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PDBreske · August 13, 2009, 11:09 AM

I'm about to prove to some of you that I'm as big a blowhard as you might expect, but humor me for a while as I attempt to help out my fellow gun enthusiasts who may also want to dabble in digital photography.

There are some very talented photographers on this site, and I encourage them to add to this thread anything that I may leave out. I'm not a professional (although I have made a few bucks here and there with my work), but I do take my hobby quite seriously and I have fun with it, too, especially when I'm forced to shoot with beautiful local models wearing next to nothing on Miami Beach.

Here are some tips and suggestions that may help when taking pictures of your favorite guns, or any other subject that may come in front of your lens.

1. If it doesn't add to the photo, it detracts from it. I've picked this one first because it is the easiest problem to remedy and yet, the one most often ignored. Check your backgrounds and framing composition to remove unwanted or distracting elements. If the subject is a gun, having a bicycle pump sitting next to it doesn't make the picture better (unless you're shooting an editorial piece about self defense while fixing a flat tire). Similarly, having the dirty laundry visible in the background is only a distraction. Taking a few minutes to clean up can make a world of difference.

This also applies to Photoshop filters and similar digital editing techniques. It's tempting to use all those cool filters included with your new software, but use them sparingly, if at all. Again, if they don't make it better, they do make it worse.

2. When possible, use available light or off-camera lighting. Nothing screams "amateur" louder than the on-camera flash. In a two-dimensional photo the only way to show depth is through shadows. A light source close to the lens will effectively fill in any shadows and leave your scene flat and boring (as well as reflecting directly back into the lens when trained on a shiny metal gun). Window light is fantastic. If you have a big window with white translucent blinds or drapes, this will more often than not supply a broad, soft light source that is flattering not only to people, but guns, too. Set up a table next to the window and shoot straight down onto the surface to minimize reflections from the window. Or, shoot with the window on the left or right so the light falls across your subject. If the window is on the east or west side of your home, shoot when the sun is low and the window is catching all the light directly on the blinds. Direct sunlight will have a more accurate "color temperature" than light reflected off the lawn or trees.

3. Speaking of color temperature, all digital cameras have some way to set the white balance. Do not set this to AUTO. If you're using indoor lighting, set the WB to Indoor or Incandescent. It may also have a Fluorescent setting, so use that if it's more appropriate. If you're outside or using the aforementioned window trick, set the WB to Outdoor or Sunlight. There may be additional options for the outdoor settings, such as Cloudy and Shade. These will give finer accuracy and should be used of available. If your window is covered by shadow from the roof overhang, use Shade for the WB setting (the majority of the light hitting the window will be bluer than direct sunlight because it is mostly blue sky supplying the light source). For advanced users, there may be a Custom option to set the WB. Follow your camera's instructions to use this and you will get the most accurate color temperature.

For photographers with advanced cameras that can capture in RAW format, shoot RAW and fine tune the white balance in post processing software. RAW is the file format saved by the camera before it is processed into a JPEG file. It has no color temperature applied (although the output file will be "tagged" with whatever setting your camera was using at the time), so you can select your preferred white balance without compromising the photo integrity. Changing the WB of a JPEG file can be done, but it's not a good idea and photo detail can be lost in the process.

You'll notice the last two suggestions have been about lighting. It has been said that the difference between art and **** is lighting. Substitute "gun ****" and the saying still applies.

4. The "Rule of Thirds." This is more of a suggestion than a rule, but it's good to know what makes a good photo so you can decide for yourself if it should be applied to your photos. Pretend your camera's viewfinder or LCD has a tic-tac-toe series of lines, evenly spaced across the frame. You'll see the image is divided into three horizontal rows and three vertical columns. To add a bit of interest and drama to your shot, place your subject on one of these lines. This opens up the image a bit and leaves a little free space for the eyes to play with. With people, guns, or anything with a "front", it's best to have that face pointing towards the center of the image. In other words, don't place the gun on the right side with the muzzle also pointed to the right side of the frame. One way to force yourself into framing in this way is to place a small piece of tape in the center of the screen and then compose your shot while keeping the subject visible.

While I'm talking about composition, let me add something about cutting off the extremities of the subject. Unless you're trying to get a detailed closeup of one part of the gun, it's usually best to keep all of the weapon within the borders of the framed composition. When you get "almost all" of the gun, but leave an inch of the muzzle cropped out of the photo it just looks like you were in a hurry. Or that you were trying to satisfy my first suggestion at the expense of that chunk of muzzle.

