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Friday Foto Talk: Alternate Versions III – Review   Leave a comment

Looking south toward Mt. Jefferson from iconic Timberline Lodge, Oregon.

Looking south toward Mt. Jefferson from iconic Timberline Lodge, Oregon.

At the end of a winter’s day skiing, this is looking south toward Mt. Jefferson from iconic Timberline Lodge, Oregon.

This is the 3rd and final part of my little series on shooting alternate versions of the same basic subject.  Check out Part I and Part II for the nuts and bolts of varying composition and other factors just enough to create alternates without completely changing the image.  Today I want to discuss a very important part of alternate versions: the review.  This is where a lot of novice photographers tend to become frustrated, so this post includes some basic advice designed to help you use precious review time wisely.

Last time I mentioned how it’s important at first to be aware of why you are shooting an alternate of the same subject.  It could be as simple as grabbing a quick vertical.  Or it could be a version that concentrates attention on one particularly strong subject by using a large aperture, thus throwing the background out of focus.  Or you can change multiple things about the image, getting low and close while rotating to horizontal, zooming out a bit, and including less sky.

An old pile dike along the Columbia River in Oregon.

Review on the LCD

It’s a good idea to think about why you shot different versions when you review the images later, whether on your camera’s LCD screen or on the computer monitor.  Speaking of the LCD, I see plenty of photographers checking out their photos during the shoot.  That is fine if you’re checking things like focus and exposure; in other words, making sure you don’t need to re-shoot.  Or if you want to get a human subject more interested in the shoot.  But don’t take too much time looking at the back of the camera.  Avoid the trap of getting too caught up in review when you should be concentrating on your subject and the light.

I try to review the images on my camera’s LCD very soon after shooting.  I do this not only to delete images with obvious problems right away, in order to make more room on the card.  But I also like doing a quick inventory of my alternate versions while the shoot is still fresh.  It is easier than you think to delete images you should have kept.  Unlike a computer, your camera doesn’t have a trashcan where you can recover deleted images.  It’s forever!

For example, you might think you have useless repeats of the shot when you actually had in mind at the time good reasons to capture an alternate version.  Maybe your reasoning was unconscious and maybe it wasn’t.  But if it was, reviewing on your LCD soon after the shoot has the effect of bringing it right up to the surface of your mind.  I don’t always keep alternates at this stage.  Sometimes I realize my reason for the alternate was rather superficial.

Despite a significant difference in composition, the light and atmosphere are similar enough to call this vertical of the above image an alternate version.

Review on the Computer

No matter how conscious you are while out shooting, when you’re viewing and rating the different versions on the computer later, deciding which to keep, it’s helpful to note what sets each alternate version apart.  The differences are often subtle but important for what you’re trying to get across in an image.  Were you trying to emphasize an interesting foreground with an alternate version?  Next time out will you get low and close while the light is at its best instead of doing that as an afterthought?

While it’s perfectly natural and appropriate to prefer one version over another, be careful about your judgments.  For example you may prefer the vertical version of a scene you just shot in dramatic sidelight.  But that doesn’t mean you should always photograph scenes like it vertically.  Say you return in softer, more subtle light.  The horizontal may turn out to be the better choice.

Another reason to avoid overemphasizing personal preference is the existence of considerations that have nothing to do with whether one version is better than another.  A horizontal version, for example, may obviously look better because of layering or other characteristics of the scene.  But what if someone loves the image and wants to frame and hang it in a place that will fit a vertical but not a horizontal?  Or what if a magazine likes it but needs one that has more negative space?  That’s yet another way to shoot an alternate, by the way.  By zooming out and/or flipping the camera to include more blank sky, water, or other similarly plain space, you allow room for type, mastheads and the like.

The vertical of the opening image includes the weather vane atop the lodge.

Using Review to Grow 

As you review more and more shoots you’ll naturally learn which kinds of images you like better for which kinds of subject and light.  You might notice yourself gradually shooting slightly fewer alternate versions.  But the idea behind doing alternate versions is to increase not decrease your options.

Although learning your preferences is a good thing, don’t over-generalize and end up missing opportunities.  It’s important to realize that every scene and every moment’s light and mood is unique.  Also unique is the message you want to get across in the image.  Alternate versions can help you accomplish this most important of photography goals, but only if you do them.

The rocky coastline of the northern Baja Peninsula, Mexico.

One thing I’ve learned over time is not to force myself to judge when I’m reviewing images on the computer.  Of course I do mostly prefer one shot over others, and one version of that shot over alternate versions.  But when there’s no clear winner I don’t spend a lot of time forcing myself to decide.  I just give the two an equal number of stars, label them both with copy names (a field in Lightroom just below the filename), and move on.

