Shutter Speed Determination for Hand-held Landscape Photos

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Now generally I recommend a tripod for landscape photography, however, I do shoot a fair bit of hand-held landscapes too and trust me, I have had more than my share of blurry photos in my 15 odd years of photography.

Is there anything worse than a Blurry Masterpiece?

In my opinion, there is nothing worse than zooming into the best shot of the day, the miracle shot that captured the moment perfectly, only to discover it’s blurry.

Ok, so how do we shoot hand-held in tough conditions and make sure our photos have a good chance of being sharp?

Shutter speed is critical when shooting without a tripod. We need to shoot fast enough so that any camera shake is not visible in our final photo.

But what shutter speed is fast enough to avoid camera shake?

Interestingly, it varies depending on the focal length of the lens you are shooting with.

Wide-angle lenses are much easier to get sharp hand-held photos than telephoto, as you will see below

The rule of thumb that I use is:

2 times the focal length you are shooting is a good minimum shutter speed as a guide. Of course, the faster – the better chance of a good result.

You may find that with modern stabilized cameras and lenses that you can go even lower, however, I feel that 2x the focal length is a good minimum to start at.

Now you might be thinking, “what on earth is he talking about”.

Hopefully, this clears it up:

  • 20mm lens: 2 x 20 = 1/40th of a second as your minimum shutter speed for a 20mm lens.
  • 50mm lens: 2 x 50 = 1/100th of a second as your minimum shutter speed for a 50mm lens.
  • 100mm lens: 2 x 100 = 1/200th of a second as your minimum shutter speed for a 100mm lens
  • 400mm lens: 2 x 400 = 1/800th of a second as your minimum shutter speed for a 400mm lens.

Of course, the faster the better, if you can.

This won’t guarantee sharp photos every time but it will get you on the right track as far as shutter speed is concerned.

Below are further tips for the perfect hand-held Landscape photo.

• Raise your ISO to achieve at least the minimum shutter speed above.
• Brace yourself against a solid object to reduce camera shake.
• Choose a lens or camera with Image Stabilization.
• Set your camera to multiple shot mode and fire 3-4 consecutive shots. Generally, camera shake is at its highest on the first photo as we press the shutter and will settle down in the 2nd-3rd-4th shots of the sequence.

The Hierarchy of Compositional Elements in Photography

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As photographers, we are storytellers, using the language of visual elements to translate the three-dimensional world onto a two-dimensional plane. Understanding the art of composition is crucial to capturing compelling images that narrate our unique perspective of the world. It’s like arranging the notes of a melody to create a harmonious song.

However, the concept of an “order” to follow when considering the elements of composition isn’t carved in stone. Each scene, each subject, and each moment brings unique aspects that might prompt us to prioritize one compositional element over another. But for the sake of learning and practicing, it’s helpful to establish a guideline or a hierarchy of these elements. Let’s break down the sequence of considerations you might follow when composing a shot.

1. Vision and Intent

Before delving into the technical aspects of composition, start with the question: “What is my intent with this photograph?” Your vision is the driving force behind your composition. Do you want to highlight a certain emotion, convey a story, or just capture the beauty of the scene? Understanding your purpose will guide your use of compositional elements.

2. Framing and Placement of the Subject

Once you’re clear on your intent, consider the placement of your subject within the frame. The Rule of Thirds is a widely accepted principle to guide this step. The idea is to divide the frame into nine equal parts with two equally spaced horizontal and vertical lines, then place the key elements of your scene along these lines, or at their intersections.

3. Use of Leading Lines

Leading lines are a powerful tool to guide the viewer’s eye towards the subject or a point of interest. These lines can be anything – a pathway, a stream, architectural elements, or even a gaze. The key is to identify these lines in your scene and align your shot to leverage them.

4. Depth and Perspective

Creating a sense of depth adds dimension and realism to your photographs. Play with elements like foreground, middle ground, and background. Use perspective and depth of field to create a three-dimensional effect in a two-dimensional medium.

5. Balance and Symmetry

Ensure that your image feels balanced, which can be achieved both symmetrically and asymmetrically. Symmetry provides a sense of harmony and proportion, while asymmetry, when balanced correctly, can make your image more dynamic and interesting.

6. Patterns and Textures

Patterns and textures can add a rich layer of depth to your photographs. They can either be the subject itself or complement the primary subject. Patterns provide a sense of rhythm, while textures can evoke tactile sensations making the image more immersive.

7. Lighting and Shadows

Lighting is not just an illuminator, but a storyteller. It can dramatically change the mood, texture, and tone of your photograph. The interplay of light and shadow is crucial for highlighting your subject, creating depth, and revealing textures.

8. Color and Contrast

Lastly, consider the color scheme and contrast. Colors can evoke emotional responses and set the mood. Contrast, on the other hand, can draw attention to your subject, guide the viewer’s eye, and add drama to your image.

