Learning photography – frederikboving

How to use rear curtain synch with flash photography

Terminology

Your camera (most likely) has two mechanical curtains: one that reveals the sensor and another that hides it again. They work in close coordination to secure the exact exposure of your image. The curtain that closes the exposure is by some named the rear curtain (Nikon), others call it the 2nd curtain (Panasonic).

Rear curtain synch — The flower image here gets a more dreamy feel to it as I moved the camera during the exposure.

Curtains and flash

By default most cameras fire the flash just after the first curtain has revealed the sensor, but via configuration it is possible to ask the camera to coordinate the flash with the 2nd curtain (rear curtain). If you combine this with a long exposure of 1/2 to 2 seconds, the camera will first take in ambient light for a long time and just before the exposure ends, the flash fires and freezes the subject.

How to expose with rear curtain sync

First, you need to configure the camera to synchronise the flash with the second curtain. On a Nikon ML you can hit the “i” button and find the flash options menu, and in here one option is rear curtain sync.

Second, you need to secure a long exposure. You can do this in manual exposure mode, but I am lazy and use shutter priority mode. The camera then takes care of the ISO and aperture. Be aware that if there is too much light, the image will be over exposed, in case a closed down aperture and low ISO cannot make the cut. In those cases you may need to add an ND filter.

Rear curtain sync — Here I moved the Ricoh GR3x during the exposure to aid the storytelling that “the photographer rushed out the door”…

Finally, of course, you need to add a flash. I find that an on-camera flash will do the job best, as it will secure that the flash light at the end of the exposure is directed towards the subject.

Shooting options

When you have a long exposure, you can either:

have the subject moving to create the effect (a dancer or a car driving by) or
move the camera to create an effect.

A variation of the latter is to turn the zoom during the exposure, if you are shooting with such one (with a prime it does not quite work!).

If you want to create a more “structured” look when you move the camera, a tripod can be handy.

Video

Review: Gregory Crewdson by Walter Moser

If you are interested in the work of Gregory Crewdson and want to understand more about the artist, his background, etc, then this book is just perfect for you. It presents a lot of his work and a number of articles provides insight and analysis of this spectacular photographer.

However, when reading this book I was more fascinated by the amount of work Gregory Crewdson puts into every single image. Nothing is left to chance. Large crews with actors and make-up artists are part of making the spectacular scenes that are then documented with a camera. It seems like arranging the camera and hitting the shutter is the 0.0002% of the work.

The people in the images are often inactive and with strangely little interaction. Some of them gives me the same feeling as watching a painting by Edward Hopper. A strange feeling that something is off, but you cannot really put your finger on it. And there are tons of details in each image to study – a witness to the effort and planning that has gone into his large scale productions.

As a landscape photographer where I mostly document what is already there, the work of Gregory Crewdson is a great inspiration. He is the most opposite to a snapshot as you can possibly get. And as such a reminder that good a photograph is more made than taken.

You probably don’t want to follow his lead all the way. But he is a great inspiration for me – my boundaries for what a “shot of the scene” is has definitely moved since I read this book and saw his works. Even as a landscape photographer, I am not afraid to re-arrange a few branches that don’t look right or add a flash in a corner to spark some interest. Maybe not a 20-30 person production planned weeks in advance, but a little nudge in the direction of controlling and managing more inside the frame. And for this inspiration I am ever so thankful. And if you seek a similar vein of inspiration, this books comes highly recommended.

Review: Looking at photographs by Laurent Jullier

Looking at photographs

Laurent Jullier works as professor at the University of Lorraine and is amongst other member of the Advanced Research Team on the History and Epistemology of Film and Moving Image Study at Concordia University, Montreal. So you would expect an academic approach to photography and this is indeed what you get with this pocket size book, covering 175 pages and with 103 illustrations.

Laurent clearly knows a thing or two about how to interpret a photography and the history of photography. So this book will not teach you about depth of field or the like – it is more about the photo as such: it’s history, context and interpretation. And, as he says in the introduction, a photography is first and foremost a way of looking and witnessing – a new pair of glasses to to see the world via. Laurent positions the book as an invitation to examine your own relationship with images and as yourself why this picture has an effect on me? And what do I see when I look at it.

After reading the book I will say: mission completed. It is an excellent introduction to the history of photography and how to interpret an image. As well as a balanced view on the different aspects of photography – for example documentation versus abstract; evidence versus fake.

Example if image analysis presented in the book.

