Tips from the Pros

TIPS from Chuck Lawsen

Camera Handling and Maintenance

Use a tripod to keep images sharp: the sturdier and heavier, the better. At times when a tripod may be inconvenient or prohibited, consider other alternatives. A monopod, a bean bag to rest your camera on, or leaning against a wall or other sturdy surface will also help. A chain monopod can be assembled with just a few components that you can purchase from your local hardware store for less than $5. Avoid using the center extension on a tripod, this causes the camera to become unstable and defeats the purpose of using the tripod. To prevent camera shake you should also use a cable release, and for those that have them the camera's mirror lock-up and/or self-timer may prove valuable.
Use faster shutter speeds (1/250 or faster) when you hand hold the camera.
Shade your lens whenever the light source is striking the lens.
Make sure the horizon is straight.
Remember to shoot verticals too.
Keep your lenses, filters, and the film compartment clean. Carry plenty of lens cleaning devices with you (lens cleaning paper, fluid, brush). Also take plenty of batteries with you!
Protect yourself and your equipment from the elements. Keep a rain parka with you at all times and carry a thick plastic bag or specially-made rain hood for the camera.

Filters (I don't use a lot of filters, but some are essential.)

For hazy skies and in the shade use an 81A warming filter. For heavy overcast days or to enhance the red rock found in the Southwest, I use B+W's KR3 filter (similar to an 81B by all other brands). Warming filters absorb excess blue light on overcast days and in open shade. Remember to remove a warming filter when photographing subjects that are white!
To darken the skies and to remove reflections off of rocks and foliage, I occasionally use a polarizer. Optimum polarization is when the light source is 90 degrees from the direction you are pointing your camera, i.e. side lit. But when the sun is directly in front or in back of the direction your camera is pointed, it renders no effect at all.
A split neutral density filter has a dark half that feathers into a clear half, allowing photographers to render detail in deep shade while keeping bright areas from being overexposed. There are 3 items that you will need to decide on before you purchase: density, color, and edge hardness. The density refers to how dark you want the dark half to be. A #6 reduces part of the exposure by 2 stops, a #9 reduces by 3 stops, etc. Color is another decision to be made, either neutral gray or a warm tint. The third item is the feathered edge, you can choose it to be a hard or a soft edge. I suggest a #6 neutral color with a soft edge.
Occasionally I will use a #5 or #10 magenta to enhance a sunrise or sunset. It is also useful to remove a green cast, e.g. shooting a close up of a white flower in a forest canopy.

Composition

Composition, I believe, is the most important component of the imaging process. You may have a technically perfect photo that is sharply focused and has a great exposure, but if it doesn't have a strong composition, it may not be worth keeping.

Types

The rule of thirds. By dividing the frame into thirds, horizontally and vertically, try to place the main subject on one of the four intersect points. Avoid "Bulls Eye" photography - off center subjects are often more interesting.
Diagonal or triangular compositions create motion and add a strong dynamic, and can help keep the eye moving throughout the frame. "S" Curves can also lead the eye into and through the frame.
Patterns or repetitive shapes or textures create a strong graphic impact, sometimes will evoke a sense of rhythm.
Try to create interest in the foreground with a dominant object. For example place tall grass at the edge of a lake in the foreground to create a sense of the third dimension.
Using telephoto lenses foreshortens the view by compressing the foreground and background, giving them more equal visual "weight".
For single subjects like a portrait of a person or a photo of an animal, you can isolate the subject from the background by shooting with a wide-open aperture. This will throw the background out of focus into a blur and keep the subject the center of attention.

Keep the composition simple, remove elements that detract or clutter the scene. Try different angles, move around and change the focal length of your lens. Keep tightening the composition until you're satisfied, it's often better to spend more time on one shot than to haphazardly shoot everything in sight.

General Tips

Have your film processed by a professional lab, they know how to handle your film better than a drug store clerk and they also change the chemistry often.
Use fine grain films, especially if you plan on making enlargements from your prize images.
Always take plenty of film with you on each trip, it's always better to have more than you think you will need than to run out.
Shoot lots of in-camera dupes, they are much cheaper and far more sharper than to have dupes made afterwards.
Keep your camera manual in your camera bag at all times, cameras today are very sophisticated and complex, it is always good to have it for handy reference.
Bracket, bracket, bracket!!!!

Chuck Lawsen is a freelance scenic and travel photographer specializing in large format images of Arizona and the Southwest. From classic scenes to innovative compositions, his images capture the beauty and essence of the land. His work has been frequently published in Arizona Highways magazine, calendars and books.