cropping – Damien Demolder

Back lighting graphic shapes – Bus Stop girl

Backlighting • Graphic shapes • Channel mixer • Cropping

The best way to show graphic shapes is to reduce the scene you are photographing to its most basic and fundamental elements. In this case that reduction process meant removing the colour and producing a level of contrast that would show exactly the lines and curves that caught my eye in the first place. I couldn’t control the light, obviously, and the scene only worked from one angle, but it is the element of back lighting that really helps, even in these overcast conditions, to create a semi-silhouette of the bus stop structure and the waiting woman. So I got lucky.

The backlighting reflects off the road and the pavement, making both brighter than they would be from any other angle. This backlighting has also brought out the pattern of the paving and has emphasised the straight edges between each slab. This creates a mass of lines travelling towards the camera and which also lead the eye back into the picture.

Contrasting shapes
The woman stands out as she is the only element in the scene not made up of straight lines, which makes her come forward as the obvious subject. Even the roof of the shelter, which we know is curved in reality, is represented here by straight and solid edges. The only random shapes are made by the pigeon about to land, but as that is quite hidden it doesn’t take too much away from the subject.

Contrast
Having shot this with low contrast settings in-camera I took the image into the Curves and created enhanced mid-tone contrast to strip out some of the image’s greys. In Levels I enhanced the blacks, and reduced the highlight output to inhibit true whites and to soften the visual effect.

Keeping it level, and cropping
At the time of shooting I was very careful to keep all the uprights absolutely straight and level, as they are an essential part of the picture. If you find yours are not quite straight they will distract the viewer’s attention and make them miss the point of the picture. I know I say it a lot, but keeping uprights completely upright is so important.

The last thing I did to the picture was a crop it to 5x4in proportions. I chose this format as it has a classic feel that introduces a quite formal atmosphere that compliments the neat and rigid linear structure and patterns of the scene.

Choosing the moment
Picking the right moment is especially important in this type of scene, as we want to keep things as simple as possible. With people and cars in the background the scene becomes cluttered and we loose the sense of what the shot is supposed to be about. With all these extra shapes that over lap it becomes difficult to see the woman, the back lit road is blocked and the pavement falls into shade. Even one additional element is enough to spoil the picture and create a distraction, as you can see from the these additional shots shown here.

About the black and white conversion
I converted this image to black and white using the channel mixer tool in Photoshop. I chose to use the green channel as it produces the more moderate contrast of the three available. The red channel showed blown out highlights, as does the blue channel. The green channel is also the sharpest and more detailed, and it displayed the right tonal differences between the coloured elements in the scene to make hedges and the grass verge stand out.

Sony Alpha 700, with DT 16-80mm F3.5-4.5 ZA Carl Zeiss Vario-Sonnar T*.

See more of Damien Demolder’s recent photographic posts here

Join Damien for a street photography class – see the details here

If you found this post useful please leave a comment

To see more of my pictures
visit my photo galleries site
at www.damiendemolder.com

Photographing street scenes – The right moment

Just as with wildlife photography it is the shots that show behaviour, rather than the pure record pictures, that work best in street photography. To show that behaviour clearly, so that the viewer can recognise what is going on, you have to pick your moment carefully. You have to show the moment in which the action happens.

Decisive moment?

This moment is often called ‘the decisive moment’, but the phrase is so over burdened with history and expectation that I prefer to just call it ‘the right moment’.

In this scene of a couple of office workers having a smoke break I spotted the potential from a way off, as the pair made an interesting shape that broke the pattern of the straight lines of the pillars and windows. As they had only just lit-up I knew I had a while to get the shot I wanted. I noticed the guy on the left had a particular way of blowing out his smoke in an over dramatic fashion. He turned his head, blowing the smoke away from his friend and in the process propelling it across the dark lines of the concrete. As the smoke got caught in the light of the overcast day it became illuminated, and created just the contrast I needed.

I shot a few frames to get a feel for the composition, and to watch the behaviour before everything lined up and I got the picture I wanted. Going back over those other frames, it’s obvious that it is the small detail of the smoke blowing that makes this moment stand out from the others. The alternative frames have the same pattern and the human shapes that break it, and they have the interest of two humans chatting. But they lack that extra something that separates the ordinary picture from the interesting.

Using a shallow depth of field

To help the subjects stand out from the background I used a really wide aperture to introduce a really shallow depth of field. Using a long lens helped too, as longer focal lengths make it easier to reduce the amount of the scene that is in focus. I was lucky that I had an exceptional lens – a 135mm f/1.4 which I was using on an APS-C sensor camera, so it was acting more like a 200mm. But even if you don’t have a long lens that’s not quite as ‘fast’ as this one you can still get the effect. A 200mm zoom will give a similar effect at f/4.5 on an APS-C camera.

Making the crop

The last thing I did to this picture was crop it to the 16×9 format. I did this for two reasons, firstly there is quite a bit of spare space at the top and bottom of the picture, as you can see from the full frame examples below. The second reason is that I love the movie feel this cropping ratio lends an image, and this picture suits that look. It could be a frame from a film, and the ratio of the format just enhances the sense of the moment.

Sony Alpha 700, 135mm f/1.4 ZA Carl Zeiss Sonnar T* lens, 1/2500sec at f/1.8 and ISO 400

Taken in Warsaw, Poland.

See my other recent posts here

To see more of my pictures
visit my photo galleries site
at www.damiendemolder.com

Follow Damien on Twitter and on Facebook

Book a place on Damien’s street photography classes, full day or evening/night

Not quite the right moment

This one’s nearly there, but it could be more interesting

Ahh, that’s a bit better

Converging verticals – fix by cropping

A method of avoiding converging verticals that is open to everybody is shooting wide and cropping the result. In short the camera is fitted with a wide angle lens and is held in the upright orientation. Keeping the camera absolutely level you will see that once you have all the building in the shot there will be an excess of foreground that is probably not needed. Don’t worry about that though, just shoot the picture and crop the unwanted space off the final picture. Set the cropping proportions to 5×4 for a professional look, or pick between 6×7 or any other format simulation that suits the picture. You may end up with a horizontal shot from your vertical original, and you will have lost a lot of pixels, but at least the sides of the building will appear straight and completely upright.

This isn’t an ideal solution, but it is quick, easy and it does not require any additional specialist equipment.

Converging Verticals Arc de Triomphe cropped This picture was made by cropping to 5×4 proportions to give the feel it was taken using a large format camera. As you can see the crop is a little too close and it all looks a bit uncomfortable. I used the full width of the original image to get the final picture size to 2912×2330 pixels, which would still deliver a 10x8in print at 300ppi.

For this picture I cropped square. Again using the full width I was able to produce a final image that measures 2912×2912 pixels, and which prints to 10x10in at 300ppi. The extra space at the bottom makes a more comfortable composition, and a more successful final image.

Shot with a Canon EOS 1Ds, with EF28-135mm f/3.5-5.6 IS – exposure 1/5sec at f/22. ISO 400

The original file for these images measures 2912×4368 pixels and comes from an 11 million pixel camera. As the file is large to begin with there are plenty of cropping options to be had. Try different cropping proportions, such a 6×7, 6×8, to get different effects and to make the most of the file size you had to start with. Cropping to a landscape orientation will always leave you with the smallest final image, so using upright crops

To see more of my pictures
visit my photo galleries site
at www.damiendemolder.com