5. Use focus to draw attention to your subject. This one is something that just can't be done with a lot of fully-automatic point-and-shoot cameras, but I'll include it for anyone who may have a manual focus lens or an SLR with the ability to control depth of field. All lenses have some kind of aperture that controls how much light gets through the lens. Controlling the size of this opening and the duration of the shutter opening is what gives a proper exposure. A benefit of the adjustable aperture opening is the ability to control depth of field — the focal distance at which all things in the scene are in acceptable focus. A smaller opening will provide a wider DOF, with more of the scene in focus, while a larger opening will tighten the focus to a short distance and allow the photographer to isolate the subject while leaving the rest of the scene out of focus. (This blurring is often referred to as "bokeh" and most pros will judge the quality of a lens based on the smoothness of this condition. The ability to totally obliterate a background is highly prized in a portrait lens.) Aperture settings are numbered according to the ratio of focal length to aperture size, with ƒ22 being a smaller opening (greater DOF) and ƒ1.4 being a larger opening (tight DOF). By adjusting the aperture of the lens and carefully focusing on just one part of the subject, you can draw the attention of the viewer to that part while still capturing the entirety of the scene.

6. Use a tripod. Unless you have an intensely bright light source(s), you're probably going to have to use a moderately long shutter opening to get enough light on your subject. Again, most point-and-shoot cameras don't allow the shooter to adjust (or even acknowledge) this information, so you're expected to just hold really still and hope there is enough light to freeze any camera shake/motion blur. If you're attempting to get a picture of a static object, like a gun on a table, using a tripod will almost always give a sharper final image. Even better, combine the tripod with the use of a self-timer or remote shutter release to minimize the effects of putting your fingers on the camera when the shutter is open. If you don't have a tripod, use a sandbag or some other method of locking down the camera during the exposure. Many modern cameras have some kind of anti-shake or image stabilization built in, but this can only do so much. Once the shutter speed gets above a certain duration there is nothing the camera or software can do to correct for too much vibration.

Almost all of these tips can be used without expensive cameras or lighting equipment. They're just basic hints that most photographers use no matter how much time or money they've spent on their craft.

Happy shooting!

