PHOTOGRAPHING THERE - AND ALSO OVER THERE

It was only a few months ago in a post titled Decisions, Decisions... Well, You Get the Point, I wrote about the decisions we have to make as photographers. As a quick reminder, these are not decisions about camera settings, etc., but the decision of where we choose to photograph from.

And now I have the answer to the question of can you be in two places at once. How to be there - and also there.

The answer came in the GoPro HERO3+ Black Edition, and not only can I be in two places, but if needed, be in three, or even more places at the same time. To be fair, photographers have been using remote or remotely triggered cameras long before GoPro came on the scene. But with the low cost, high quality and ease of use of GoPro cameras, it has never been easier to work with remotes.

Just prior to lift-off I triggered the GoPro and it is already taking a still image every five seconds allowing me to concentrate on photographing everything else.

In that previous blog post, I gave the example of making the tough choice of whether to ride aboard the Navy's only manned airship or stay on the ground during an assignment. In that case, I concluded that I made the right decision by staying on the ground, but it still didn't lessen the fact that I wanted to ride in the blimp.

When assigned to once again photograph the blimp, I was sure that I would get the opportunity to ride aboard. After all, it only made sense, right? So imagine my disappointment when I received word the day before the assignment that due to newly installed scientific equipment, space was limited. Guess who was getting bumped?

So did I cancel the shoot? Of course not, because after all I would still get to photograph the blimp. However, I did start to think about how I could get the photographs I wanted from inside the cockpit without actually being inside the cockpit. I briefly considered handing a camera to someone who would be on board, but somehow that never really works out.

A test shot (selfie) after positioning and mounting the GoPro in the blimp.

Even though I've been an owner of a GoPro for several years and have had some success with it, I just don't think I've ever really used it to its fullest. That is until I obtained the newest version. Using the App and Wi-Fi to control the camera has really made me want to use this camera more than ever before. Also, for some reason the ability to see what the camera sees, again via the App, really resonated with me.

Once I made the decision to use a remote camera and take the viewer inside the airship, I called the squadron and let them know that I wanted to place a camera aboard the airship. I received the permission I needed, arrived early on the day of the assignment and using a suction cup mount, I mounted the GoPro as far forward as I could. I successfully pulled off the picture I had in my mind. Actually, I think this picture is better than if I was aboard, but don't tell the Navy that.

How the photo appeared on the home page of Navy.mil.

Tips for using your GoPro as a remote:

1. While it's always a good idea to get to an assignment early, if you plan on using remote cameras, then it is critical that you arrive early. You don't want to rush the process or not leave yourself some time to test everything out.

2. Be sure to let everyone involved know what you are planning on doing and seek permission if necessary. There may also be the instance when you need someone to turn the camera on for you.

3. As events begin to unfold, open the App and make sure that you are connected to the camera via Wi-Fi.

4. Obviously the GoPro is capable of shooting both videos and still photographs, but if it is stills you want, then consider setting the GoPro to shoot interval photographs, such as every five seconds or so. The video below is GoPro footage taking during the R/V Neil Armstrong commissioning. Once I started the camera, I was able to give my full attention to shooting stills from a position about 25 yards away.

5. Once you start the GoPro, I find it is best to forget about it and concentrate on the photographs you are taking. Worrying about the remote camera or taking the time to over monitor means you might miss a shot with the primary camera.

GETTING HIGH - ON PHOTOGRAPHY

Getting a higher perspective.

I photograph a fair amount of trade shows, exhibitions, and symposiums as part of my job with the Office of Naval Research. These events tend to be in the same venues year after year so over time it becomes a real challenge to get a different perspective or make new unique photographs.

This year during the Sea Air Space Exposition held at the Gaylord in National Harbor, Md., I decided to get high for inspiration and go a little old school.

I should say that "I" didn't get high, but my camera did. But before I reveal how I made these photographs, let's explore some options available to get that "aerial" perspective.

Even 15 feet of elevation offers a different perspective of a fairly static scene.

The first thing would be to look over the venue and see if there is a balcony, overlook or some other position that would allow you to shoot down on the event floor. The downside, of course, is that your booth or exhibit would need to be in the right location to take advantage of this shooting position.

Absent of a balcony, you could use ladder or bucket lift, both of which are available at most locations. However, once the show floor opens the event coordinators are unlikely to allow a bucket lift back on the floor. A ladder is great but does limit your ability to reposition quickly. It's still a good option and if you are unable to secure a ladder locally, consider bringing the best non-photo accessory available with you.

