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THE HOLY TRINITY OF DEPTH OF FIELD

Depth-of-field is an expanding and contracting field depending upon three equally important factors you can control. Don’t think ‘better‘ or ‘worse‘ think ‘more‘ or ‘less‘ and you use your judgment, taste and style applied according to what the image or subject needs or even wants to determine how much is best.

These 3 factors are interrelated to create depth-of-field:

1) Aperture:
  – Smaller aperture/smaller opening (towards f16) gives more depth of field
  – Larger aperture/bigger opening (towards f2.8) gives less depth of field

2) Focal Length of Lens
  – Shorter lens/wide angle/zooming out gives more depth of field
  – Longer lens/telephoto/zooming in gives less depth of field

3) Distance to Subject
– Closer to subject gives less depth of field
– Farther from subject gives more depth of field 

 

Distribution of focus:
1/3 in front of focus point, 2/3 behind

In general, focus on the closest object you want in focus and choose an aperture to expand focus to the furthest object you want in focus.

For critical focus, focus 1/3 into the area you want in focus and use aperture to get the depth of field you want.

Also:
– The smaller the film format or the smaller digital sensor (like in point and shoots) the greater the depth-of-field. That is why point and shoot cameras have inherently more depth-of-field than D-SLRS and camera phones have more than point and shoots.

– The larger the film format or the larger the digital sensor the less the depth-of-field. Medium format has inherently less depth-of-field than DSLRS and large format cameras, like 4×5 view cameras, have less than medium format cameras.

 

©Douglas Beasley 2017

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DOUG’S TECH TIPS

1)  When ready for more creative control, get out of ‘Auto’ or ‘Program’ mode and into ‘Aperture Priority’.

2)  Learn to control and use depth of field. Don’t let the camera choose that for you. Make aperture choices based on how much depth of field is needed for your vision in the photo.

3)  ‘Shutter Priority’ (Time Value) is good if and when you want to introduce or control movement.

4) To prevent blur when hand-holding your camera, use a shutter speed as fast as your lens is long (in mm’s). Example: a 24mm lens needs at least a 1/25th of a second while a 200 mm lens needs at least 1/200th. Using a vibration reduction or image stabilization lens will help reduce the shutter speed needed.

5)  In any automatic mode, changing your aperture or shutter speed does not change your exposure!!! The camera automatically compensates for any changes to one with an opposite change in the other.

6)  Using “Manual” mode is not better than automatic if you are merely doing what it tells you. Learn to interpret the information based on what you want or for creative effect.

7)  When you buy a lens buy the best one you can afford. I think it’s better to have one good lens than several mediocre ones.

8)  Always use a lens hood. It’s the cheapest equipment upgrade you can make. It prevents flare, improves contrast, color saturation, and detail. It also protects your lens from impact damage if you bang your lens!

9)  When you change lenses point your camera downwards to avoid dust settling on the sensor or film.

10)  If shooting digital, don’t overexpose the highlights (opposite of film), it is easier to brighten the shadows later. If shooting film, don’t underexpose as that will make a very hard to print negative.

11)  Watch the contrast ratio. On digital cameras, look at the histogram and make sure it doesn’t go off the right side if you want to preserve highlight detail.

12) Bracketing is for sissys! Find the best exposure and use it. You’ll save a lot of time in editing later. The exception is when shooting tricky exposure situations like dramatic skies with clouds or strong backlight

13) Long telephoto lenses are for cowards! Get in close to create connection and intimacy. Long telephoto lenses are very good at eliminating background distractions and can be very flattering but the tradeoff is that you often make more anonymous photos from further away, avoiding intimacy and connection with your subject.

14) If it is a portrait, focus on the subject’s eyes. If the eyes are sharp the photo will be perceived as sharp. If the eyes are not sharp the photo will be perceived as out of focus.

15) Unless absolutely necessary (and it’s usually not), turn your on-camera  pop up fill flash off. Or dial it way down. Instead raise the camera’s ISO, use a larger aperture or slow down the shutter speed in low light situations.

16) If you need flash, learn to control or diffuse it. It’s usually better off camera or bounced off a wall or ceiling. You can also use accessories to enlarge the size of the light source, creating more flattering light.

