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.

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

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

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

In Focus: Photography Without the Camera

As much as we might enjoy photography and happily endure the hassle of hauling a camera around, there are of course times where we don’t have a camera with us. Maybe we forgot to take it, or perhaps it isn’t convenient or practical to have it with us on the occasion.

But does photography then stop for us? Are we only photographers when we are physically in possession of a camera? Perhaps so for some, but I recommend keeping those photographers eyes open all the time.

What do I mean? What are some things we can keep an eye out for? Well, let’s briefly touch on a few areas that contribute to a good photo — shapes, lines, color, contrast and light.

Practice seeing regular shapes and how they compliment each other or create interesting interactions. Squares and circles together such as a solitary ball on a tiled floor. Groups of triangles could be another — the structure of a construction crane is filled with triangles. Related to shapes are lines, and strong lines can be an effective way to create interest in your photos. Keep a look-out for diagonals, curves and especially the elusive and treasured “S” line such as you might see in a winding path or a country road.

When you are out and about without that camera also keep colors in mind. Look for pleasing plays such as a yellow building against a blue sky, or any vibrant color in a relatively dull environment.

Closely aligned to color is contrast. Contrast is especially relevant to black and white photography. Watch for sharp delineations between bright areas and dark. In your mind, try switching to black and white mode in the middle of the day when the light is often too harsh for color capture but creates sharp shadows.

This brings us to light. Be observant of the light at different times of the day. On days without too much cloud cover, you will notice how the quality of light changes over the course of the daylight period. This can have a dramatic effect on color. Colors are warm and rich at the beginning and the end of the day, but bright and harsh during the midday period. Make a mental note of these effects for future reference.

Bringing two or more of these elements together is what the broader subject of composition is all about, but the point here is don’t close your eyes to photography just because you don’t have a camera handy. Look for these things and mentally note them — even if it might not be really worthy of a good photo, it’s the seeing that is important. Just as you don’t need specialized exercise equipment to keep your body in shape, you don’t need to be in possession of a camera to keep a practiced eye.

Have a look at what the some of the best expat photographers in Korea are seeing and check out the Seoul Photo Club on Flickr.

In Focus: Develop Relationships

On Saturday evening I had dinner with several friends that included a couple of fellow Seoul Photo Club members. These guys were photographers with much more experience than I, with time spent behind cameras all over Asia and the sub-continent. The conversation turned to (surprise) photography in Korea. One of the topics we discussed was how difficult it is to capture Korea meaningfully in a photographic sense.

It was difficult to put a finger exactly on why this is. After all, we all have Korea with plenty of temple shots, palaces and traditional markets. But as good as they might be, these photos often aren’t much different from what any tourist with a camera might capture.

The consensus seemed to be that vacation-style snaps will be all you produce until you actually develop some kind of relationship with this country.

This relationship could take many different forms, but let me give you a couple of examples to illustrate what I mean.

I was talking to another member of the SPC from Busan last week. He spends a bit of time in his local traditional market being perfectly visible with his camera, even if he’s not actively taking pictures. Over time he’s become part of the furniture and is able to take photos comfortably with the willing consent of the locals – capturing them naturally and getting images not normally available to the furtive outsider.

He had developed a relationship over time with a group of people.

I’ve had numerous experiences like this myself and I can relate a very recent example. I take my film to a lab in Chungmuro in central Seoul for developing, and while waiting the hour or so to pick up the negatives, I enjoy a beverage at a nearby convenience store (as one does). Directly opposite where I relax in a blue plastic chair is a very small men’s clothing store. Because I am there once or twice a week, camera prominent on the blue plastic table, the 74-year-old proprietor of that shop knows what I’m about. Recently he asked me to take his picture standing in front of the suit-festooned facade of his little shop and we shared a drink after.

These situations are photographic gold and are next to impossible to get if you are just breezing by or attempting to operate in stealth mode.

These two examples reinforce what we discussed over dinner – acquiring a benign profile or developing some kind of relationship with people or a particular area, camera prominent, will present opportunities that when captured will powerfully and meaningfully reflect the time you have spent in this country. In addition, the character and atmosphere of your photographs will set them apart from the usual vacation fare.

Also, keep that camera visible. Often just the act of extracting a camera out of a bag will send a signal for people to be on their guard – a visible camera tempers this natural reaction in many people.

Visit the Seoul Photo Club on Flickr and experience the many different relationships photographers from all around Korea have with this country.

