Waiting

Translucent

lily pad thoughts float

aimlessly,

gurgling by

on restless waters humming,

waiting to begin.

Photo & Poem Copyright JO Janoski 2011

Photographing Winter Landscapes

Winter landscapes speak for themselves. Snow filters down in a whisper and paints a sea of lush white. The world is transformed to a wonderland, bringing back joyful childhood memories even to the most disagreeable old fogy. So how do you capture winter's soft-spoken demeanor? Think like an artist, noting shading, light, form, and gesture.

First, the tranquil...freshly laid snow, undisturbed and pristine, soft and quiet...a real heart stopper for the wandering soul who dons winter gear and faces the elements. First, what not to do, and that is to go out in glaring sunlight to take snow pictures. It is loud. it is brass. And it glares, making contrasty pictures that assault the eye.

Instead, I like to choose either early morning or late day when sunlight is soft. In the evening on clear days, in particular, the sun renders a soft orange illumination, which combined with open shade brings the snow to life. If the sun comes out, it is a soft touch, giving the land a glowing new perspective with softly defined lines between sun and shade.

Well, that's what the eyes sees. Bringing it to the picture is not as stellar because that soft glow is lost and flattened in the two-dimensional world of a photograph. But shooting in soft light is always a good thing. In this case, rustic tree bark and sun-goldened shrubbery can take on a detailed, interesting contrast to pure white snow. But be careful with your f-stop. Automatic metering registers "normal" as neutral gray to cover all situations. (Hey, generalization is what automation is all about). So you may want to open up a stop or check the setting on your digital camera for a white balance setting to get sparkling white snow instead of dingy gray.

Second, the harsher side of winter...I like to go close up to emphasize the season's icy aspects. Filling the frame with a twig encased in a frozen droplet or a study of snow on trees or fence posts can produce interesting results. Think like an artist to bring your theme home. A snowy fence post leading into the center of the picture is ultimately more interesting than one which runs across the frame horizontally. Snow-covered trees have form and gesture. Some trees, stately and majestic, hold their own while others speak volumes in groupings that fill the frame like dancers on a stage. My point is looking at this new snow-world has much to offer, not only in the normal view, but also in the world close-up or even impressionistic.

Finally, as the day comes to a close, winter's drama is at hand in a glowing sunset view with long shadows stretched across the snow in a blazing light. The setting sun puts the winter landscape to sleep in a beautiful power play that shows the both of best worlds. Be sure to catch this magic moment, and hurry, because it doesn't last for long.

Copyright 2008 JO Janoski

Photographing Dogs and Other Small Animals

Our pets, warm and cuddly, bursting with cuteness, why wouldn't you want a photo of your little honey to show others or to perch on your desk in a nice frame. But where to begin. How do you get a technically good picture and one that depicts your dog's personality?


First, the setting. As usual, outdoors with open shade is preferable to sunny glare or indoors, where a flash going off presents a whole new problem of "red eye," or in a dog's case, blue or even green eye. If you must do the photo indoors, use a digital camera so you can take it to Photoshop easily and paint out the blue or green lights. The prepackaged "red eye" fix that comes with your camera software won't work on blue or green eye glare.


Some technical considerations. Choose a background that contrasts with the animal. Or use a telephoto lens which will let you blur the background. You want the animal to stand out as much as possible. Also, the exposure itself can be problematic. A very dark animal will require some overexposure to maintain details in the fur. A white animal is better under-exposed to keep its fur from be washed out.


Next, how to photograph your pet--there are a couple different options. Squirmy, fidgeting dogs aren't easy to settle down for a portrait. You may choose to photograph the animal with a family member who can control it. If you prefer the dog alone, try offering your pooch a favorite toy to keep him occupied. Whichever you choose, the next step is to get your animal's attention while you click the shutter. Use a squeaky toy, held just behind the camera, to make the dog look up.


Also, move in close. Fill the frame with your pet. Furnishings or background are not part of this story. Your pet is. So get in there and make this picture all about him. Keep your camera at eye level with the dog. You want to be down where he lives. You'll probably have to get on your knees. Make eye contact, or use the squeaky toy. Try a variety of shots, too. Think like an artist to bring out your dog's personality, looking for characteristic gestures, postures, and nuances that describe your dog.