I get a little flying time with a friend's DJI Phantom 2. These are great for use outdoors, but a little risky to use on a trade show floor.

Finally, before I reveal the technique I used, you could use an unmanned aerial vehicle (UAV) such as the DJI Phantom 2. Now these UAVs are really cool and would surely work, but the reality is that they may get you kicked out.

So while all of the above techniques will work, I opted to go a little old school and attach my camera with a 14-24mm lens to a Gitzo carbon fiber monopod and extend it all the way out. I then used a Pocket Wizard to trigger the camera, but you could use a cable release or even the self-timer. This technique puts the camera about 15 feet up and I think offered me the photos I was looking for including a unique shot of the Navy's X-47B.

Of all the photographs of the Navy's X-47B from the exposition, mine was the only one I saw taken from above.

Another advantage of the monopod is that you can follow the action. I would bring the camera to my eye, focus, then raise the camera and start shooting.

If you find yourself in a rut and looking for something different when tasked with photographing the same thing, literally try a different perspective and get high.

KEEP IT CLEAN, PLEASE

Please tell me that you don't use the bottom of your t-shirt or worse, your actual shirt as your primary method of keeping your lens clean?

Whether you own your photographic equipment or it is provided to you through your employer, it pays to keep it clean and cared for. And probably the number one cleaning task that you perform every time you pull out your camera is to clean the front element of your lens.

I always have a microfiber cloth handy and until now it has been the sole way I've kept my lenses clean. And I suppose I've been aware of the LensPen pro camera cleaning kit for some time and really don't have a good explanation on why I never tried it.

While you can purchase them individually, I opted for the DSLR pro kit which features all three LensPens; the original LensPen for lenses, FilterKlear for lens filters and the MicroPro for viewfinders. Also included is a microfiber cloth which doubles as a carrying pouch.

How does it work? The LensPen consists of the cleaning tip on one end and a retractable brush on the other. Use the brush to remove particles and dust from the lens surface before using the cleaning tip to wipe away fingerprints, smudges and the like. The instructions recommend wiping the lens surface using a smooth circular motion.

And while the LensPen was easy to use and did a good job of cleaning all my lenses, I found the real surprise was the MicroPro, or the smallest of the set. If you have ever tried to clean the viewfinder of a camera you will soon find the MicroPro will become your favorite of the set. I've tried cotton swabs, microfiber clothes and nothing works as well for this task as the the MicroPro does.

Maybe now it's time to order a sensor cleaning kit, something else I've been putting off for far too long.

BEYOND THE RULE OF THIRDS - THOUGHTS ON COMPOSITION

Composition wise, this photograph taken at the Lincoln Memorial sums up this blog post in one photograph. Fujifilm X100S, 1/30 @ f8, ISO 400.

I have been thinking about composition lately and wondering if there was more to it than the rule of thirds.* More to the point, how do I articulate composition beyond the rule of thirds.

Com•po•si•tionnoun  : The way something is put together or arranged : the combination of parts or elements that make up something.

Every lecture on composition I've ever heard discusses the rule of thirds. Heck, the one semester I taught the basic photography course at Temple University it was the first thing I talked about after shutter speeds and f-stops. And it seemed to come up over and over even when I was teaching advanced classes.

We are all are aware of composition even if we don't know it. Why does some art appeal to us and something very similar does not? I bet in many cases it comes down to composition or as the above definition states, the arrangement of elements.

Think three-dimensionally. In this photograph of passengers entering the Foggy Bottom metro I used the rule of thirds to both place the subjects in upper right and the three diagonal lines of the escalators to draw you in to the frame. Fujifilm X100S, 1/250 @ f8, ISO 400.

But as my mind wondered I thought there had to be something beyond the rule of thirds. And how could I share what it is I think I understand about composition to new photographers or to photographers looking to improve. That's when I began to think of the rule of thirds as a two-dimensional concept.

So what if we went beyond two-dimensions and thought in terms of three-dimensions. What is it that draws you into a photograph? If the rule of thirds looks at the 2D surface, then it makes sense to me that the third dimension looks into the photograph from foreground to background. Think in terms of depth or layers, terms you might already be familiar with. Again, just trying to think differently.

Rule of thirds across and into the photograph is what makes this photograph of the St. Charles Borromeo Catholic Church in Arlington, Va., so appealing to me. Fujifilm X100S, 1/950 @ f11, ISO 400.

Could there a fourth-dimension in our photographs? Maybe when you wrap a subject in light or add a vignette in post production you create that fourth-dimension.

