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If you want an interesting challenge, head out with your camera and search for numbers and letters or better still, objects that look like numbers and letters. You'll be impressed with how many you'll actually find and when they're put together they can make an interesting panel to hang on your wall. All you need is your camera, a good imagination and some decent weather!

 

What Can I Photograph?

If you're looking for ideas, a lighthouse can be used as a number one, chimneys can look like a number 11 and a traffic light can be a 3 or and E depending on the direction they're facing.

When we say photograph numbers/letters, you can take this literally or you could put your imagination to the test and look for them in places other people wouldn't think to look.

If you have a door number start with that then take a walk up your street and into your town snapping shop signs, adverts and road signs. Make sure you fill the frame with what you find and watch out for reflections and glare bouncing off shiny door numbers.

 

More Ideas 

When you're ready to give your grey cells a bit of a work out start looking for objects that look like numbers and letters. You may need to stand and imagine what the object looks like flipped the other way or crop into a part of it to get the number you're looking for but with a little work with your imagination, you'll soon be on your way. Make sure you take a quick look at what's surrounding your subject as a busy background won't make the number jump out of the frame. Try using a large aperture to throw the background out of focus leaving all attention on your object.

 

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Compositional rules are there as guides, but that doesn't mean you always have to use them. Sometimes breaking the rules can help you create an image that's far more striking, so here are 8 more ways how breaking the guidelines can help you create an image that has far more impact.
 

1. Centre Your Subject

 

With the rule of thirds, you have to ensure that your main point of focus is positioned on one or more of the four intersecting lines on the nine-square grid you have to imagine is sitting over your image.

However, there are some shots where placing your subject in the middle of it will give you a more striking image. For example, a road or path stretching off towards the horizon, starting so it fills the frame and winding away until it vanishes can look better when positioned in the centre.

The same goes for shots with lots of symmetry. A long table that's set for dinner with rows of chairs and lines of plates, glasses and cutlery on it will make a more interesting photograph if positioned in the centre of the frame, while photographing escalators, steps, piers and tunnels so they sit in the centre of the frame can help exaggerate their length, giving the impression that they go on forever. Portraits are more pleasing to the eye when you use the rule of thirds grid but if you're shooting a portrait that has a more creepy, unusual feel to it, positioning your subject in the centre of the shot will enhance this uneasy feeling.

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2. Split Your Image In Two

 

When you're working with the horizon or lines you should avoid splitting the image in two, so horizons should be slightly higher or lower, depending on where the interest is and lines should be positioned to the left or right of the centre line. However, cutting your image in two will give you a shot that has a lot of impact, particularly if you're going for something more abstract where strong blocks of colour are your focus.

  3. Work Wonky

 

Keeping your horizons level and your shots straight is a rule that's important for landscapes but there are other subjects where tilting your camera will give them more energy and a sense of excitement/fun. If you're going to do this, make sure you do it properly, really turning your camera. If you don't, it'll look like you were going for a straight shot and angled your camera by mistake.

4. Play With White Balance

 

Capturing shots with the right colour temperature is something that's important the majority of the time, however, there are occasions when using the wrong preset or making adjustments after in post-production will help boost colours, make shots more interesting and fun. For example, you can emphasis the coolness of a winter scene with blue tones and give more warmth to Autumn landscapes to enhance the orange and yellows that are prominent during the season.

 

5. Use Higher ISOs

 

For shots that are clean and sharp, you'll generally need to use the lowest ISO possible. Of course, there are many cameras now that cope quite well at higher ISO levels, and they won't leave noise in your shots. However, if you have a camera that still struggles at higher levels, use it to your advantage, shooting some grainy images.

If you don't want to create the look in-camera, shoot at a lower ISO and run your image through photo editing software and apply your grain digitally. The grain works even better with black and white shots so while you have your editing software open, try converting your coloured shot into something much moodier. Portraits are good subjects for this but if you have a few landscape shots you've taken on dull days, try converting them to black and white, add a little grain and a grungy frame and you'll breathe life back into a boring shot.

 

Make The Most Of Out Of Focus Shots

 

For a more dream-like composition, try throwing your whole frame out of focus. A wide aperture will be needed and you'll probably have to focus manually to stop your lens focusing on something in the frame. You want the shot to be out of focus just enough to make it look like you did it intentionally but still leave enough detail to make the scene recognisable. Your other option is to blur what would be considered as your main point of focus and have something in front or behind them sharp. A more subtle way to use the effect is by creating a soft-focus portrait. Take a look at our Photoshop Tutorial for more information on how to do this.

 

Move Your Camera While Taking A Shot

 

The 'try to keep your camera as still as possible' rule only applies when you're not going for a strong, abstract shot that's full of energy. If you're photographing action, a car speeding along a track or dancers spinning in a circle, moving your camera while you take your shot will add a little blur that can increase the feeling of speed and excitement.