I often find that interpretation of art – including photography – can be taken a notch too far; the image cannot “carry” the weight of the far fetched analysis and interpretation. However, in this book I found a good solid balance and the analysis and interpretation seems to be done with both feet solid planted on the ground. So although clearly academic in approach, there is a sensible balance found in the analysis work presented here.

In a world were many photographers are more interested in talking about camera technology than photography, and where our social media feeds constantly pump a never ending stream of pointless images our way, it it wonderfully refreshing to read a book just about images and their interpretation. And for that reason I can fully recommend you spend a few hours reading this book. It left me a lot wiser (some will say the starting point made it easy) and I often find I go back to re-read parts of it again. In my humble opinion, a sign of good quality.

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Review: Photographs 1943-2013 by Keld Helmer-Petersen

One of the most important Danish photographers…

Keld helmer-petersen: Photographs 1943-2013 — Keld Helmer-Petersen: Photographs 1943-2013

Keld Helmer-Petersen (KHP) was once described as “the best photographer you have never heard of” by the British magazine Creative Review in 2007. I really think that short sentence says it all. In my humble opinion, KHP should be right up there with Ernst Haas and Saul Leiter, but I guess fame does not always work that way. Keld himself was a humble guy and found it a bit funny when he suddenly got some fame at the age of 87!

The book in review here presents the full range of Keld Helmer-Petersen’s work across 7 decades. Each chapter has a short introduction with Keld’s own words introducing what you are about to see. In addition to this, there are two longer introduction sections at the beginning of the book.

Towards the end of the book there is also a transcript form a short interview with KHP that I found to be an interesting read.

If you are interested in KHP’s work and want a book that gives a comprehensive view into his work across 7 decades, then look no further: this is the book for you. However, if you like me are more fascinated by his earlier work, say the classic “122 Colour Photographs”, may be a better alternative to look into.

Review: Read this if you want to take great photographs by Henry Carroll

Clickbait?

The title of this book sparks an allergic reaction in me, just like if the book was titled something like “how to get filthy rich in a matter of minutes”. It’s clickbait – it is impossible for anyone to live up to the expectations created by the title.

Read this if you want to take great photographs by Henry Carroll – front page.

But I do stand corrected. This is a great book about the basics of photography. And if you pay attention to what is being written by Henry Carroll and truly apply that to your photography, I am sure you will be a better photographer. Maybe your images will not be “great” as the title promises, but for sure they will be better. Much better!

Theory and practice

Henrys concept for the book is simple and yet powerful: each subject is presented using only 2 pages: one page elaborating on the subject and another page showing an image that illustrates how the subject presented has been applied by another photographer. So it is full of illustrations of how the principles and advice presented in the book has been used or applied by other photographers.

This book is part of a series – Henry has written books more focused on say portrait photography or pictures of places. But this one is the basic one – the 101 so to speak. Yet it managers to cover both the very basics photography like exposure and the more artistic dimension to photography. And he does it in a way where the subjects are wove into each other in a very elegant way so you really don’t notice how much ground this little 140 pages book covers.

You will find books that are dedicated to say exposure, which this book deals with in a matter of a few pages. So of course you will not get all the details and all the angles. But you will get a very good grid or overview of what you need to know about photography, and then you can branch out from this book to other sources with more details.

Boom!

One of the sentences in this book actually hit me like a hammer – a big fat sledgehammer if you’d like. It said: “Average photographers imitate beauty. Great photographers create their own”. Maybe the reaction from my side is more a reflection of where I am in my photography life, but those two sentences surely put something straight that I had been struggling to understand for some time: why some of my images seemed to work while others were just meh.

I cannot guarantee that you will have a similar eureka! moment when reading this book, but I am certain that if you are new to photography and want to get a really fast run down and overview of the basics coupled with a few high flyers on creativity and art, this is one of the best books I have come across to meet that objective. Highly recommended!

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Review: Still lifes, California by Rudy VanderLans

Size matters?

Admitted, when you see this book for the first time, you will not think much of it: it is very small relative to other photo books, measuring only 18 cm across and 13 cm down. But I think you will find that the images will grown on you once you take a closer look.

Still lifes, California by Rudy VanderLans

The book is approx 250 pages presenting around 125 images from the California region. It is purely landscape or outdoor images and you will find no people portrayed, other than images of people on a few billboards. The title “still lifes” is rather precise!