17) Learn the difference between quantity of light (amount/how much light) and quality of light (type of light).

18) Learn from your mistakes. Explore why it is that your photos didn’t work as well as you had thought they would. The ones that aren’t good have much to teach you…

19) Make sure that your vision is serving your technique, rather than technique driving your vision.

20) Without vision and creativity, all the camera equipment in the world won’t make you a better photographer. You will just be the same photographer with more stuff.

 

©Douglas Beasley 2018

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PREPARING FOR A PHOTO WORKSHOP

Basic:

– Make sure to get out and use your camera before the workshop. Get familiar with it again if it has been put away for awhile. This is very important!

– Download and edit those recent images onto your computer and review them using your image editing software of choice. I recommend Adobe Bridge or Lightroom but even iPhoto is fine for initial editing.

– If shooting film, run a roll through your camera and have it processed. Look carefully at the negatives and contact sheets.

– Try not to use new camera equipment or new software at the workshop unless absolutely necessary. Too much of your time and energy will go to figuring out new gear instead of being present. I have seen many do it almost deliberately to seemingly sabotage themselves.

– Look at some of your favorite photographers or artist’s work. Figure out exactly why you like it. What is it that makes their work compelling to you?

– Lay out some of your own favorite prints or make a slideshow of your favorite images. Study them. What do you like and dislike? What, if anything, is missing? How are you using space? What would you like to work on improving?

– Pack your camera bag. What can you do without? What is essential? What is missing? What can you leave behind? Too much gear leads to too many choices instead of decisive vision- which takes actual practice to achieve.

– Re-read your camera manual and bring it with you to the workshop. Read it again on the plane, with your camera in hand. You will learn something new each time.

– Plan on learning from your fellow students. Being ‘in community’ with other photographers is a big benefit of the workshop experience.

– Be as well rested as possible going into the workshop.

– If you have the time and luxury of arriving at the workshop destination a day or two early (especially after a long flight). It can be a great way of getting over any lag and being ready to take advantage of all the workshop experience has to offer.

– Recognize ways that you sabotage yourself or your creative process before the workshop even starts. Use that awareness to make a plan to circumvent that from happening.

– Give yourself totally over to the experience while there.

– Minimize contact with the outside world, including social media. Turn off your phone whenever possible. You will get out of it what you put into it.

– Remember, almost everyone else is just as apprehensive, nervous or scared as you are!

– Every participant usually believes that the others in the class know more and are more advanced than they are. Even if it were true, which it probably isn’t, so what! We are all there to learn and grow from where we are.

– Start keeping a list of questions that come up.

Advanced:

– Reflect on why you need or want from a photo workshop at this point on your artistic path.

– Write about or make a list about what you would like to get out of your workshop.

– Acknowledge your apprehensions and fears about both your photography and the upcoming workshop.

– Look over your past work (prints, contact sheets or digital files). Look for themes, patterns, strengths and weaknesses. What is working? What isn’t? What needs improvement?

The instructor:

– Study the work and look at the website of the your workshop instructor.

– What can you learn from their style of making images? What do you like about their work? What don’t you like? What would you do differently and why? What do they have to teach you?

– Don’t let the instructor force you to think or photograph like they do. But do try and relate to their style and artistic point of view- if only to help clarify your own.

– You don’t need to have similar subjects or themes as your instructor to learn from them and their methods.

– Do try to understand about how their approach to their chosen subject matter can better inform you of new ways to approach your own subject matter.

– It’s alright, often even helpful, to copy or emulate your teacher’s style as a way of learning but ultimately you must find your own path.

– What works for them may not work for you but use your teacher’s approach and methods as a guidepost or catalyst for finding your own methods and vision.

