Tag: framing

Prime Lenses: Elevating Your Photography Beyond the Basics – Part I

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Introduction

This article is a follow on from my last article discussing the various merits of zoom and prime lenses.  Today I’m going to try and give a more indepth look into this world of primes.  The lenses that I will be discussing are my own and I have experience with them.  I will be talking more about how “I” use them and how they affect “my” photography, be that the actual photos or the photographic experience.  All the really techy stuff is available on Google;  I’m trying to give you an idea of the sentiments that I have when using the various lenses.  That said, let’s get into the nitty gritty.  I will go through each lens giving you details on how I use it, how “they” say I should use it, and start from the widest to the longest focal length.  This was turning into a longer article than usual, but since there’s a lot to cover, it will become a two part article.  Again mother, I will be talking shop, so consider yourself warned again… Sounds fair?  Let’s go!

Fisheye lens (TT Artisans 7mm f2.0 manual focus lens)

My fisheye lens (7mm so a 11mm full frame equivalent) is the one I use with my Fujifilm XT2.  It is a super wide lens made by TT Artisans, and its main claim to be included in my collection is that it was affordable.  Or at least affordable compared to some of the lenses out there.  However it doesn’t feel cheap on the camera.  It’s manual focus, but I can focus very closely (minimum focus distance is 0.125 metres) and the whole shot will be sharp.  It’s ultra wide so it gives a great level of distortion, which I love, but others might not.  If you can manage to get your horizon level, then you might not get as much distortion as you could by just raising the view 10° higher than the horizon. I love the effect that I can get from it.  It’s definitely a niche lens, and the price I would have to pay for something similar for my DSLR would be silly money.

16mm f2.0 (Fujifilm brand lens with autofocus 24mm equivalent for full frame lenses)

This was the first lens I bought for my Fujifilm XT2.  This 16mm lens’ full frame equivalent would be 24mm.  Why did I buy it?  Well, I already had a 35mm equivalent lens on my X100F, and thought that the difference between 24mm and 35mm would allow me to go wider and get more into my scene whilst avoiding the distortion of the fisheye lens. A particular outing sticks in my mind and was when I used the lens to take photos of the modern architecture on the Île de Nantes.  The wide angle of view (hence the name wide angle lens) was perfect for this kind of street landscape photography.  Would I use it for close-up portraits?  Only if I want to elongate people when taking a shot from low down on the ground looking up.  Would it be good for classic street photography?  Possibly as a compliment lens to my 35mm equivalent lens on my X100F.  Do I regret acquiring it?  Not at all and I particularly like its wide angle of view.

28mm f2.0 M42 mount lens for the Praktica MTL 3 film camera

I started my photographic journey with this film camera and only bought this lens much later.  I had my 50mm f1.8 (nifty fifty) and this was my first venture into a wider lens.  Could I see a massive difference straight away?  No.  But I no longer felt the need to move further back to get the view I wanted into frame.  Moving back with  a camera on your eye and banging into a building and saying sorry to the building is not the way to go, however British you may be.  The Leica Q (a very sexy little thing) uses this 28mm lens and is aimed at street photographers who have enough money to buy a Leica.  The same goes for the Richo GR II but without the need to sell a kidney.  There is a great debate on the Internet talking about the difference between the 28mm and 35mm lens for street photography, which tries to polarise everyone.  I try to stay as neutral as possible in these kinds of controversies but I do use my 35mm lens more.  Do I still like the 28mm format?  Yes.  Is it very different from the 24mm format?  Not hugely, but I tend to worry less about distortion .  I should probably go out and run a roll of film and see how I feel afterwards.  I remember the need to go in close to avoid capturing too much in the frame with this lens, but that is not a factor that could deter me from using it.

23mm f2.0 (X100F lens equivalent to the 35mm for a full frame camera)

The 35mm lens is the classic for street and documentary photography.  It was the lens used by a majority of newspaper photojournalists in the 1970’s, 1980’s and 1990’s.  This might explain its influence on my own photography.  I remember when the Independent first came out and the high quality of photojournalism.  I think that if Fujifilm decided on the 35mm equivalent for their fixed lens cameras then there’s probably a very good reason for it.  Through my use of the X100F for street and documentary photography I have become very accustomed to the view it gives me of the world.  It’s not just for the street though.  Even as a sole travel lens it allows me to capture details of a trip, as well as wider views to tell my story in more detail. It’s brilliant as a lens for environmental portraits and is wide enough to always give contect in the frame to the main subject.  If you try to do close up photography with portraits you might notice some distortion but if that happens just move ever so slightly backwards, reframe, and the problem should no longer be one.

