Nice pic Alex. Great job!!
February 2, 2010
In Focus: The Zone System
We could take this to mean one of several different things, but the particular ‘zone’ I want to touch on this week is the ‘Zone System.’ Those who have been around photography for a few years will probably have at least heard of it, if not actually use it on occasion.
The Zone System is simple in theory but very comprehensive when practiced in it’s fullest form, so I’m only going to discuss it briefly here as it is very useful to be at least aware of it.
First, a bit of background. The Zone System was developed by photographers Ansel Adams and Fred Archer in the early 1940s and is more or less a formalization of Adams’ own well established Black & White photographic workflow. As I alluded to, the full Zone System encompasses the entire process from pre-shoot visualization of the finished product right through to realization of that vision in print. But what we will address here is the core of the system – the zones themselves – and how we might use them in basic form. This is a very limited explanation and I’m assuming you’re familiar with the principles of basic exposure.
The Zone System divides the total range of brightness into eleven steps referred to as ‘Zones.’ From Zone 0 (total black), through Zones I, II, III, IV and up to Zone X (ten – solid white), each is separated by one stop of exposure. Most images won’t span all zones of course. A low contrast subject might only span two to four zones of brightness, while a bright sunny day may well yield an image that spans eight or more zones – from black shadows to reflected sunlight.
The key to utilizing the Zone System is engaging in a bit of pre-shoot visualization and knowing into which zone of brightness you want to place a specific area, or your particular vision of the final image.
But how do we know into what zones the image falls prior to shooting? Your cameras’ metering is preset to place whatever light it measures into Zone V (five) – exactly halfway between solid black and total white (or on 18% gray for the more technically minded). Switch to spot metering for greater accuracy and take an exposure reading from some part of your subject, the camera will automatically set the exposure so the metered area falls on Zone V – no matter how dark or bright it might actually be, the camera will expose to place it in Zone V. Now visualize exactly how bright or dark you want this area – into what zone you want it to fall – and manually adjust the exposure accordingly.
For example, you can use the Zone System to easily shoot a silhouette. Spot meter off the subject to be silhouetted (Zone V) and decrease the exposure by four or five stops – placing the subject into Zone 0 or I for an ideal black silhouette. Hopefully you can imagine the creative possibilities available when you take back a bit of the exposure control from the camera.
There are some things to keep in mind when using the ‘Zone’ concept.
Don’t forget about the other effects of adjusting exposure – changing the aperture will alter your depth of field and increasing exposure could introduce camera shake or motion blur.
Also, all zones move together. If you expose to place that bright spot in Zone IV, for example, most of the picture will be crushed into darker zones (though this maybe ok if that’s your creative end).
The extremes yield little to nothing worthwhile. Zones 0, I, IX and X retain no appreciable textural detail so should normally be avoided. In fact, the general rule of thumb for negative and digital capture is to place the darkest areas in Zone III or IV and develop (or post-process) to place the highlights.
Despite being developed for B&W film, the concept can equally be applied in all areas of photography. If you can get your head around the Zone System it’s a great road to gaining a greater understanding and appreciation of exposure, becoming another tool in your creative photographic arsenal.
Ansel Adams is recognized as one of the greatest ever landscape photographers and I highly recommend further reading on the subject, specifically Adams’ book ‘The Negative’ in which the Zone System is explained in greater detail.
by Aaron Raisey
February 2, 2010
In Focus: Landscapes
This is probably the most basic, but also most fundamental advice one can give regarding landscape photography. When going about taking photographs of Jeju’s landscapes I find this mantra far more relevant than whether my lens aperture opens up to f/1.4. There’s a rather popular saying among photographers: “f/8 and be there”, meaning that it’s more important to be at the scene you want to capture than to worry about the minor technical details. This is certainly a worthy rule to follow, but as a landscape photographer do yourself a favor and stop down to f/11 or f/16 in order to increase the depth of field of your scene.
People often think that landscape photography is somehow difficult and that it requires expensive equipment. It is not and it does not. It is actually rather simple, if one is not there when the light does its magic, it matters not what kind of gear is involved, one simply will not get the shot. Of course, a decent SLR with a filter or two certainly helps, but it’s not a prerequisite. In fact, the lighter your gear, the easier and faster it is to be at that right place.
The other couple of requirements are time and patience, because the conditions may not be ideal the first time for that five star photo one wants to capture. Many times I have hiked an oreum without any particularly meaningful results, but whenever nature does put on that special light show and I’m there, ready to capture the spectacle, it’s a mighty satisfying experience.
Of course the question does come to mind: where is the right place and when is the right time?
Realistically, the right place depends on where you are and what’s on offer. As a Jeju Island resident, I’m quite lucky, having access to hundreds of oreums with many opportunities for all sorts of landscape photography. If you reside in a city, a trip to a nearby national park is always a good place to start at for some instant landscapes. This is not as difficult as it sounds, even in Seoul. National and provincial parks are quite abundant in Korea, as they should be in a country which is geographically 70% mountains. However, do scout around where you live. There is often some local scenery one can usually take advantage of. A landscape photo does not always have to be a grand sweeping vista.