August 13, 2009, 11:09 AM	#1
PDBreske Junior member Join Date: February 7, 2008 Posts: 171	Photography tips and suggestions I'm about to prove to some of you that I'm as big a blowhard as you might expect, but humor me for a while as I attempt to help out my fellow gun enthusiasts who may also want to dabble in digital photography. There are some very talented photographers on this site, and I encourage them to add to this thread anything that I may leave out. I'm not a professional (although I have made a few bucks here and there with my work), but I do take my hobby quite seriously and I have fun with it, too, especially when I'm forced to shoot with beautiful local models wearing next to nothing on Miami Beach. Here are some tips and suggestions that may help when taking pictures of your favorite guns, or any other subject that may come in front of your lens. 1. If it doesn't add to the photo, it detracts from it. I've picked this one first because it is the easiest problem to remedy and yet, the one most often ignored. Check your backgrounds and framing composition to remove unwanted or distracting elements. If the subject is a gun, having a bicycle pump sitting next to it doesn't make the picture better (unless you're shooting an editorial piece about self defense while fixing a flat tire). Similarly, having the dirty laundry visible in the background is only a distraction. Taking a few minutes to clean up can make a world of difference. This also applies to Photoshop filters and similar digital editing techniques. It's tempting to use all those cool filters included with your new software, but use them sparingly, if at all. Again, if they don't make it better, they do make it worse. 2. When possible, use available light or off-camera lighting. Nothing screams "amateur" louder than the on-camera flash. In a two-dimensional photo the only way to show depth is through shadows. A light source close to the lens will effectively fill in any shadows and leave your scene flat and boring (as well as reflecting directly back into the lens when trained on a shiny metal gun). Window light is fantastic. If you have a big window with white translucent blinds or drapes, this will more often than not supply a broad, soft light source that is flattering not only to people, but guns, too. Set up a table next to the window and shoot straight down onto the surface to minimize reflections from the window. Or, shoot with the window on the left or right so the light falls across your subject. If the window is on the east or west side of your home, shoot when the sun is low and the window is catching all the light directly on the blinds. Direct sunlight will have a more accurate "color temperature" than light reflected off the lawn or trees. 3. Speaking of color temperature, all digital cameras have some way to set the white balance. Do not set this to AUTO. If you're using indoor lighting, set the WB to Indoor or Incandescent. It may also have a Fluorescent setting, so use that if it's more appropriate. If you're outside or using the aforementioned window trick, set the WB to Outdoor or Sunlight. There may be additional options for the outdoor settings, such as Cloudy and Shade. These will give finer accuracy and should be used of available. If your window is covered by shadow from the roof overhang, use Shade for the WB setting (the majority of the light hitting the window will be bluer than direct sunlight because it is mostly blue sky supplying the light source). For advanced users, there may be a Custom option to set the WB. Follow your camera's instructions to use this and you will get the most accurate color temperature. For photographers with advanced cameras that can capture in RAW format, shoot RAW and fine tune the white balance in post processing software. RAW is the file format saved by the camera before it is processed into a JPEG file. It has no color temperature applied (although the output file will be "tagged" with whatever setting your camera was using at the time), so you can select your preferred white balance without compromising the photo integrity. Changing the WB of a JPEG file can be done, but it's not a good idea and photo detail can be lost in the process. You'll notice the last two suggestions have been about lighting. It has been said that the difference between art and ** is lighting. Substitute "gun " and the saying still applies. 4. The "Rule of Thirds." This is more of a suggestion than a rule, but it's good to know what makes a good photo so you can decide for yourself if it should be applied to your photos. Pretend your camera's viewfinder or LCD has a tic-tac-toe series of lines, evenly spaced across the frame. You'll see the image is divided into three horizontal rows and three vertical columns. To add a bit of interest and drama to your shot, place your subject on one of these lines. This opens up the image a bit and leaves a little free space for the eyes to play with. With people, guns, or anything with a "front", it's best to have that face pointing towards the center of the image. In other words, don't place the gun on the right side with the muzzle also pointed to the right side of the frame. One way to force yourself into framing in this way is to place a small piece of tape in the center of the screen and then compose your shot while keeping the subject visible. While I'm talking about composition, let me add something about cutting off the extremities of the subject. Unless you're trying to get a detailed closeup of one part of the gun, it's usually best to keep all of the weapon within the borders of the framed composition. When you get "almost all" of the gun, but leave an inch of the muzzle cropped out of the photo it just looks like you were in a hurry. Or that you were trying to satisfy my first suggestion at the expense of that chunk of muzzle. 5. Use focus to draw attention to your subject. This one is something that just can't be done with a lot of fully-automatic point-and-shoot cameras, but I'll include it for anyone who may have a manual focus lens or an SLR with the ability to control depth of field. All lenses have some kind of aperture that controls how much light gets through the lens. Controlling the size of this opening and the duration of the shutter opening is what gives a proper exposure. A benefit of the adjustable aperture opening is the ability to control depth of field — the focal distance at which all things in the scene are in acceptable focus. A smaller opening will provide a wider DOF, with more of the scene in focus, while a larger opening will tighten the focus to a short distance and allow the photographer to isolate the subject while leaving the rest of the scene out of focus. (This blurring is often referred to as "bokeh" and most pros will judge the quality of a lens based on the smoothness of this condition. The ability to totally obliterate a background is highly prized in a portrait lens.) Aperture settings are numbered according to the ratio of focal length to aperture size, with ƒ22 being a smaller opening (greater DOF) and ƒ1.4 being a larger opening (tight DOF). By adjusting the aperture of the lens and carefully focusing on just one part of the subject, you can draw the attention of the viewer to that part while still capturing the entirety of the scene. 6. Use a tripod.** Unless you have an intensely bright light source(s), you're probably going to have to use a moderately long shutter opening to get enough light on your subject. Again, most point-and-shoot cameras don't allow the shooter to adjust (or even acknowledge) this information, so you're expected to just hold really still and hope there is enough light to freeze any camera shake/motion blur. If you're attempting to get a picture of a static object, like a gun on a table, using a tripod will almost always give a sharper final image. Even better, combine the tripod with the use of a self-timer or remote shutter release to minimize the effects of putting your fingers on the camera when the shutter is open. If you don't have a tripod, use a sandbag or some other method of locking down the camera during the exposure. Many modern cameras have some kind of anti-shake or image stabilization built in, but this can only do so much. Once the shutter speed gets above a certain duration there is nothing the camera or software can do to correct for too much vibration. Almost all of these tips can be used without expensive cameras or lighting equipment. They're just basic hints that most photographers use no matter how much time or money they've spent on their craft. Happy shooting!