 

© Douglas Beasley 2017

 

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PREPARING FOR A LOCATION PHOTO SESSION

Camera:
• Download and backup previous images from your memory card
• Format memory card in your camera and an extra memory card for your camera bag
• Fully charge camera battery and an extra battery
• Check and set ISO setting, program/manual mode, white-balance setting
• Set Color space to Adobe RGB 1998 and leave there
• Set file size and type desired (jpeg/raw, etc)
• Check auto-focus and other settings
• Clean and organize lenses and filters
• Clean dust off image sensor (very carefully!) or have it professionally cleaned occasionally
• Make sure each lens has the right lens hood attached

Location Prep:
• Check weather report
• Bring a list of cell phone numbers of models, assistants, etc.
• Scout location in advance, if possible
• Check position of the sun during the time of day you will be photographing
• If necessary, print out directions and map to location
• Have a backup location in mind
• Forward directions and phone numbers to models and crew, if applicable
• Gather additional equipment necessary: tripod, monopod, reflectors, lights

Photo Prep:
• Review past photo shoots, determine what should be similar or different
• Look at the work of other photographers and artists for inspiration
• Avoid looking at the work of others if it only diminishes your confidence or clarity
• Set intentions for how you want the session to go and how you want your photos to feel

Photo Shoot:
• Have a mental list of possible photo shoot ideas ready
• Think about the style and mood of the photos you want to create
• Have a backup plan in case Plan A does not work
• If it is an important shoot, have a backup plan for your backup plan…
• Be prepared to be spontaneous!
• Be open to serendipity, yet embrace change as necessary due to unforeseen elements
• Collaborate with your subject, receive and listen to input even if you don’t use it
• Slow down and tune in to the ‘spirit’ or feel of your location
• Listen and respect the opinion of others but trust your own intuition as well
• Don’t dilute your vision by taking in too much outside input
• Remember what it was that drew you to the subject, model or location originally
• Find a balance of holding on but not too tightly and letting go but not too loosely
• Always keep the ‘big picture’ in mind

©Douglas Beasley 2017

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TRAVEL SECURITY

• Go simple. Project simplicity.
• Don’t wear an expensive watch or expensive jewelry
• Buy a cheap watch to wear during your travels
• Pants with Velcro or buttoning pockets can be good for money, credit cards, etc.
• Project a calm, secure, confidant image. Try not to be paranoid.
• Try not to be suspicious of others but don’t be naive
• Keep an awareness of your surroundings
• Remain openhearted, but be smart without being suspicious
• Please help look out for each other’s health, safety and well being

FINANCIAL
• When you go out only bring one credit card and just enough cash you need for the day
• Don’t flaunt your cash or expensive camera gear
• Keep only a small amount of cash in an easily accessible pocket
• Put the rest in a secure pocket or hiding place

CAMERA BAG
• A Backpack style bag looks less like expensive photo gear than a regular camera bag.
• Older, well-worn bags stick out less than a fancy new one
• If it’s a shoulder bag, wear the strap across your shoulder rather than over one shoulder • In a crowd, bring your camera bag to your front and hold it with both arms.
• A photo vest can be useful but is also like a big red flag saying you have expensive toys

PASSPORT
• Digitally scan your passport and keep the file on your computer.
• Email a copy to yourself and one to a friend in case your computer is lost or stolen
• Make two printed copies. Keep one in your camera bag and one in your luggage
• You will need to bring your passport to exchange money or get a cash advance
• Don’t carry it with you unless you actually need it. Just keep a copy with you.
• It’s safer to keep your passport in your room

 

©Douglas Beasley 2017

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TRAVEL TIPS for PHOTOGRAPHERS

Traveling is a balancing act between having what you need and what you think you might need with light weight, portability, access and ease of use. The older and wiser I get the less I need and the less I want to carry around.

Flying:

– Bring your camera bag and laptop as a carry on. Never check them as luggage.

– When traveling with film always bring it in your carry on bag. 

­– Do not put film in your checked luggage, as that receives much higher doses of x-rays.

Choosing a camera bag:

– A backpack style camera bag is easier to carry but harder to work out of

– An over-shoulder type bag is easier to work out of on the street.

– A bag with wheels is easier to bring thru airports but heavier and harder to use on rough terrain. –The wheels can also be uncomfortable if also using as a backpack.

– An old, worn camera bag or case is less tempting for thieves.

– Or use one that doesn’t look like a camera bag.

– Good luck finding one bag that has it all! I have many different bags for different types of trips and different ways of working.

What to pack in your camera bag:

– Keep a notebook, pen and Sharpie in your camera bag.

– If you have them, put a couple small promo pieces or postcards with your photos. Remember to include your name and email address on the piece.

