discuss techniques for taking photographs for panoramas created from multiple photographs, and stitched together into a single spectacular image.

There are three major rules of thumb to ensure your images can be successfully mated to make a panorama.

1. You need exposure consistency in your photographs to ensure colors match from photo to photo which make up your image. One of the most common problems in stitching photographs together is differences in the color of the sky, due to inconsistent exposures photo to photo.
2. You need to ensure there is enough information in adjacent photographs that they can be successfully “glued” together. This accomplished by photo overlap.
3. You need to eliminate image parallax so that there are no ghosts in your final image and that lines in the panorama are aligned and look normal.

Here are my major guidelines for taking photographs to use in creating multiple photo panoramas:

• Use a tripod to keep all your photos in the same horizontal plane.
• If your panorama contains parallel vertical or horizontal lines, such as when the panorama includes a fence or building facade it’s important that your lens’ pivot point, or entrance pupil (the optical center of the lens), not the camera, be located directly over the central axis of rotation of the panorama. It’s relatively easy to locate the entrance pupil of a prime, or zoom lens (each focal point). By rotating your camera/lens over the pivot point, the problem of parallax, where the photographer can’t align vertical and/or horizontal lines in pairs of photographs when stitched together disappears. Really Right Stuff, the manufacturer of my panorama head has an excellent tutorial about locating a lens’ pivot point to eliminate parallax. (Please note, that while Really Right Stuff continues to call the pivot point the “nodal point,” which is an incorrect use of terminology, their method of locating the pivot point is the best way I know of to quickly locate and set the pivot point.)
• You need to keep your exposure settings uniform throughout your images, so their brightness and color will mesh, photo to photo. You should scan the entire scene making note of the aperture and shutter speeds your camera is suggesting, then pick one pair of settings in the middle, or slightly darker to make sure any sky details are preserved and manually set it, so that the settings will remain the same for each photographic image used in the panorama.
• Amply overlap each of the images in your panorama. You wouldn’t have liked my photo of Monument Valley with a white bar in it because I failed to overlap each photo enough. I overlap by 30% each time. Some say 15% works just fine, but I prefer more. Increasing the amount of overlap helps reduce “flaring” that happens when the software is forced to use all of the image frame, including the corners which may show distortion depending on your lens choice.
• Look for movement in your overall scene. While movement in a scene can make it more interesting at times, too many or large blurry areas in your photos can ruin your final panorama. When overlapping images have items which don’t precisely match, you get a blur, which can ruin the shot. I try to take each of my multiple images quickly to avoid the problem of movement. By the way, I do realize that some movement is unavoidable. You just need to minimize it.
• Shooting with shorter focal length lenses more often than not introduces problems of lens distortion. When there is lens distortion the stitching between side by side images can be unnatural looking. Many wide angle lenses suffer from barrel distortion to varying degrees. You can avoid this problem merely by shooting with longer focal length lenses.
• You should also minimize the use of filters, to obtain exposure and white balance consistency between the photos which will make up the complete panorama. Polarizing filters, in particular, often darken the corners of your photographs. Depending on the angle of light to the filter they can create a significant variation in sky color from photo to photo in the panorama, preventing you from creating a combined image which looks as one. I never use polarizing filters when shooting panoramas. For that matter almost any filter can add some vignetting to your images, which interferes with good stitching and the final image, so I normally never use a filter on my lens other than the UV filter which I keep on all lenses to protect them.
• I normally turn off auto focus and preset my focus manually for the entire group of images which will comprise my final panorama photograph. Image size can change with focus shift. If that happens, it’s likely you’ll never be able to achieve a high quality alignment of your stitched photos which make up the overall panorama image.
• I manually set my white balance of my DSLR to eliminate color shift from photo to photo so they will seamlessly stitch together. This is especially important for landscapes showing substantial sky.

Good luck. Let me know if these guidelines help you put together your next panorama.