In Focus: Film vs. Digital – Convenience

Last week we examined the economics of film vs. digital cameras and came to the conclusion that in the long term, there might be very little between the two. This week the question of convenience between film and digital comes into focus. With two very important exceptions, there is very little difference between actually using comparable digital and film cameras, and there are also a couple of important peripheral considerations.

Before we examine the differences, how are they similar? On either camera the photographer must make a few choices before taking the shot. For example, what mode shall they shoot in (aperture priority, manual, full auto, etc.), or do they need to apply any exposure compensation? These decisions are common to both types of camera: make decisions, compose and shoot. Not much difference in convenience here.

Digital though, does have a couple important advantages around the time of capture. The most obvious is the feedback we get from being able to view the image immediately, and the subsequent choice whether to keep it or delete it and shoot again. This feature is certainly convenient and useful, particularly for those new to SLR photography. Perhaps more significant is the ability to select different ISO values on the DSLR. (Very briefly, the ISO value is the “speed” of the film or digital sensor – the higher the number, the more sensitive to light the film or sensor is. Higher ISO values allow better performance in low-light situations.)

With a film camera, you commit to a fixed ISO value when you purchase a roll of film, and once loaded into the camera there is no way to change it short of loading another roll of film with a different ISO. This gives the DSLR a tremendous advantage when it comes to adapting to a very broad range of lighting conditions. From bright sunlight to the dim interior of a coffee shop on a Friday evening, the DSLR can take it all in stride.

The peripheral issues I mentioned include having to be prepared with extra rolls of film – the capacity of memory cards precludes having to worry about that issue with digital – and post-processing.

With film we have to find the time and convenience to drop off undeveloped film and pick up those hopefully great images we’ve been dying to see. Shooting digital means we have likely already vetted our images at the time of capture and now we are ready to share and enjoy them when we get home. But beware of getting sucked into spending hours in front of the computer making your images “better.”

For me, I think the digital camera has the edge. I like my DSLR’s ability to easily adapt to different lighting conditions and I appreciate the convenience and the flexibility this gives my photography.

Next week, we’ll look a bit closer at images from film and compare them with those captured digitally. In the meantime, head over to the Seoul Photo Club on Flickr.

by Aaron Raisey

In Focus: Things to Avoid

When we are out there with a camera, we are always looking for good photographic opportunities, interesting subjects, nice light, things that are different, or things to look at differently.  In other words, we are looking for the right things to do to make a better picture.  This is great, but what about the things we shouldn’t do?  What are a few simple things we can avoid doing, or including in our pictures to help us create better images?

Avoid ‘kissing’ edges.  Kissing?  What I mean are strong edges in the picture that just touch.  For example, the edge of your subject’s head and the roofline of a background building, or the point of a temple’s eaves and the trunk of a tree.  Try to put space between strong edges such as these in your image.

Don’t have things sticking out of someone’s head.  Have you ever taken a great photo and later found that your girlfriend has a flagpole sticking out the top of her head like some kind of antennae?  It can look amusing, but unfortunately can also ruin an otherwise excellent image.  Try and compose the image or place the subject somewhere that avoids this picture-killer. This is extremely important when taking a photograph that has a dynamic background such as traffic or pedestrians.  It’s bad enough with a flagpole out her head, but you don’t want someone walking into her ear as well!

Don’t try to get everything into the photo.  We often want pictures to have context, especially with holiday snaps, but try to resist ‘nailing everything’ in one photograph.  You don’t want a bunch of ‘Where’s Waldo’ pics to show the folks back home.  Rather, take several photos from different points of view, giving each a clear subject.  Also, work on separating that subject from the background through the use of distance or a larger aperture.

So, what can we do to avoid these things?  It’s easy in theory – pay attention to the entire image when looking through the viewfinder.  In practice though, it’s a little more difficult than that.  We tend to see only what we are focused on because our brains filter out those things we aren’t immediately concerned with.  So when we are taking a picture of our partner or friend, we usually see only them and not the details in the background.  The camera however, is impartial – it sees everything equally.  This is why we all get that “Hey, I didn’t notice that when I took the picture!” feeling at times.

Try and avoid that feeling by remembering to take note of what’s going on around and behind your subject.  Are there people moving around back there?  Are there any inconvenient power cables, poles or trees?  Do I have enough space around my subject?  Often the solution can be as simple as raising or lowering your point of view a few centimeters, or moving a few paces to the left or right, forward or back.

