The great thing about still life objects is that their relatively small size allows us to photograph them from virtually all imaginable angles.
For this reason, whenever I come across an object that I consider “photogenic” I like to experiment and will usually make at least a few differently composed images of it.
Quite often we’ll come across situations where we’ll see an orderly arrangement of repeating, distinctly shaped objects. The round/oval pots stacked closely together in the bottom photograph are a good example of this. To the casual passerby such scenes won’t mean
much, but to the observant photographer they present great opportunities to photograph visually interesting or eye pleasing patterns. Such patterns aren’t limited to repetition of objects either; they can at times be part of an object’s design, as was the case in the top photo.
By being aware of these things you’re giving yourself the chance to create photos that are out of the ordinary and often become more engaging because of the way they are composed.
Textures
An object’s texture is a large part of what gives it its character. This is particularly true with objects that are old, weathered and roughly textured. Some of these might include working tools, boats, antique furniture, door handles etc. The roughness of the textures of these objects, the marks and the scratches are signs of usage, age and history. It’s worth emphasizing such textures in our images because by doing this we’re essentially drawing
attention to the story of the object’s “life” and this makes for interesting photography.
One obvious way to emphasize the texture of an object is to give the viewer a closer look at it (go in close or zoom in on the object); however, almost as important is the way you use light. Any diffused light is great for showing the detail in the texture, but if you want to make the texture “pop” (look more dramatic) you’ll be better suited with directional light that comes from almost any source, as long as it’s directed from the side or at a 45° angle in relation to the object (as mentioned on page 32 ). When light is used this way really effectively, the image gains a sense of three-dimensionality and the viewers feel almost as if the object can be physically touched.
Textured door Streets of Jaisalmer, India.
CS, 50mm, ISO 200, f/2.5, 1/125s (Diffused light in the shade)
Clay pots
Potter’s street, Bakhtapur, Nepal.
CS, 24-70@70mm, ISO 400, f/2.8, 1/125s (Diffused light in the shade)
Technical
• When you’re close to smaller objects (within a foot/30cm), you may have to raise the f-number fairly high if you want to have sharp focus throughout the entire image (back to front).
• A tripod is always useful in darker situations and because it keeps the camera still it also helps keep constant focus (the camera is not moving backwards and forwards). This comes in particularly handy with smaller objects or details which are harder to focus on.
• There isn’t any specific lens which is ideal to photograph still life objects, but it is safe to say that unless you’ll be shooting objects that are far away, you’ll be able to do well with almost any lens in the range of 20mm to 85mm.
Exercise
You can experiment photographing objects around the house; it’s something that every experienced photographer would have done at some stage to learn more about the craft of photography. I find that a smaller (preferably), rough-textured “still life” object (e.g. anorange or a clay vase) along with a table lamp can really help one understand the way direction of light changes the appearance of things. Illuminate the object from different angles by moving the lamp around it, take photos and study the differences between various lighting setups, pay special attention to how the texture changes when you move the lamp to the side and when you angle it at 45°.
Light specifics
Besides diffused light and directional light which are ideal for emphasizing textures, like almost anything else “still life” objects benefit from the golden/warm qualities of light during the “magic hour”; i.e.
they can look more lively, vivid and dramatic. The elongated shadows resulting from this type of light are also important.
Notice how in the photo
“Colours” the long/big shadows help separate the clothes from the wall. Without the shadows the scene would look flat and rather ordinary.
The very atmospheric but usually weak firelight can be taken advantage of when we shoot
“still life” objects. There are two reasons for this: 1. They won’t move and cause blurring, allowing for long exposures/
slower shutter speeds. 2. They are usually relatively small and can be illuminated with less intense light.
Colours Rural Madhya Pradesh, India.
CS, 24-70@60mm, ISO 100, f/3.5, 1/320s (Beginning of the “magic hour”)
Candles and prayers Church of the Holy Sepulchre, Jerusalem, Israel.
FF, 20mm, ISO 640, f/2.8, 1/50s
(Candle light slightly assisted by daylight penetrating the windows)
The really good travel photographers or any really good photographers for that matter will tell you that learning photography is a life-long journey and hence you should by no means feel that you know all there is to know about travel photography by simply reading an eBook of any sort.
The fact is, while all the theory and practical advice will without a doubt help make you a better photographer, there’s ultimately only so much that can be learned by reading and looking at photos.
At the end of the day none of this will matter, unless you get out there and actually start making photos.
My hope is that by going through the information and the images in this eBook you will have gained enough information and inspiration to grab your camera and to start creating your own images, to start trying out certain things, experimenting and discovering new ways of seeing the world through the camera’s viewfinder.
Whether you do this on a short journey to your hometown’s famous landmark or on a lengthy trip to a faraway exotic destination doesn’t really matter because it’s all travel photography. As long as you’re taking photos, the learning process won’t stop and as a result nor will your growth as a photographer.
Thanks for buying a copy of DPS’s latest
photography resource. I trust that you’ve found it helpful in becoming a better travel photographer.
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