Category: Photo Tips

ISO: What? Why? …what?

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Film speed is the way to measure the light sensitivity of film or digital imaging systems. This is measured using a numerical scale. The common modern scale is the ISO (International Organization for Standardization – I have no idea why it isn’t IOS, but I don’t make the rules). Film that requires less light during exposure is more sensitive to light and is considered fast film. Film that requires more light is less sensitive and is considered to be slow film. For both film and digital photography, when exposure is reduced because of the use of more sensitive film (or digital sensors) the image quality is reduced because courser image grain and more image noise is the by-product of a higher sensitivity.

To put this into the simplest terms: the higher the number of your ISO, the faster the film speed; the faster the film speed, the more grain/noise will appear in the image.

So why should I ever go higher than the lowest setting? In situations where there is very little available light (think dark restaurants, concert venues, etc.), using a higher ISO can allow for a correct exposure without necessarily having to change your shutter speed or your aperture (F-stop). Since there is little available light, the grain/noise that is created by the higher ISO is not visible.

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That being said, if you were to use a high ISO in a location where there is a good amount of available light (think outdoors on a sunny day), you can still get a correct exposure, but the image will be incredibly grainy and have a lot of background noise. (If you have difficulty seeing the grain, click on the image below and you can zoom in further).

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ISO was one the mistakes that I made most often while learning to use my DSLR in Manual (and one that I sometimes still make when I’m not paying attention). I think it was because the technicality of the concept initially just went straight over my head and it wasn’t until I understood the ‘theory’ of it that I actually learned how to use it. It was a mistake that was second only to figuring out how and why to change my aperture; a topic that I will cover next week. In the meantime, happy photographing!

– Hazel

Photos (1 and 2) © 2015 Hazel Arroyo

Photo (3) © 2015 Bryan Arroyo

Smartphone Food Photography

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I’m sure you’ve seen those people. You know who I’m talking about. Those people who seem to have an errant need to photograph every waking moment of every single day with their smartphones. You may have noticed that this need has extended itself to meal time. While some people may scoff at how vain people can be, to the point where they photograph their food instead of eating it, I see it differently. While having adventures abroad, I found that taking pictures of my food was a ritual which has been a blessing in disguise. By taking images of the enticing and occasionally strange foods I’ve eaten, I inadvertently created a reference point in time for myself. Whenever I look back on an image of a meal that I had, not only am I able to recollect the amazing flavors that I was tasting at the time, but I am also able to remember the amazing company that I had, as well as the fond memories that I now share with those people. It is because of this that I am able to look at a plate of bangers and mash and smile with fondness and regard for an amazing set of people that I would have never otherwise met.

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My first tip: set the scene properly. When taking these pictures, attention to detail is likely to be one of the most important skills to have. The most obvious but often times forgotten parts of setting the scene is to clear and remove as much refuse from the table as possible (assuming you are eating at a table). In the case of street foods where a table is not in use, ensure that the background of your image (whether it’s a building or a street or a sidewalk) is clear of any refuse or anything that would create distraction in your shot.
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For the casual food photographer who simply looking to capture the moment, this is probably enough preparation for your shot. However, if you’re looking to garner a higher quality image from this, it’s probably best to also ensure the aesthetics on the plate or other vessel in which your meal has been presented to you. For this, photographer discretion is best used. Each dish will require different types of fluffing, per se, in order to make it most aesthetically pleasing. (A sandwich will require a different type of attention than a salad or soup.)
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Next, a decision needs to be made by the photographer. Depending on the venue that you are in, as well as the meal you are photographing, the angle of the shot must be decided. Most often, a straight down birds-eye view will do the trick. However, if you are looking to change the tone of the image or include parts of the scene around you to enhance the memory, a side or diagonal view may also do the trick. For this step, as well as the previous step, photographers’ judgment comes into play due to the unique situations that are presented with on-site food photography.
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Now, to filter or not, that is the question. While some may mock the use of a smartphone filter, I argue that a filter can actually be quite useful if the intent of the photograph is to preserve memory. A filter may allow a more obvious visual representation of the feelings and mood of the moment. Because of this, I believe that filters have a unique function within the realm of food photography. However, if you are disinclined to use a filter I would highly recommend that you at least consider color correcting or correcting the shadows and highlights of the image whether on your phone or in another program such as iPhoto, Photoshop, or aperture.
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Do you take pictures of your food? If so, is it all of the time, on special occasions, or on travel? Any additional tips or tricks that you have for food photography on a smartphone? Let us know in the comments section below.
– Hazel
Photos © 2015 Hazel Arroyo

Rule of Thirds

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The rule of thirds is an element of design that is commonly referenced in the scope of photography. This rule is based off of using a grid (whether mental or on the display of a camera) in order to place the objects of interest in a photograph within either parameters of the grid or on the lines of the grid. Using the rule of thirds grid, an image is separated into three equal parts both vertically and horizontally. The intended subject of the photograph is subsequently placed either on one of the lines of the grid or within a column or row that is formed by the grid lines. By doing so, the eye of the viewer is drawn towards whichever element has been placed within the parameters of the grid. Below I have compiled a variety of examples of the rule of thirds being used. To emphasize this element of design, I have included the grid on the images.

Side note: All of these photographs were taken in Bangkok, Thailand
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 Here, we have two subjects, each occupying their own third of the vertical space. The negative space on the left side of the photograph gives a sense of balance to the photograph as a whole.
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 Again, we see that 2/3 of the space is occupied and is then balanced by a negative space, this time on the right side of the photograph.
Screen Shot 2015-09-10 at 9.11.12 AMI’m sure that you can see a recurring theme here. While it doesn’t have to stick to the grid precisely, the general point of the rule of thirds is to have an asymmetrical balance to the photograph. The rule can be used to draw attention to a subject or element that the photographer wants to highlight.
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What do you think? Have you ever used the rule of thirds? Do you like the aesthetics of it or do you prefer a different placement scheme in your photographs? Let us know in the comments section.
– Hazel
Photos © 2015 Bryan Arroyo