– Put some business cards with your address and e-mail in your camera bag to give to subjects to contact you to receive prints. It also puts the responsibility on them to initiate contact.

– Always keep a fully charged extra camera battery and memory card in your camera bag.

– Hide a business card or card with your name, email and phone number well hidden under the bottom padding of your camera bag. If stolen and recovered you can quickly prove it’s yours.

– Keep a small ‘hot list’ of frequently used or emergency phone numbers or contact info in your camera bag. You may not have your cell phone available and most of us don’t remember frequently called phone numbers any more!

– A jeweler’s screwdriver is a helpful accessory. So is a leatherman tool, but travel with it in your checked luggage (so it is not confiscated by airport security).

– It may be helpful to bring a small portfolio or Blub type book of your images to keep in your camera bag to show potential subjects the style of photography that you do.

– Bring a plastic bag to protect camera bag contents in a rain or dust storm.

Equipment:

– I bring Red and Yellow filters for B&W film. For color or digital a circular polarizing filter.

– I normally don’t put a filter on my lens unless necessary, but sometimes use UV filters when traveling to protect the lens.

– Use a dedicated lens hood for every lens. Put it on facing out every time you use the lens.

– If you have multiple lenses, mark the rear body cap with a special Sharpie (made for marking plastic) showing the focal length of the lens to make it easy to quickly distinguish which lens is which.

– Leave big, heavy or long lenses at home unless you are on a bird-watching expedition or wildlife safari. They will get in your way in making intimate portraits and will make you tired and sore from carrying all that extra weight around.

Film:

– Again, do not put new or shot film in your checked luggage when going thru airports!

– Bring small zip lock plastic bags to put shot film in, to protect from moisture and dust.

– You can Fed Ex shot film to and from home as they do not x-ray Fed Ex packages. If you have a lot of shot film it is best to separate every other roll into two packages and send on two separate days.

 

Digital:

– You can download images to a portable hard drive or viewer like the Epson 7000 if you don’t want to bring a laptop computer.

– Keep full memory cards in a separate place from computer, but not in your camera bag, as a back up if your camera is lost or stolen.

– Don’t forget power cords, battery chargers and all associated cables.
 

Luggage, etc:

– Write down your camera and lens serial numbers and keep in a separate place from your camera bag.

– Also keep a copy of serial numbers on an iDisk or server that is internet accessible.

– Write down all your credit card numbers (you can devise your own code to scramble the numbers) and phone numbers of credit card companies and put in a separate place in case they are lost or stolen.

– Remove all unnecessary credit cards from your wallet before you travel.

– Make a digital scan of your passport and e-mail to yourself so you have access to it. Keep a copy on your hard drive.

– Make 2 photocopies or digital prints from the scan of your passport and keep one in your camera bag and one in your luggage.

 

More:

– When all is going wrong, a sense of humor can be essential!

– Patience, practiced and applied as necessary will go a long ways to keeping your trip enjoyable.

– Tolerance for others, both in your group and those encountered along the way is a big virtue.

– Travel is an opportunity to try and leave your ego behind. It will be ready and waiting at home for your return!

                         “No matter where you go, there you are!” -Jon Kabat Zin

“There is only one journey, going inside yourself.” -Rainier Maria Rilke


©Douglas Beasley 2013

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POST WORKSHOP RE-ENTRY BLUES

Re-entry into ‘ordinary life’ can be difficult after a deeply personal experience, such as a photo workshop based on creativity, community and artistic/emotional vulnerability rather than apps and camera equipment. If your workshop also included travel outside of your own culture re-entry can be even more intense. You have changed yet the world around you back home has not. You want to share your new growth but others may want you to stay the same.

