Focus: The Sniper Method

Welcome to sniper school.

Do you ever wonder why snipers can hit their target from so many yards away? Why are they so accurate? What is it that they do that makes them so good?

It is the very breath that they take and their control of it that helps them hold the gun steady, and allows them to hit their target.

So how does that relate to cameras and focus?

Most of us shake a bit. Some of us shake a lot. I will try here to show you how to shake less, and follow through in your photo shooting.

Look at how sharp the focus is. This image
was hand held, using the techniques in this tip.

Here is part 1.

Hold your hand out in front of you.

Take a deep breath. Hold it for about 5 seconds.

Now  let it out slowly. It should take about 10 seconds.

If you are like most people, your hand will almost stop shaking completely between 6 and 10 seconds.

When you prepare to release the shutter (take the picture), breathe exactly the way we just did it. Pick the camera up to your eye, deep breath, then let it out. Squeeze the button between 6 and 8.

Here is the hard part. DO NOT take the camera down from your eye until you are done exhaling. It is called "follow-through" and is just as important for the photographer as it is for the baseball player. Or the sniper.

Homework for tonight is to breathe deeply, and get used to the idea of breath control. Go take some photos. Inhale, exhale slowly, THEN take the camera down. It will take a while to get used to it, but your crystal clear images will be well worth it!

Next week, what all of those settings mean - or at least some of them...

The Photographers' Perspective

To quote Charles Lewis, Successful photographers are those who do what the unsuccessful photographers are unwilling to do. He was talking about money, but it just as well applies to the artistic nature of your images, starting with where you take the photo from, or in other words, your perspective.

Photo by Monroe Payne

First, get over the idea of standing up while you take the photograph. Go ahead, get uncomfortable. Squat down or lie down to get the Chihuahua's eye view of the roses. Get on a ladder and photograph a train from the Engineer's altitude. Your images will be remarkable, at least in part, because you did what NOBODY ELSE was willing to do - or at least they didn't think of it first.

Anyone can pick up a camera, aim it and release the shutter. You, however, are better than that.

Photo by Mindy Porter

When you choose another perspective, you are treating your viewer to a different point of view of a "thing". Children, in particular, really look great - and very different - when you photograph them at THEIR eye level. Take it another level down to cat's eye level. Charming little kitty becomes a predator, or a tiny puppy looks truly lost in the grass.

Now try moving up! Use a ladder! Take your photos from an upstairs window to get, again, that point of view that nobody else is willing to get. You might even climb up a lighthouse's stairs. Or a fire tower. Me? I'm trying to find a good used cherry picker - you know, like the cable companies use... I don't climb trees any more...

Another, slightly more difficult (and uncomfortable) perspective is "from the inside out".

Get inside a shrub, or closet, or for that matter, under a bed, and photograph "from the inside out". This is an exercise, folks. Play with it. Try all sorts of things, that involve a camera and discomfort, and you will be amazed.

Photo by Miles Lumbard

Photo by Richard Nagle

The next, and perhaps most uncomfortable thing to do is be patient. Eagles and Hummingbirds do NOT appear on request. Wait. Be patient. Be quiet. Your patience will be rewarded. Usually about 20 minutes AFTER you have decided that this is a stupid thing to do - but you decided to hang around for "just a couple minutes more..."

This June, I plan on being on the lake at 3AM to get a particular building illuminated by a bright full moon. Why? Because I have seen the image in my mind, and want to capture it. I will not be denied.

I promise, I will share the image as soon as I have it. You will be amazed.

Homework? Create an image from a unique perspective in your mind. Do whatever is necessary to make it real, and to capture it in your camera. Just remember, you MUST be uncomfortable when you take it. No pain, no art!

Next week, the secret of perfect focus.

All of the photos used are from IthacaStock.com contributors. Please visit their galleries on IthacaStock.com, Richard Nagle, Miles Lumbard, Mindy Porter and Monroe Payne

Also, please follow this blog for weekly tips, and by all means, visit our Facebook page, ithacastock.com.

Curves

Curves. I love curves. Roundnesses. Softnesses.

Curves are the most pleasing thing that they eye can see.

 

They lead, they entice, they draw you in and let you wonder what is around the next curve. We are trained to see straight lines, whether it be the shortest point from here to there, like an Interstate Highway out west, or the roof line of your house, or the lines in the sidewalk. The lines are there, but for the most part, are fairly uninteresting.

Curves, on the other hand, are like the back road through the trees, a garden path, the Blue Ridge Parkway, the softness of the female form, or even the rippling biceps of the muscle man. Curves are organic, which is why, I think, that we are so drawn to them as an element of art.

Straight lines have their place, but are very mechanical and organized.

Curves remind us of our humanity, and our natural being. So let's incorporate them into our images!

So where do we find curves? Just about everywhere that nature is involved. The sun, the moon, the shoreline of the lake, the road through the snow covered woods - but curves can be there without the "line" of the curve. This photo of the Ring of Brodgar is a case in point. The tops of the standing stones make a curve, drawing you into the image.

If you don't know, the Ring of Brodgar is Stonehenge's  biggest brother, measuring 138 meters across. You can find this, the largest Henge in the world on the mainland of the Orkney Islands, north of Scotland.

Curves are not only in nature and can be manufactured as well - and that is why the Opera House in Sydney, Australia is so celebrated. Manufactured curves on that scale are not so commonly found in architecture. Again, they lend an organic flavor to the building that is missing in most construction.

And here is the biggest curve I have photographed, leading your eye to the Space Shuttle on the launch pad.

So your homework, should you choose to accept it. is to find and photograph some curves. Don't limit yourself to curvy lines drawn in the sand. See the curves in everything, like these roses...