Most important is to keep an open mind.  Open to other possibilities while you’re out there shooting, and open to different ways of evaluating images on the computer.  As with all thoughtful post-shot review, considering your reasons for creating alternate versions can inform your next shooting session in interesting ways.  It can also force you to grow as a photographer.  For example you might find yourself better defining your style.  Shooting and then reviewing different versions could lead you to explore a certain way of shooting in more depth.  Thanks so much for reading and I hope your weekend is a fun one.  Happy shooting!

The rocky coastline of the northern Baja Peninsula in Mexico is a peaceful place to be at dusk.

For this alternate version of the above image I waited until deep dusk (which allowed a longer exposure).  I also got lower and closer to the foreground rocks and relied on artificial lights from a hotel to illuminate them.

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Foto Talk: Alternate Versions, Part II   2 comments

I've posted this image before: dawn at Capitol Reef National Park, Utah.

I’ve posted this image before: dawn at Capitol Reef National Park, Utah.

This is the second of three parts on creating alternate versions of the same basic image.  Definitely check out Part I; these are meant to go together.  Alternate versions are not totally different compositions, or one shot looking one direction and one the other.  They are those images you may group together on the screen to review and compare.

Creating alternate versions can be as simple as shooting one horizontal and one vertical.  Or it could be as complicated as shooting a dozen versions all with different combinations of variables.  And speaking of those variables, let’s pick up where we left off last time and look at more ways to vary a landscape image.

More Variables

  • Focal Length.  Changing focal length by a lot changes the whole image, by a lot.  But we’re talking about alternate versions of the same image, so think zooming in or out by only modest amounts.  The idea is to keep the main elements of the scene the same but perhaps include or exclude subsidiary elements.  It’s similar in some ways to moving toward or away from the foreground, but although it’s often mistakenly thought that the two are identical, they will yield a different look.
A wider, shorter focal-length version of the above scene, with the fence occupying a much more important position.

A wider version of the above scene.  In addition to shorter focal length, I lowered the point of view, putting the fence in a more prominent position and including more sky.  The light is different too, as it was captured after sunrise.

  • Depth of Field (DOF).  Varying how much of the scene is in focus is something many people don’t consider for landscapes.  Most of us always try for the maximum, sharp from front to back.  But sometimes it’s interesting to limit depth of field for a shot or two after you get the standard landscape.  If you are limiting DOF you may also vary the place where you are focusing.  For maximum DOF you really don’t have much choice for point of focus; that is, there is a ‘right’ place to focus (the hyperfocal distance).
  • Exposure Time.  Another under-appreciated variable.  For example most people get in the habit of shooting waterfalls in one way, using long exposure to smooth the water.  Even when shooting this way you can get quite different looks and textures if you vary that longer exposure.  Another example: changing shutter speed when there are moving clouds can totally change the look of the sky.  Whenever there are elements moving in your frame, changing exposure time will give a different look.
Because of a somewhat dangerous position, I only had time for two versions of this spring along Oregon's Hood River. This vertical has the longer exposure time. 28 mm., 6 sec. @ f/11, ISO 50.

Because of a somewhat dangerous position, I only had time for two versions of this spring along Oregon’s Hood River. This vertical has the longer exposure time. 28 mm., 6 sec. @ f/11, ISO 50.

For the horizontal I went with a relatively short exposure for more detail in the water. 24 mm., 0.8 sec. @ f/11, ISO 50.

For the horizontal I went with a relatively short exposure for more detail in the water. 24 mm., 0.8 sec. @ f/11, ISO 50.

  • Light.  This variable is a bit different than the others.  You don’t have nearly as much control on light as you do the others.  But you do have some.  The classic example is that photographer who shoots the sun as it’s setting.  Then after it disappears below the horizon you look over and they’re packing up, thus missing out on alternate shots under different light.  Another example:  you may like a composition so much that you go out to shoot it both at sunset and sunrise.  If it’s close to home you might shoot it in golden autumn light, crystalline winter light and bright spring or summer light.

There are two main points I want to make.  One is that there are always options and usually enough time to get at least a vertical if not other alternate versions of the same scene.  And so I recommend trying to do at least two versions of each landscape (a vertical and horizontal).  I also recommend that while you’re out shooting, at least initially, you think about which variables you changed and, more importantly, why.  As you become more experienced you’ll shoot alternate versions more or less unconsciously.

Next week we’ll conclude with some thoughts on post-shot review and processing of alternate versions.  Thanks very much for checking in this week.  Have a great weekend and happy shooting!

Sometimes you only have a few seconds to get a single shot. That was the case as I hurried to board a ferry. This is a traditional fishing vessel along the coast of Burma (Myanmar).

Sometimes you only have a few seconds to get a single shot. That was the case as I hurried to board a ferry. This is a traditional fishing vessel along the coast of Burma (Myanmar).

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