“The right time” does vary from photographer to photographer, but ideally it is not the harshly lit mid-day. For many, it is the golden hours of dawn and dusk that are the most appealing. This is when the light is the most magical in the way it bathes the environment, creating all kinds of saturated colours, textures and shadow play. The weather also has a large impact on the sense of drama within an image, so it’s wise to work with it, instead of waiting for that perfectly sunny day. Go out during those times when it’s dark and overcast with foreboding moods, or when the sun’s rays pierce the storm clouds making scenes of inspiration. You’re bound to get wet at some point, but it’s nothing a rain jacket can’t handle.
Some additional tips to consider: Use a tripod. Your images will always be sharper than if you rely on your hands. Also, keep the horizon straight as you capture the photo. It’s easier than having to deal with it in post production, where an extremely crooked horizon can cost you precious resolution. Take advantage of the rule of thirds and break it when appropriate. If you’re presented with an amazing sky, push the horizon closer to the bottom of the frame. If the foreground is more interesting, move the horizon nearer to the top of the frame. In general, always pay attention to the sky and what it’s doing and how you can make it interact with the rest of the scene. Lastly, do try to change your point of view. Don’t get stuck on one particular angle that everyone takes a shot from. Explore the surroundings a little and you may walk away with something really unique.
by Mario Taradan, SPC resident landscape specialist.
February 2, 2010
In Focus: Top 10 Photographic Locations in Korea
What are they? It’s a tough question and when it was asked of me, several obvious spots sprang to mind. Insadong in Seoul, Palaces in Seoul, the view from Seoul’s Namsan Tower, the DMZ. These locations are certainly must-haves and almost all expats in Korea, no matter where they live, get to Seoul at least once before returning home. But let’s set these locations aside for a moment and think about other locales around the country. Places that might provide something unique or special photographically while retaining that ‘Korean-ness’ we’re looking for.
I put the question to the Seoul Photo Club and a distillation of the collective wisdom and diverse photographic experiences revealed 10 places that, while admittedly are a bit general, have the benefit of being accessible to anyone almost anywhere in Korea.
So, in no particular order, here they are:
Boseong Tea Plantation in Jeollanam-Do
You won’t see a greener place in Korea. In season, the curving rows terraced upon the hillsides catch the golden sun in the afternoon and make for amazing images. Try to strike a time when theres few people though. Like anywhere in Korea, this isn’t easy.
Jeju-Do
There is so much to be impressed by in the breathtaking landscapes that Jeju Island offers if you are prepared to go a little out of your way to seek a choice vantage point. Hallasan and the oreum colonies are truly unique in Korea. Use the sunrise and sunset to enhance these incredible vistas.
Buddhist Temples
Bulguksa near Gyeongju is the big one of course, but no matter where you are, there is a Buddhist temple nearby. Special mention must be made of Gwaneumsa on Jeju-Do with it’s hundreds of stone statues, Buseoksa in Gyeongsangbuk-Do sports the patina of age and Bongeunsa nestles quietly amid the shining glass and steel of Gangnam in Seoul. Of course look out for the small hidden temples tucked away on a mountainside or in an inner-city back-alley near you.
Traditional Markets
Again, these are ubiquitous but of special appeal is the opportunity to capture the characters you will see and meet, especially in the smaller towns and villages. Not to mention all manner of culinary delights to impress the family back home.
Rice Fields in Jeollanam-Do
Spectacular carpets of vivid green in the summer and seas golden yellow in early fall. Bump up the saturation levels for some stunning acreages of solid color. Best in the late afternoon for maximum effect.
Festivals
Korea, as we all know, is the land of festivals. Two events worth mention outside of Seoul are the dynamism and colors of the Maskdance Festival in Andong and the Jinju Lantern Festival with the brilliant and creative lanterns afloat on the Nam River.
Fishing Villages
Any journey along the south and east coasts of Korea will take you not only along some fantastic coastal scenes but also through any number of small fishing villages where you can capture countless squid drying in the sun alongside socks and tshirts where the pace and style of life remain almost unchanged from pre-industrial Korea.
Metropolitan Back-Alleys
Getting off the beaten track in urban areas will yield some surprising photographic opportunities. Buildings in various stages of demolition and decay make great images, while modern structures often provide a backdrop of contrast for traditional tiles and eaves. Just don’t wear that good white shirt.
Night Views of Seoul
The view from the Namsan Tower is the obvious candidate here, but try a hike up one of the several mountains surrounding Seoul for a different night-time perspective. Wander up Inwangsan for a fantastic view of Gyeongbok Palace and greater Jongno while the summit of Gwanaksan overlooks impressive night lights in areas further south.