In my next article, we will go higher up the focal lengths and discuss the narrowing field of view that they offer and explore how they bring the background forwards. As for this article, all the information laid out is equally as valid for film or digital photgraphy.

Frame It Right: The Art of Composition in Photography Part II

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In my last article, we talked about three of the rules of composition, rule of thirds, leading lines, and symmetry.  We talked about the origins in classical art, as well of how to use them in our photography.  We also explored the implementation of these rules “or guides” and how we should practice each one, master it, and then move on to the next one.  You will still have your photos for the “Gram,” but more importantly, you will be growing as a photographer, gaining experience, and building a body of work.  You will, by definition start becoming more deliberate in capturing your shots, and will be more mindful than somebody just shooting blindly and praying that they get at least on shot!

In this article we will continue to explore certain concepts that be used to make our photographs even more engaging and interesting.  We will explore framing, i.e. using frames with in frames, and the use of negative space, used to isolate of emphasize our subject, and go minimalist.

Framing

When I say the word framing, I’m not talking about the gilded golden frame that you will use to frame your photography to give as gifts to your mother-in-law, but using visual frames inside your image to “frame” your subject…

These examples illustrate how framing can be a powerful tool in photography, guiding the viewer into the image and providing depth and context to the subject or scene being captured. A technique that can make your photos more engaging and immersive.  You can use trees, windows, element on the ground, buildings.  Go out and explore the world around you and try and “frame” your shots.

Negative space

Negative space is the space that surrounds our subject, this empty space or unoccupied space is almost as important as the subject itself.  It’s role is to create balance in the image and adds to the importance of the subject.

Key points

This negative “space” around the subject gives the subject room to breath, and takes away the clutter so we can concentrate on our subject.  It emphasizes the subject and leaves no doubt where the subject is to be found.  For those of you who want a “minimalist” approach to photography, it is one of the best ways to do this.  Less is more after all.  Think of simplicity, tranquillity, and elegance.  It can be used to create mood and atmosphere, and in landscape photography can portray ideas of solitude or freedom.  Think of a vast empty sky and rolling hills.  Negative space doesn’t have to be completely devoid of detail. It can be an area of uniform colour or texture that complements the subject and adds visual interest, or we can use depth of field to emphasize our subject

When using negative space, it’s essential to pay attention to the balance between the subject and the surrounding empty areas. The goal is to create a harmonious composition where the negative space complements and enhances the subject, rather than overpowering it. This technique can lead to powerful and emotionally resonant photographs, adding depth and impact to your work.

When you look at my photos of the girl against the colourful walls in Trentemoult in Nantes, think about how placing the model on the left or right of the frame makes you feel.  Looking forwards or looking backwords… 

Colour Theory

Colour theory is not just for those trendy designers in those advertising agencies.  If you go onto my Instagram feed, you will see that most of my work is predominantly black and white.  “So no colour,” I hear you say.  Well, yes and no.  Black and white photography concentrates on tones, but we can look at colour in the same way and seek balance in our colours.  So what’s this colour wheel then?  Well, it’s a way of looking at colours that go together, like green and red (think of Christmas cards), blue and orange, yellow and purple, all these colour are opposite on the colour wheel. Also, think about complimentary colours that are next to each other on the wheel, such as yellow, light green and dark green.  You will find yourself becoming aware of colours in nature and how they complement each other.  There will be some photographs that depend on this colour for their artistic value, and that won’t work in black and white photography.

Think about the portraits in the previous section and the natural colour in the photos in the country side.

Conclusion

We’ve continued our journey into composition by exploring how to use elements in our photos to frame our subjects. We’ve delved into the concept of negative space, emphasizing our subjects in our images. To conclude, we’ve begun to consider how colour can add harmony to our compositions. My advice is to incorporate these elements into your photography one step at a time. Don’t rush; there’s no need to feel overwhelmed. It’s a lot of information to take in, but as you explore each aspect mindfully, you’ll witness an evolution in your approach. Keep up the excellent work, and I look forward to our next session where we will talk about pattern and repetition, scale and proportion, and depth and layering.