And remember to understand the rules of composition, or any rules in photography, means you can break them. I know there are some photographers that never learned the rules and yet continue to create wonderful images because they just have a sense of composition.

When you see a photograph or piece of art you like, study the composition. Over time as you take photographs you will instinctively put into practice good composition habits without even thinking about it. And as people begin to admire your work, even photographs of the mundane like my examples here, you will begin to understand why. Good composition. It will be ours, and other photographers, secret.

* The rule of thirds is a concept in which a photographic frame is divided in nine imaginary sections creating points where those lines intersect. Placing a subject at one of those points, essentially off center, generally makes for a more pleasing image.

UPDATE: For more on the rule of thirds, head over to the photographytalk website.

5 TIPS TO GET YOU OUT TAKING PHOTOGRAPHS

This sun flare photo was featured on Flickr's blog as part of a Flickr Friday project and now is one of my most popular photographs on the service with over 2,000 views and favorited 47 times.

Do you find yourself with a desire to head out shooting but are really stuck for inspiration? Maybe you have a new camera or lens and want to put them through the paces and make wonderful photographs but can't think of anything compelling to shoot. Or worse, maybe you have a mental block and just can't visualize yourself taking photos.

First, let's understand that this happens to everyone, professionals, amateurs and all levels in between. There are some days you just aren't feeling it. And it's easy to think just pick up the camera, get out there and shoot, but that really isn't an answer or you would not have to read any further.

Professional photographers can normally push through those thoughts and so can you with these helpful tips to get your creative photographic juices flowing.

1. The reason professional photographers push through those thoughts is because the fear of returning from an assignment without a usable image forces them to. So why not start by simply giving yourself an assignment. It can be anything from pretending you are a National Geographic photographer sent to document a location or making a commitment to show others your results. How would a Geographic photographer approach a subject? And nothing motivates a professional more than having to show images to their editor following an assignment so think who could play the role of editor in your life.

I was looking for a reason to get out of the house, so I headed to Glen Echo Park in Maryland, a location I've been wanting to photograph for some time. Once there I decided my theme would be the Victorian architecture and while I don't think I captured any particularly compelling images, I know it is a location I will return to again.

2. Pick a theme. It could be anything from shadows, color, texture or something broader like weather, love, aging. This theme allows you to begin really observing the environment around you. And maybe while searching for photographs to fit that theme, you begin to see something else that catches your eye. Keep an open mind, but if you can stick to your original theme it really forces you to "see."

3. Participate in an online photo community and look for assignments there such as Flickr Friday or Instagram's Weekend Hashtag Project. In this case you don't even have to pick a theme yourself. For instance, every Friday Instagram's community team picks a theme and provides a hashtag so you just shoot and post the photos. Find out if there is a Google Plus Drink & Click photo walk in your area or any photo walk for that matter. Or just find a friend who also is looking for a reason to get out and shoot and get together.

Photograph taken with my cell phone at the U.S. Postal Museum in Washington, D.C. as part of an Instagram Hashtag Project. #WHPsentbymail. I don't have a big presence on Instagram, but this photo drew eight likes and I picked up followers.

4. Think beyond that one day with your camera and look for longer term projects. Is there something in the news that sparks your interest or are you a member of a group or club that is looking for someone to document their activities. These projects keep you thinking long term and will have you looking forward to shooting every chance you get. It is still helpful to set goals along the way and sharing your work will help you refine the project.

5. Think about a technique you want to get better at and develop a photo shoot around that. You can watch tutorials on the web all day long, but if you never attempt to try them, then nothing is gained. Say you just watched a video on shooting portraits with off camera flash, then grab a friend and get out there and try it. Both Adorama and B & H have YouTube channels that offer great tips for photographers at all levels. Additionally, websites such as Creative Live, Kelbyone and a whole host of other free and paid sites are available to find both instruction and inspiration.

I find myself returning often to Rosslyn in Arlington, Va., where i'm drawn by the shadows, shapes and architecture. This photo was taken during the 2013 Scott Kelby Worldwide Photo Walk I led and subsequently was featured on Ibaroinex Perello's  YouTube channel on finding the extraordinary in the ordinary .

So even if you find yourself going to the same location over and over again, I hope that following some of the tips I've offered will force you to get out and shoot, force you to dust off that camera and most importantly force you see differently.

Anything that gets you out of the house with a camera in hand means that there is a potential for wonderful photographs and the potential for you to improve.

Remember that even if you don't take any photographs that thrill you each time you are out shooting, you've lost nothing, except the guilt of not trying.