Remember, while this hierarchy can be a helpful guide, it’s not a set of rigid rules. Composition is as much about intuition and personal style as it is about guidelines. The more you shoot, the more you develop an instinct for composing impactful images. So grab your camera, and let the world be your canvas!

Origin of the Rule of Thirds: Photography’s Golden Rule

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Photography, with its perfect blend of art and science, offers myriad techniques that can be leveraged to capture stunning visuals. One of the most celebrated principles guiding photographers around the world is the ‘Rule of Thirds’. This rule, in its elegant simplicity, has helped produce some of the most powerful and balanced images in the history of the medium. To fully appreciate the impact of the Rule of Thirds, it’s beneficial to trace its roots back to its inception.

The Birth of the Rule

Despite its deep ties with photography, the rule of thirds was not initially a photographic concept. The origins of this rule trace back to John Thomas Smith’s 1797 book “Remarks on Rural Scenery” where Smith coined the term, discussing the balance of light and dark in a painting. This concept was deeply inspired by the theories of the golden ratio, dating back to the ancient Greeks.

The golden ratio or ‘divine proportion’ was widely used in Greek architecture and later by Renaissance artists. This ratio occurs when a line is divided into two parts such that the longer part divided by the smaller part is equal to the whole length divided by the longer part. It creates a visually pleasing balance that is thought to mirror patterns found in nature.

The Intersection with Photography

The evolution of the rule of thirds into photography is a fascinating tale of art adapting to technology. With the advent of cameras in the early 19th century, painters’ techniques were applied to the new medium to establish compositional norms.

In the 1860s, photographic societies began to formulate principles to guide the emerging field. During these discussions, the rule of thirds started gaining recognition among photographers.

The rule suggested that an image should be imagined as divided into nine equal parts by two equally spaced horizontal lines and two equally spaced vertical lines. Important compositional elements should be placed along these lines or their intersections. This technique gave images more tension, energy, and interest than simply centering the subject would.

Influence and Contemporary Use

In modern times, the rule of thirds has become a foundational principle of not only photography but also of visual arts such as design, painting, and even film-making. It’s extensively used in landscape photography, portraiture, and virtually any scenario where an engaging composition is required.

In landscape photography, the horizon line is often placed along one of the horizontal lines to emphasize either the sky or the land. In portraiture, the subject’s eyes are often placed on one of the intersection points to draw the viewer’s attention.

The rule of thirds has also found application in the digital space, guiding website and graphic design. Furthermore, many cameras and smartphones now offer a grid overlay function, making it easy for everyone, professionals and beginners alike, to experiment with this rule.

In Conclusion:

It’s fascinating how the rule of thirds, a principle that started its journey centuries ago in the field of painting, has remained relevant across multiple shifts in artistic mediums. It’s a testament to the enduring nature of the principle and its ability to create aesthetically pleasing and balanced compositions.

Wildlife Photography: Tips for Better Composition

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For a nature photographer, composition can be a daily challenge. In wildlife photography, the challenge is even greater. Not only are you trying to satisfy your own creative vision, but you also have to deal with a subject which may have no interest in having its photo taken.

“A Very Cute Puffin” captured by PictureSocial member Ulka Nast

I can’t help you much with an uncooperative subject. Rest assured that with practice and experience, you will find that you become much quicker at composing and exposing a photo so that you get the shot before the critical moment passes. There are a couple of simple tips that can make things a little easier.

First, practice your photography in places where the animals are used to having people around and are less likely to become jittery at your presence. This does not have to be a zoo or other enclosure. Most national parks have campgrounds and picnic grounds where the wildlife is used to being around people and may even come closer looking for food. You have a much better chance of a shot if you can get close without frightening the subject away.

“Moment of a Monkey” captured by PictureSocial member Dietmar Chromik

Second, try to organize your exposure before you set up the shot. If the light is fairly constant, it is possible to point your camera in the right general direction and work out the best aperture and shutter speed settings for the photo. Then when you approach the subject, you can concentrate on composition without having to waste time working out your exposure.

These simple tips may help to take some of the frustration out of wildlife photography, but what about the composition itself? Many people simply don’t know where to start. If that sounds like you, don’t be discouraged. Like I said at the beginning, composition can be tough — even for a photographer with years of experience.

Let’s start by breaking it down into two categories: close-up and non-close-up photos.

In a close-up photo, the subject fills most of the frame.

A lot of people get in a tangle over whether to position their subject in the middle or to one side of the composition. In my experience, it is quite acceptable to have the subject right in the center, as long as you allow some head-room so it doesn’t appear too cramped within the confines of the composition. A central position is especially suitable when the subject is looking straight at the camera, but it often works just as well if the subject is facing a little to one side or the other.

The more space you have around the subject, the more you should consider putting it to one side or the other. You should be guided by the way the animal is facing. If it is looking to one side, position it a little towards the other side so it is looking toward the center of the frame. So, if your wildlife subject is looking right, position it a little to the left. Not too far — you don’t want half of your photo to feature nothing but empty space.