Here are some ways to continue to live your art:

• Find or start a support network of like-minded photographers or artists
• Avoid groups more interested in cameras and equipment than in artistic self-expression
• Be very careful whom you take criticism from! Consider the source…
• Explore your own motives for who you want to share your work with and why
• Nurture artist and artist-friendly friendships, especially from other disciplines
• Find a mentor. If possible, meet with them often at regularly scheduled intervals
• Start an ideas or creativity journal. Write about your process, progress and struggles
• Take yourself on an ‘artist’s date’ (see Julia Cameron/The Artist’s Way)
• Visit local galleries and museums. Look at paintings, sculpture and other art forms
• Visit your local public library and look at art and photo books
• Notice how work you admire uses composition and space
• Read a book from the ‘Recommended Media List’
• Re-read the book Art and Fear by Bayles and Orland
• Google the work of photographers listed on the ‘Recommended Media List’
• Use ‘Shots’ magazine or upcoming submission themes as your next assignment
• Selectively submit your photos to photo contests, gallery and publication calls for entry
• Plan photo outings with specific predetermined themes
• Give yourself specific assignments with a deadline for completion
• Try using the Vision Quest Photo Assignment Cards for new photo assignments
• Mine your previous work for themes, then turn those themes into projects or exhibits
• Have a timetable and deadline for those assignments or projects
• Set up a group exhibit, with a theme, for your artists group
• Secure an exhibit of your own work. Deadlines can be amazing creativity energizers!
• Set up an exhibit with members of your workshop
• Post your photos for comments and sharing on Vision Quest’s Facebook page
• Join an existing Flicker or photo-sharing group. Post photos on Instagram
• Start a photo-sharing group with members of your workshop
• Don’t get too caught up in social media platforms- they can also suck energy out of you!
• Publish a Blurb, Shutterfly or Apple book of your workshop photos and experience
• Re-visit and re-work workshop assignments
• Re-visit the writing exercises from class
• Have something to look forward to: plan your next trip or sign up for a future workshop!

 

©Douglas Beasley 2017

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THE EMOTIONAL LANDSCAPE
RECOMMENDED MEDIA LIST


REQUIRED/VERY HIGHLY RECOMMENDED:
Art and Fear, Bayles and Orland, The Image Continuum
Steal Like An Artist, Austin Kleon, Workman Publishing

CLASS READINGS WERE FROM:
Tao Te Chingby Lao-tzu, Jane English Translation, Vintage
The Prophet,Kahlil Gibran, Knopf
Peace is Every Step, Thich Nhat Hanh, Bantam 

RECOMMENDED READING/ART, CREATIVITY:
The Artist’s Way, Julia Cameron
Why People Photographand Beauty In Photography, Robert Adams
The Creative Habit, Twyla Tharpe (dancer/choreographer)
Steal Like An Artist, Austin Kleon, Workman Publishing

RECOMMENDED PHOTOGRAPHY BOOKS:
God Is At Eye Level, Jan Phillips, Quest Books
The Tao of Photography, Seeing Beyond Seeing, Gross and Shapiro, 10 Speed Press
The Tao of Photography, Tom Ang, Amphoto Books (much more basic than one above)
Wabi-Sabi for Artists, Designers, Poets & Philosophers, Leonard Koren Stone Bridge Press

MOVIES/VIDEOS
Spring Summer Fall Winter and then Spring Again, Korean film about Zen temple on island
Rivers and Tides, documentary about sculptor Andy Goldsworthy
Baraka, a 1992 non-narrativedocumentary filmdirected by Ron Fricke

RECOMMENDED PERIODICALS
Photo:
Shots Magazine (submit images on a theme for each issue)
B&W Magazine
Lens Work Quarterly (beautiful B&W reproduction)
Aperture
Nueva Luz (for photographers of color)
Blind Spot
Photo District News (for professionals)
Zoom (Italian photo magazine available in US) 
Other:
The Sun (literary magazine)
Orion (progressive nature magazine)

PHOTOGRAPHERS TO CHECK OUT
Classic:
  Minor White
  Paul Caponigro
  Aaron Siskind
  George Tice
  Jerry Uelsmann
  Wynn Bullock
Contemporary: 
  Sally Gall
  Franco Salmoiraghi(Hawaii)
  Chris Rainier
  Keith Carter
  Graciela Iturbide (Mexico)
  Michael Kenna
  Kenro Izu 
  Luis Gonzalez Palma (Guatemala)
  Hiroshi Watanabe
  Susan Burnstine 
  Debbie Fleming Caffery
  Linda Connor
  Chris McCaw (long exposure solarizations of the sun)
  Michael Donner(young photographer)
  Andy Goldsworthy(sculptor/installation artist/photographer)