Tag Archives: improving your photography

Brian’s Tip of the Day for Better Photographs.

Many photographers typically expose from a standing position, and in many instances this provides a suitable vantage point.

Yet, in some circumstances your natural standing height may not give you the optimal viewpoint.

I’m not talking about gaining elevation; that’s a topic for another day.

Sometimes making a small adjustment, by lowering the height of your camera can make for a noticeably different photograph.

Both images below were exposed the other day from the Shore Line East high-level platform at Westbrook, Connecticut. I was using my FujiFilm X-T1 digital camera fitted with a 27mm pancake lens. This is a fixed focal length lens, rather than a zoom. My exposure and nominal post-processing adjustment were the same in both images.

The first was made from my normal standing position.

The second was made from the same basic angle to the train, but from about a foot lower down.

I was able to improve on this image by lowering the position of my camera by about a foot (see below).
I was able to improve on this image by lowering the position of my camera by about a foot (see below).

I was especially troubled by the hooks of the platform lamps on the far side of the cars that makes for an incongruous shapes. These add nothing of value to the image, and could easily be mistaken for some appendage atop the cars.

Although very similar; this photo offers  a cleaner perspective that is free from some of the distracting elements that detract from the photo above.
Although very similar; this photo offers a cleaner perspective that is free from some of the distracting elements that detract from the photo above.

Notice the relationship of the NH herald, and more importantly the change to the distracting elements above and beyond the passenger cars.

Try this technique for yourself.

Use the opportunity offered by a paused train to expose several images from slightly different angles by making small changes in elevation. Pay careful attention to foreground and background elements as well as window reflections.

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Tracking the Light Leap Day Special: Secret Photo Tip (the one you want to read, but don’t want to hear about).

Over the years I’ve traveled with dozens of railway photographers with whom I’ve  learned elements of railway photography.

Among the most important lessons I’ve learned, one has has very little to do with specific railways, locomotives, signals, or old stations. It doesn’t specifically relate to different types of equipment and isn’t really about cameras, types of film, or the definitive virtues of one media versus another.

Normally, I avoid philosophical preaching and I remain reluctant to instruct people how to conduct their affairs.

However, I think this tip may help some photographers—this is if they choose to accept it and react to it.

So, what is it?’

When you’re out making photographs avoid your invisible barriers— those things in your head that discourage you from being in position to make great photographs.

In other words try to avoid letting your arbitrary personal opinions, feelings or established prejudices from materially interfering with your focus on photography.

By ‘invisible barriers’ I mean things you can control and not personal obligations, physical limitations or other real impediments. The invisible barriers are what some people call ‘foibles’.

Some examples:

‘I don’t like to get up early.’

‘I like to eat a full breakfast before making photos.’

‘I don’t like cloudy days.’

‘I don’t like engines that are running long hood forward.’

‘I don’t like traveling more than 45 minutes from home.’

‘I don’t like driving in rush hour traffic.’

‘I don’t like locations that are too close to rivers.’

‘I hate the cold/heat/wind/dry air/rain/snow/dust storms/tornados.’

‘I only like passenger trains/freight trains/short lines/mainlines/Alco diesels.’

‘I don’t like tree branches.’

‘I only like trains climbing grades with a defined row of hills in the distance.’

‘I like bright sunny days.’

Any or all of these things may be true for you. However,  when any of these things get between you and a photographic opportunity, your photography may suffer.

Not the dreaded single diesel long hood forward!
Not the dreaded single diesel long-hood forward!
In 1994, I spent three rainy days in the Oregon Cascades. It wasn't comfortable, but I was offered a host of incredible photographic opportunities. For me the results were worth the trials.
In 1994, I spent three rainy days in the Oregon Cascades. It wasn’t comfortable, but I was offered a host of incredible photographic opportunities. For me the results were worth the trials.

If you want to push your boundaries consider reconciling those arbitrary foibles that may be preventing you from being in place to get  the best possible images.

Being in-place is key. If you are not there, you can’t a make photo. All the excuses in the world are no substitute for being there: so, Be There.

Push your limits. Get over the small things that are your invisible barriers. Work out what may be keeping  you from your optimum photographic potential.

Not a good tip? Here’s a question:

When documenting a scene what’s the benefit of allowing invisible barriers to shape your photograph or prevent it? Answer that for yourself, not for me. I’m just giving tips.

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