Dismal

Rudy introduces the book by noting that the Californian environment is at times beautiful, incongruous and dismal. I must admit that I had to look up “incongruous” to undestand that it is “not in harmony” or something along those lines. Rudy’s ambition has been to capture pictures that are beautiful, incongruous and dismal at the same time, but he notes that he is happy when succeeding with 2 our of 3 in the same image. Using Rudy’s own success criteria, I think he has been successful with most of the images in this little interesting book.

Film look

When I looked at the images my first thought was that they were shot with a film camera. However, as far as I have been able to google, Rudy shoots mainly digital. But the images are clearly color graded in a way that makes you think of a film camera. Not to start a long discussion about shooting film versus digital, but I do find it interesting that you can get something that looks so film-ish out of a digital camera!

Graphical

If you look up Rudy VanderLans, you will find that he is a graphical designer by education and it also seems to be in the graphics design area he has had the most successes and is the most famous. I think you will notice this when you study his images, and I mention this in a positive spirit.

I find find most of the images absolutely stellar and worth a closer study every time I open the book. I guess that is one vital quality of an image or a series of images: that they make you take a closer look and want to see more. In in this regard, I find Rudy’s work in this little book to be of very high quality.

Review: The essence of photography by Bruce Barnbaum

Bruce Barnbaum has photographed for more than 40 years and has been so lucky as to have studied in workshops held by Ansel Adams! He apparently worked as a programmer and mathematical analyst and abruptly left the field 40+ years ago and never looked back! His best seller The art of Photography: An Approach to Self Expression was published for the first time in 1994 and I think you can see this book The essence of photography as a follow-up to his classic book, as he makes several references to The art of Photography. So maybe you want to start there? I did not, I dived right into The essence of Photography!

The book is beautifully illustrated with lots of predominantly black and white images of landscapes, architecture, abstracts and nature. Always tack sharp – no intentional camera movements or out-of-focus images; all very disciplined and true to the subject.

Bruce covers a number of subjects throughout the book:

Finding your own approach to and passion for photography
Professional vs amateur photographers
Realism vs abstract images
Classes and workshops
Composition rules and why to ignore them!

Throughout the book the arguments for a certain point of view are presented in a very balanced way – you can clearly tell that Bruce has had a lot of studens passing through his workshops and he has listened to many different arguments pro/con a certain subject. And in my humble opinion, it is a pleasure to read the balanced views presented by Bruce. You have no doubt where he stands and what his view is, but it is presented in a way where also the imaginary opponents get their say. We could surely use some more of this, both in social media and politics if you ask me!

Towards the end of the book, Bruce tells his own story about his love for nature and preserving planet earth as much as we can, and how he has tried to contribute to this end via his photography. And how photography is his passion in which he tries to contribute to preserving what he loves: nature. And that is a nice wrap to a really inspiring book where he uses himself as an example to how to find the passion for photography. He really walks the talk.

On a more personal note, there were 3 points that I really liked about this book: (1) there is no formula to success, (2) rules of composition should be ignored and (3) why some professional photographers are worse photographers than amateurs! If you are tempted to dive into these 3, then you will find this book of particular interest. If not, I would still recommend this book for anyone seeking ideas and stimulation rather than step-by-step instructions for photography.

Review: The soul of the camera by David DuChemin

David DuChemin the soul of the camera — Front page of The soul of the Camera

David DuChemin’s book: The Soul of the Camera has the subtitle: the photographers place in the picture making. And for me the subtitle is a much more precise description of what you can expect from this 270 page book about the soul of the photographer.

Perfection is overrated, and not to be confused with mastery.
David DuChemin

David’s book is not about aperture or camera settings or composition or the more traditional subjects for a book about photography. Rather, it circles around the photographers process and workflow, looking more at the process of taking good pictures, why some pictures work better than others and a bit of the psychology of photography (the need for openness, patience, curiosity and courage – just to mention a few).

Putting the photographer in the center rather than the camera or the end result was for me refreshing, and I really enjoyed reading this book. You can tell that David has done a lot of photography teaching and reflections, he has used this as a foundation for writing this great book.

Towards the end of the book, David argues that you actually don’t need another book about photography, not even this one! His point is that he has learned more about photography from practicing photography in real life than from any book. He does buy books about photography, but only books that shows the work of other photographers. The study of other photographers has according to David taught him more about photography than any textbook. He also argues that we don’t need better cameras, but we need better photographers.

You don’t need another book (about photography)
David DuChemin

So despite Davids remark that the world does not need an additional book about photography, I will say that if it needs just one more, this would be the one in my humble opinion. Looking at the photographer and the photography process is for me the right place to look, once you get past the initial study of camera settings and composition and the like. David knows that there is a lot of psychology involved in taking great pictures, and he circles around this subject very well in this interesting read. Comes highly recommended.