Finally, probably the most important photographic location in Korea is anywhere you are. One of the great positives Korea has as a photographic location is the seasonal cycle. Blossoming in spring, verdant in summer, colorful in autumn and white in winter, the seasonal changes to the character of the country are dramatic and often provide something new to see all year round no matter where you are. All you need to do is be out there with that camera.
by Aaron Raisey
February 2, 2010
In Focus: Photography, A Social Sport?
When you are out and about enjoying the Korean experience on the weekend, do you on occasion notice the often large groups of Koreans with seemingly equally large cameras? Apparently photography clubs of one sort or another, like herds grazing on photo opportunities around popular sites such as Insadong and other popular photographic locations. I know there’s also a cultural component at play here, but in terms of photography it’s a behavior that doesn’t really appeal to me. It got me to thinking though, what could be the benefits of photography as a social activity?
First, by way of contrast, I’ll mention how I practice the art and what it means to me personally. For me, it’s a very individual and contemplative pastime. I really enjoy just wandering around, often just at random, looking for and evaluating those situations and compositions that might produce a decent photograph. I’m free to roam where I will and spend as long as I want. No pressure to move on with the herd, no-one telling me what might be good or not, and knowing I’ll probably have very unique images. I might press the shutter five or six times, a productive day might yield ten or twelve shots.
Some of you out there might be the same as me – you enjoy the solitary aspect of ‘the hunt.’
But what about doing it in groups? Well, there are a couple of aspects to this. There is the group activity for an express purpose or goal, and the social get-together for the seemingly nebulous purpose of hanging out with others of a like mind. I’ll address the latter – what are the benefits of this social photography?
Foremost I think, is that we can always learn something from others. In a typical social gathering there are photographers from all levels of experience and usually different areas of expertise. This is a particularly good opportunity for those new to photography or who are new to a certain type of camera. It’s a great chance to get some hands-on experience in the company of those who know what they are doing and can provide some valuable guidance and advice, especially in the more technical aspects such as aperture and exposure. More experienced photographers can always learn from one another particularly in the ‘softer’ areas of the hobby. You’re an accomplished portrait shooter? Pick up a couple of landscape tips or macro techniques, for example.
You may prefer one method of practicing photography or be comfortable with both, but the point is there is merit either way. Socially, you will learn many interesting and important things in many different areas, and alone you will learn more about photography as it relates to you on a very personal level – you’ll identify your own style and exactly how photography fits into your life.
Whether you are out there grazing with the herd, or stalking that one shot, try and feed that experience back into your own style and cache of knowledge try and pass it on to others when you can.
by Aaron Raisey
December 1, 2009
In Focus: Portraits
Portraits are one of the main reasons photography is so popular – and the reason families keep album after album of embarrassing photos. They are one of the hardest kinds of photography to master, but there are a few things you can do to improve your portraits.
Probably first thing you can do is to choose your locations and backgrounds more carefully.
A background that compliments or contrasts your subject or mood will work best. Be sure that it has some kind of relationship to your image so the shot holds together well. This could be color, shape, or even something the subject is touching.
Everyone shoots their friends standing in front of the palaces in Seoul, but how often do people find a quiet corner, pose against a wall and use those long sweeping rooves and lines of the palace walls to draw the attention directly to their subject?
As this is a portrait of a person, another thing to try is to isolate your subject. Find a way to make them the only focus. There are a few ways to do this. Have them wear a blue shirt in a field of orange flowers, for example, or use a large aperture to blur out the background, or simplify the background until the details of the image are held only on the subject.
Choice of equipment is also really important when shooting a portrait. Unless your goal is to distort facial features, be very careful with wide angle lenses (or the wide end of your point and shoot camera). These focal lengths tend to make objects that are closer to the lens appear larger than those distant, thus distorting your poor subject disproportionately, which I can assure you, most do not appreciate.
So unless distortion is your goal, longer lenses are the key here.
One of the best things you can do while taking portraits is to make sure the subject isn’t bored. Don’t spend a lot of time changing lenses, checking your settings, or looking bewildered; this is where it can go wrong. Start shooting and if things aren’t working out, don’t stop – change things as you go. Just keep the momentum going; change it up!
Shooting with the frame vertical? Change to horizontal. Subjects’ hands are on their hips? Have them hold something, place a hand on a wall, create some interaction with your scene.
Finally, and most importantly from a technical standpoint, is light. Always be on the lookout for nice light. This could be warm evening light, or a patch of shade on a bright sunny day – try to avoid direct sunlight if you can. It makes people squint and causes dark shadows. Move into the shade, or better yet, read up on strobist techniques and make the light your own.
It is always a daunting task to approach someone and take their portrait, but being forearmed with a bit of knowledge will give you a little extra confidence.
Check out how some of the best expat photographers in Korea do it at the Seoul Photo Club on Flickr.
by Dylan Goldby, SPC resident portrait specialist