In a non-close-up, where the photo shows a lot more space around the animal, it becomes more critical that you use that space effectively. In situations where the animal is featured with a lot of background, it may be better to think of the picture as a landscape photograph, and compose it accordingly. Some of the tried-and-true techniques, like the Rule of Thirds, are a good way to help you position your subject within the overall frame of the picture.

For a landscape-style photo, it may look quite unbalanced to position your subject in the center of the picture. It is usually better to position it to one side or the other, and it is even more important to have the animal facing toward the center of the picture. The eyes of an animal subject can have a strong effect on the direction in a composition; we tend to look where they are looking. So if the animal is on the left and looking left, the visual flow of the composition will lead out of the picture instead of into it. If the subject is on the left and looking right, the viewer will follow the gaze of the subject into the center of the picture.

Naturally, it helps if there is something of interest in the center or to the right to catch the viewer’s attention and add interest to the composition. If the subject is looking into the composition, it makes sense that it is looking at something, not just at empty space. Almost anything will do — a tree, a beach, an impressive sky — as long as it adds impact to the composition. If there is nothing of interest to work with, you might consider zooming in closer, so there is less emptiness in the frame.

These simple guidelines are intended to do nothing more than give you some ideas. Nature is not governed by the rules of composition, and a wildlife photographer must be flexible to get the best result out of each situation. Above all, trust your own judgment — your own sense of visual balance — to create a satisfying composition. On the other hand, if you are struggling to get started, think back to these guidelines; if you can position your subject well, the rest of the composition will fall into place.

What Lenses Work Best for Beautiful Background Blur?

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Here is a portrait that uses background blur to make the model pop from the background.

Background blur is an excellent composition tool to set your subject apart from their surrounding areas. It’s another way of saying “minimum depth of field”.

Newer photographers, with entry-level equipment, often find the idea of background blur difficult, because no matter what they do they cannot create the effect.

Blurring a background requires several elements of photography to be successful. First and foremost is the lens.

For that reason, in this article, we will concentrate on lens selection to create optimal background blur.

Quick Tip

Your first consideration when blurring a background is the focal length of the lens.

The longer the focal length, the more blur will be created at a given f-stop.

For example, at f/2.8, a 200mm lens will create more background blur than a 50mm lens.

Wide-angle lenses will not create a noticeable background blur effect at any f-stop.

Any lens wider than a “normal” field-of-view lens will create a negligible background blur, even when you have set the f-stop to the widest opening.

A normal field of view is between 50 and 55mm for a full-frame sensor and 28-34mm on a camera with an APS-c sensor.

A “normal” lens is one that closely mimics the field of vision for the human eye.

The lens in the image above is most definitely not a “normal” lens. A very long telephoto lens like this would create background blur even at smaller apertures!

What about the relationship between aperture and background blur?

The photographic term “fast lens” refers to the largest aperture available on the lens. A lens with a very wide maximum aperture is a faster lens than a similar lens with a smaller maximum aperture.

This fact of optics is why creating background blur with kit lenses is difficult to impossible. They generally have a smaller maximum aperture.

The lens above has a maximum aperture of f/1.4. This lens would be considered very fast, and it would be extremely efficient at creating background blur.

This Canon 24-105mm zoom lens has a maximum aperture of f/4. This lens is not as fast a lens as compared to the previous example, where the maximum aperture was f/1.4.

Some lenses display the aperture scale outside the lens (such as the Nikon 85mm).

Other lenses only display the aperture scale inside the viewfinder, such as Canon 24-105mm zoom lens.

Most lenses have variable apertures. The one exception is mirror lenses. They have a fixed aperture, usually around f/8.

Quick Tip

With a zoom lens (variable focal length), such as the Canon example, the lens will create more background blur at a longer focal length setting versus a shorter focal length setting.

For example, this Canon lens set at the maximum aperture of f/4 will create more background blur at the 105mm focal length setting versus the 24mm focal length setting (where it would create little to no background blur).

Conclusion: When selecting a lens for background blur…

  • A lens with a longer focal length works better than a shorter one.
  • A lens with a wider maximum aperture works better than a lens with a smaller one.
  • A “fast lens” is one that has a large maximum aperture (f/2.8 or larger).
  • Kit lenses, as a general rule, are not very fast and therefore do a poor job of creating background blur.
  • Wide-angle lenses are also a poor choice for creating background blur.
  • A lens focal length starting at a “normal” field of view (matching the human eye) and escalating toward longer focal lengths (telephoto) creates the best background blur.
  • When using a zoom lens (variable focal length), the longest focal length will create a better background blur than the shorter focal lengths at the maximum aperture.

Note: Some zoom lenses have a “variable” maximum aperture. You would want to consider this when choosing a focal length for background blur with a zoom lens.