BrickHouse Photo School

Tips, Tricks and Reviews for Photo Hobbyists

Archive for March 8th, 2009

Photo Critique 7: ‘Diego II,’ by Carla B.

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I love critiquing photos. It’s the best way to learn and get new ideas for photo shoots. Today, we’re going to critique an image made by Carla, my friend in Miami, Florida.

'Diego II,' by Carla of Miami

'Diego II,' by Carla of Miami

General Overview:
Carla, I love your portrait work because you always seem to capture an interesting aspect of your subject. Portrait work is tough because you have to find new and interesting ways to make an image, which is something you do quite well. Portraits involve finding a way to express a concept or emotion while making a visually-appealing image for your audience. This is something you do quite well.
I like the concept of this image because of its simplicity. You’re forcing the viewer to explore the subject but you’re not being “pushy” about it. Although the subject is right in your face, as a viewer, you feel a connection to the subject and not a sense of overpowering.

Great job.

Improvements
There are a few improvements I want to suggest. First, you need to work on getting the model to give you more expression. Give your model a theme or topic and let him try different facial expressions and body language to communicate the emotion. Secondly, I’m not sure about the greenish cast you gave the image, I’m assuming, in post production. This is more of a personal preference than anything and I could say I don’t like the greenish cast and 20 other people will say they do like it. But I would recommend experimenting with different looks. Finally, I would suggest experimenting with different lighting. I think directional lighting would have helped make this image “pop” a little more.

One more tip: Trying playing around with the ISO sensitivity. Perhaps a grainy look would help make a portrait like this standout a little more.

Carla, you always do a great job and I always look forward to seeing images you’ve produced.

Thanks for the submission, good luck and keep shooting!

If you would like to submit a photo for critique, e-mail us at submissions@brickhousephotoschool.com.

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Written by jeremyparce

March 8, 2009 at 11:28 pm

Sports Photography: Catching the Action

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Sports photography is tough. In fact, I think it’s one of the more difficult forms of photography because it is a balancing act. A good sports image should balance emotion with action and it’s a tough wire to walk.

If you have an interest in sports photography or are thinking of a career as a photojournalist, then you should spend some time looking at great sports images and studying the photographers who make them.

Try to anticipate the action so you're not always shooting "behind the game." (Photo Credit: Jeremy W. Schneider)

Try to anticipate the action so you're not always shooting "behind the game." (Photo Credit: Jeremy W. Schneider)

Here’s a few samples you should check out:

  • Bob Martin: Bob Martin is a top sports photographer located in the UK. Martin has photographed the last ten Summer and Winter Olympics and has been published in numerous publications including Sports Illustrated, Time, Newsweek, Life Magazine and Stern.
  • Brad Mangin:  California-based photographer Brad Mangin is a regular contributor to Sports Illustrated and Major League Baseball Photos. Mangin is also a founding owner of SportsShooter.com.
  • Dave Black:  Dave Black’s images have appeared in Sports Illustrated, Time, Newsweek, and ESPN. He also conducts workshops in sports photography.

Some Simple Tips
For the most part, readers of this Website are amateur photographers and students. With that said, if you’re reading this and are interested in sports photography, it’s probably because you have a kid in sports or are a student wanting to hone you sports shooting techniques. While I’m not an expert in sports photography, I want to share a few basic tips that should help you make better images.

  • Get tight: Don’t be afraid to zoom in tight on the action. Zoom in and catch the up-close action.
  • Use Different Shutter Speeds: Try different shutter speeds to capture images with a different look. The slower the shutter speed, the more motion blur. Sometimes you can make an interesting image with just the right amount of motion blur to give the subject a sense of movement.
  • Look at the Faces: Sports photography isn’t just about the action on the field, it’s about the emotion of the athletes. Try shooting tight on the athlete’s faces and look for images that express emotion.
  • Predict Movement: Try to predict the games actions. Look for key players and watch as they move about the field. Try to guess where the action is going to be so you’re not  “behind the game.”
  • Keep Both Eyes Open: Good action photographers have the ability to keep both eyes open: one eye in the viewfinder and one eye tracking action.
  • Move Around: If possible, move around the field or court for different views. Also, try sitting and kneeling in addition to standing. You can get some interesting photos just by changing your body position.

Don’t Be ‘That Guy’
If you’re on a crowded sideline or court, remember to respect the other photographers who are also there. I want to mention this because of an experience that happened to me a few years back.

I was assigned to photograph an Ohio State football game and the sideline was packed with photographers. I got there early, found a spot that I wanted and set up shop. On my left was a photographer from the local Columbus, Ohio, newspaper and to my right was a photographer on assignment for a national sports magazine.

Everything was working quite well as me and my neighbors shot for the first quarter. During the second quarter, another photographer from a regional newspaper decided he wanted where we were and started pushing, squirming and squeezing his way in between me and the guy on the right. A field marshal noticed what was going on and this photographer was promptly removed from the area.

Don’t be “that guy.” If you happen to find yourself on a crowded sideline, remember to use a little courtesy.

Extra Tip
If you’re a student and happen to get a field pass to photograph your school’s team, let me add a few more tips. First, don’t cheer. You’re there to do a job and not to be a cheerleader. If you want to cheer for your team, stay in the stands or tryout for the cheerleading team. Second, don’t wear school colors. Again, you’re there to do a job. Dress as neutral as possible. Finally, don’t “chimp.” “Chimping” is the act of reviewing every shot you take on the LCD screen the moment you get a chance. Some people will tell you not to chimp because it looks unprofessional. I will give you a practical reason: It will drain your batteries faster than you can imagine. A sporting event is going to be pretty taxing on your batteries, so help conserve batteries and don’t drain the batteries faster by reviewing every single image. A periodic check is OK but don’t become a chimp.

Good luck and keep shooting!

Written by jeremyparce

March 8, 2009 at 8:06 pm

Photographers You Should Know: Alfred Eisenstaedt

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Information for this article was collected from Art Scene California

Photographer Alfred Eisenstaedt is known as the “father of modern photojournalism” and was one of the most prolific candid photographers of the 20th Century.

‘V-J Day in Times Square,’ is one of Eisenstaedt’s most famous photographs. The image was made August 14, 1945 in Times Square, New York City. (Photo Credit: Alfred Eisenstaedt, via Life Magazine)

‘V-J Day in Times Square,’ is one of Eisenstaedt’s most famous photographs. The image was made August 14, 1945 in Times Square, New York City. (Photo Credit: Alfred Eisenstaedt, via Life Magazine)

The German-born photographer was born in 1898 and started photography at the age of 14 with an Eastman Kodak Folding Camera. In 1927, at the age of 29, he sold his first photograph and in 1928 he began working for Pacific and Atlantic Photo’s Berlin office as a freelance photographer.

By 1935, Eisenstaedt migrated to the United States and in 1936, he became a founding staff photographer for Life Magazine.

He believed in using relatively little equipment in order to be as unobtrusive as possible. Near the end of his career, Eisenstaedt said, “My style hasn’t changed much in all these sixty years. I still use, most of the time, existing light and try not to push people around. I have to be as much a diplomat as a photographer. People often don’t take me seriously because I carry so little equipment and make so little fuss. When I married in 1949, my wife asked me. ‘But where are your real cameras?’ I never carried a lot of equipment. My motto has always been, ‘Keep it simple.’”