Using a slightly slower speed than you'd usually use to capture action will further enhance their movement and you probably don't need to move your camera to do this. Again, having part of the shot a little sharper than the rest will give your viewer a focus point. Try zooming your lens barrel out or in through the exposure too to create a zoom burst. You'll probably want a tripod to hand for this as it makes it easier to turn the barrel of the lens. Zoom bursts work well on stained glass but they can give equally good results on groups of fast-moving dancers who are making their way towards you.

Try removing all sharpness from the shot with a drag landscape. We've covered this on-site in a previous technique which you can find here: Drag Landscapes

 

Shoot From The Hip

 

OK, so shooting with your camera held to your eye or using your camera's screen to frame your shot isn't a rule, just more of a thing that everyone does because that's the way camera's work! But by leaving your camera by your side and 'shooting from the hip' you can get some interesting results. Sure, it can be a little hit and miss but as it doesn't look like you're taking a photograph you stand the chance of capturing much more candid results, particularly on the street.

 

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The UK's coastline has many lighthouses which are worth a visit with your camera. Some are open to the public and are definitely worth exploring, but here we discuss using lighthouses within the wider landscape.

 

1. What Kit? 

Take your camera and all your usual lenses and you will not go far wrong. You may find a camera with a smaller body more useful as they can be often fit in jacket pockets or if you prefer to carry your gear in a bag, it'll take up less room leaving space for a flask of tea and your packed lunch! 

A tripod is needed if you intend getting there early or staying in late. Other than that, it is perfectly fine to shoot handheld. Filters are also definitely worth packing, especially the polariser that can be used to cut-down glare to enrich colours and saturate blue skies.

In terms of lenses, wide-angle and telephotos are equally valid. Wides let you use more of the foreground while telephotos let you pull in detail and are also excellent at putting the lighthouse within its environmental context.

 

 

2. Do Your Research 

If you're looking for lighthouses have a look at the Trinity House website for more information and locations close to you. Have a look at where other photographers have visited too, plus a quick online search will find you visitor information as well as GPS coordinates and directions quickly.

Use your feet! Walking around your subject is always advised and is especially effective with using lighthouses. That way you can put your subject into context of the beach or town that the lighthouse is situated.

 

 

3. Time Of Day & Weather

Many lighthouses are still in use so a good time to shoot them is at dawn or at dusk when there is colour in the sky and the lighthouse's lamp is on. Do remember the lamp will be considerably brighter than the whole scene and you can end up with a light that's overexposed if you don't meter correctly. 

At this time of day, there's not much light around so you will need the tripod and a remote release. If you set a sufficiently slow enough shutter speed you will get a complete rotation of the lamp.

Low light and stormy skies shouldn't be overlooked either, particularly if you can capture the waves crashing against the lighthouse or rocks nearby. 

Lighthouses look photogenic in most lighting situations, but bright sun can be tricky because of high contrast problems – white is a popular lighthouse colour. Bland white skies are also an issue for the same reason. Other than that, get shooting.

 

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You don't have to venture far to take a great image. In fact, if you get down on your knees in your garden a simple blade of grass can look great in a photo! A blade of grass? We hear you cry. Yes, if you use a shallow enough depth-of-field a blade of grass can look pin-sharp and picture-perfect against a very blurry background. Of course, you can pick other photogenic subjects such as flowers, plus, if parts of your garden are a little untidy this technique will hide this too!   [HOOK]position_1[/HOOK]  How To Take Photos With A Shallow Depth Of Field: What You'll Need

A macro lens is needed and if you can, use one that has a slightly longer focal length like a 100mm rather than a 50mm for better compression. It does mean, though, that focus is even more critical because depth-of-field is so shallow. A groundsheet, kneeling mat or even a bin liner will keep your knees or if you're laying down body dry and if you need extra support you could use a bean bag or just shooting hand-held would okay.

 

  How To Take Photos With A Shallow Depth Of Field: Top Tips

 

1. Wide Aperture 

You need to use a wide f-stop to get the right effect. The aim is to get as much of the subject in focus as possible without losing the nice blurry feel but doesn't over blur the shot as this will distract from the subject. Try f/5.6 and use the camera's depth-of-field preview button to check the aperture's effect on the background.
 

2. Get Closer

Although the main way to control depth of field is with the aperture the positioning of yourself and your subject can also enhance the blur. You want to, ideally, close the distance between the camera and subject but have as much distance as possible between your subject and the background.
 

3. Subject Choices

It works great on blades of grass, insects and small flowers. later in the year, if you live near a rapeseed field try isolating a specific flower or part of the field out to draw attention to it. You could try blurring part of the foreground as well as the background to create a frame for the subject.

 

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