Is the camera shutter count important?

The odometer of a used car is an important indicator of just how used the car is! It may not tell exactly how well the previous owner(s) took care of the car, nor if they drove like rotten tomatoes or carefully like some senior citizens are able to. The shutter count on your camera is a little bit the same: it tells something about how used the camera is, but it is not the entire story.

You can tell a lot from the scratches and wear and tear on the outside of the camera body – many professionals (sports, photo journalism) do not baby their gear and you can certainly tell from the look of the camera. However, the cameras they choose for their line of business is built for the purpose, so factor this in when looking at a seemingly beaten up pro grade used camera.

In the spec sheet, camera manufacturers list the shutter count life expectancy for a given camera. The Nikon D4 is set to 400.000, but Nikon is notorious for being conservative when it comes to the life expectancy, and many report that they have passed the expected shutter count by several factors!

The shutter in a DSLR is one of the parts that endure the most wear and tear, and hence the focus is very much on the mechanical shutter itself. If your cameras shutter stops working, it is often possible to have the shutter itself replaced and the camera re-calibrated, giving you – if not a new then – a refurbished camera that most likely will have several good years ahead. However, the precondition is that the camera is within the service window still and that spare parts are available. I have a Nikon D4 that is 10+ years old, and I doubt that I can get that serviced anymore as spare parts simply are no longer produced or in stock.

Other parts like buttons and dials are subject to wear and tear as well as the lens mount and doors in the camera. Print cards and electronics can also see the end of their life, but the mechanical parts is usually where the issues surface first.

Some think that the camera shutter counter is reflected in the file numbering of the pictures. And to some extend it is, but you can typically re-set or change the file naming counter, so it is not evidence of the shutter count. Unfortunately, most camera manufacturers do not provide the shutter counter to be seen via say the menu system or some other easily available option. It is hidden inside the camera!

Good news is that the EXIF information of the images contains the shutter count. So if you take an image and send it to this website, you can get the information “pulled out” of the image, provided your camera is supported. Although they say that the image is not stored, I would recommend that you use a test shot or something that is not dear to you as the image you upload. I have only been able to make it work for RAW files, not JPGs.

With the move from DSLRs to mirrorless cameras, the significance of the shutter count has dropped somewhat. However, there may still be a mechanical shutter in your mirrorless camera that is needed for flash photography or the like. However, when shooting with the electronic shutter, there is very little wear and tear of the mechanics of the camera (other than the shutter release button of course).

For a mirrorless camera you will typically find a counter for both the electronic and the mechanical shutter. For a DSLR, the distinction is between the counter including live-view shots and the more classic shutter release. It is a fair distinction, as the mirror is not flicking every time you shoot an image in live view.

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What is Matrix metering from Nikon?

Matrix metering is the most advanced of the metering options on a Nikon camera, be it a DSLR or a ML camera. It divides the scene into multiple zones and evaluates the light intensity and contrast in each zone. The system considers the brightness and contrast levels in each zone to evaluate the overall exposure. Subject recognition may also be used to determine the most important zones as well as the zone that has the focus point. The system has developed over the years and hence the system is not static but had improved from one model to the next.

Nikon Matrix Metering can work with non-CPU lenses, but with some limitations. Non-CPU lenses do not transmit lens information (e.g., focal length, maximum aperture) to the camera, which can impact the metering system’s accuracy. Therefore the Nikon camera – when shooting with a non-CPU lens – will typically default to center-weighted or spot metering mode, instead of Matrix metering.

Category: Learning photography

How to use rear curtain synch with flash photography

Terminology

Curtains and flash

How to expose with rear curtain sync

Shooting options

Video

Further reading

Review: Gregory Crewdson by Walter Moser

Further reading

Review: Looking at photographs by Laurent Jullier

Looking at photographs

Video link

Related reading

Review: Photographs 1943-2013 by Keld Helmer-Petersen

One of the most important Danish photographers…

Related reading

Review: Read this if you want to take great photographs by Henry Carroll

Clickbait?

Theory and practice

Boom!

Video link

Further reading

Review: Still lifes, California by Rudy VanderLans

Size matters?

Dismal

Film look

Graphical

Further reading

Review: The essence of photography by Bruce Barnbaum

Related reading

Review: The soul of the camera by David DuChemin

Related reading

Is the camera shutter count important?

Video link

What is Matrix metering from Nikon?

Related reading