It requires an effort initially, but soon the ability to avoid these things will become a natural part of your photography.

by Aaron Raisey

Basic Composition

We all know how it feels to look at a picture and think that it just ‘looks right’.  Sometimes it can be of a very ordinary subject, or an ordinary situation, yet somehow the picture is very good and pleasing to our eye.  Why is this??  And – as we all think at some point – why don’t my ordinary pictures look that good??  In a word – Composition.  Very ordinary photos can still look good if things are arranged well and occupy good positions within the frame.  There are some very basic tricks and techniques that we can use to achieve ‘rightness’, things that us average photographers can easily apply.

Trick #1 – Decide exactly what your subject is before taking the shot.  Is it the main temple building?  Is it that person there?  Is it the horizon?  Is it a combination of things?  For a portrait, usually the nearest eye is considered the subject.  Sometimes the subject is a specific area and not a specific thing.

Trick #2 – Don’t put the subject in the center of the image.  It’s almost an automatic reflex to place the subject of the photo in the middle of the frame.  Resist it.  It’s usually better to place the subject anywhere but in the center.  Compositional wisdom suggests about 1/3 of the way in from either side for a horizontal shot, or approximately 1/3 of the way up from the bottom or down from the top for a vertical shot. A combination of both is often very good.  For example, about 1/3 of the way in and about 1/3 up.

Trick #3 – Use frames.  Placing the subject in a natural frame within the image is often very effective.  Door or window frames are classic examples.  Other not so obvious examples might include an overhanging branch, or temple eaves, or even handily placed features of the landscape or a lucky arrangement of clouds.

Trick #4 – Crop.  The goal should be of course to compose the perfect picture in-camera.  This is a valid and noble aspiration.  Until we reach that point however, we can crop the picture to a more pleasing arrangement. In an image-editing program we can recompose our photograph – albeit in a very limited fashion – by shifting the edges of the image to arrange the elements within the picture to help achieve that ‘rightness’ we are looking for.  Things to look to remove are distractions on or near the edges such as a distracting light, an obtrusive tree branch (or body part!), or even areas that contain nothing important and just serve to make the subject more isolated.  It is also very helpful in repositioning the subject with reference to Trick #2.

I have called these things ‘tricks’.  But they aren’t really tricks and neither are they hard and fast, they are important parts of the photographers compositional technique.  Composition is a fascinating and crucial part of producing photos that have that ‘X’ factor.  I highly recommend further reading on a subject I have just only scratched here.  Also, visit the Seoul Photo Club for some great examples and comment on the topic.  Get out there and get composing.

by Aaron Raisey

In Focus: Keep Your Eyes Open

As expats, when we arrive in a new place we are most often in tourist mode.  We happily visit those places that everyone goes to.  We see the things that everyone sees.  We take the pictures that everyone takes.  Sooner or later however, we reach a point where things start to look the same.  This is especially true in Korea.  We all have many pictures of temples, of markets, of food stalls on the side of the road.

In the course of our daily lives we tread the beaten path from home to work and back again.  On the weekends we often perpetuate a cycle of late nights and sleeping in.  We see the same things on a day-to-day basis and we feel the need to travel further to see and photograph something new and exciting.  So, where is the next challenge?

It may be closer than you think.

I was out walking one weekend a couple of weeks ago when I spied a small Buddhist shrine behind a couple of buildings.  Nothing unusual in that you might think, but it was a place I had been walking past almost every day for the last 2 years.  I couldn’t believe I hadn’t seen it before.  It hammered home the point that if we keep our eyes open there are great photographic opportunities all around us.

So keep a watchful eye out in the course of your daily commute.  Whether you walk, take the bus or whatever, pay attention.  You never know what new and interesting things are passing you by unnoticed.  Take a different route. Wander off the beaten track a little.  Go to the ‘old’ places, but use them as a starting point for perhaps navigating some back alleys and streets nearby. You will probably see some things you haven’t seen before, meet some interesting people and be presented with some unique and interesting photographic opportunities.  Visit the usual places at night, things look very different during the evening hours and are often inhabited by a very different kind people.

As an alternative, instead of looking for different things close to home, look at the things close to home in a different way.  Try a different lens.  A wide or ultra-wide lens makes a big difference to how we view the world and presents some unique photographic challenges.

The most important things are to keep your eyes open, be prepared to take a detour now and again, and to continue to take photos.

By Aaron Raisey