If you photograph in digital, it won't cost you anything to take lots of shots. Even if you're using film, isn't it worth a few pennies to shoot lots of angles and try every idea? So indulge yourself, make up your mind to get a great portrait; and most importantly, treasure this special event with your animal. Our animals are with us a very short time, and a good pet portrait will be loved forever.


Copyright 2007 JO Janoski

Photographing Fireworks

   The photograph that started it all for our business, Janoski Studio Pittsburgh Photographs, was a fireworks photo. Taken on a whim, my husband shot fireworks blazing against a night time cityscape sky illuminated by Pittsburgh office buildings, bringing the two together to tell a story brimming with local appeal. At our first art show, the picture proved to be a spectacular winner over everyday nature scenes.There is drama and pizazz in fireworks that cannot be denied.
    In those days of film cameras, the process produced distinct splashes of color as each burst took its time to burn on the film before the next blast overtook it. They were splendid photos. But along came the modern age where computers took control of fireworks launches, shooting off bursts in quick succession, at times even set to music. Boom, boom! A razzle-dazzle overpowering effect for the audience, but a nightmare for photographers. The bursts now come so quickly, there isn't time to isolate one or two beautiful clusters for a well-defined photo. Now the photographer is bombarded with blast after blast filling the photo frame, accumulated smoke hovering in the air, and overexposure imminent from the light of multiple clusters going off in quick succession. With an illuminated background, it becomes a juggling act to balance exposure of both the fireworks and background. What a mess.
    But you shouldn't give up. I keep trying. Now and then I tame the monster and get a good shot. So let's begin. Here are some steps to follow.
    Location. Location. Location. I remember during those days of our cityscape fireworks shoots, location was a nightmare. Fireworks are popular events, with crowds of not only adults, but children, children who kick tripods, children whose parents won't appreciate if you shove them out of your way. A good point. Choose a spot that has a good view, but be polite. It is a good idea, since tripods with legs spread take up room, to ask nearby patrons first if you may set up...unless you get there first. Then you have "squatter's rights," so to speak. All the same, no matter how early you arrive, you'll find the crowds pushing in on your turf. Be patient with them. Fireworks are for fun. Don't spoil it for anyone.
    Equipment. Of course, you need your camera set at ISO 100 for good clean pictures that blow up well, and extra film or an extra memory card, whichever applies. But also use a tripod and a cable release. A level is not a bad idea to be certain your camera is properly positioned for a level horizon.
    The Fine Points. I recommend a normal or wide-angle lens to allow a wider plane to catch the bursts. A telephoto is too confining. Determine ahead of time the area of the sky where the fireworks will happen and position your camera. Focus on infinity. No auto focus or exposure here. Set your camera on "bulb" and f/11 or f/16 and insert the cable release You now have your camera in a fixed position, ready to open the lens and close it at will. Fireworks require a timed exposure, meaning a prolonged exposure, which you will perform  by hand with the cable release.
    An exact exposure time in general terms is impossible to predict due to the variability of fireworks and surrounding scenery, etc., but my rule of thumb is to release the shutter when a burst starts and keep the lens open for several bursts. If the bursts are not in quick succession, then cover the lens with the palm of your hand or a black piece of paper between bursts. I would try three bursts. If you have a digital camera, check to see how you are doing between shots and make adjustments as needed. If the bursts are washed out, put fewer per picture. If the opposite is true, do more. Your f-stop also provides another way to control exposure. Open up or close down as needed.   
   Once the bursts start, this is an intense photo shoot. You can't go back and try again, and there's no time to think. So plan ahead. If you're using film, use a 36-exposure roll so you don't have to change rolls, or with digital use a memory card with plenty of room. Be ready when the fireworks start, having your camera on bulb, your cable release inserted, camera on the tripod, level, focused and aimed. It's crazy, but remember, fireworks are for fun. With a calm hand and a little luck, you'll get a beautiful shot to enlarge and hang in your home.



 Copyright 2007 JO Janoski