Working the shot

Do you get the best shot first time?

Chances are you might not. When you view the photograph later you notice that something isn’t quite as you expected. Perhaps the composition isn’t quite right or something got in the way.

This has happened to me many times so what I try to do now is take my time to take the photograph.

Maybe I will move to a different position to see what it looks like now. I will come in closer or move further back. I will always check the background, check the foreground and check the edges. Is there anything that adds or distracts from your subject?

I try to take a few photographs of the subject and see which ones work.

To see how it works and how you might find this technique useful, here’s a recent example of some photographs I took.

I was out on Hampstead Heath in London at dusk. It was dark but I noticed one tree standing against the sky. If you have been a follower of my blog for anytime you know how much I like the shape of trees against the sky. So I paused to photograph it.

This first photograph was taken from a distance. I framed the subject with two trees closer up.

Here’s the first example, taken on the edge of the Heath.

I framed the subject through other trees which created a nice feeling of layers; your eye is being drawn into the photograph. I then tried again away from the trees nearby to emphasise the night sky; it was overcast but there was a nice glow from beyond the horizon.

And then closer in still, and from a slightly different angle to hide the lights of the building in the background

This was my next image of the tree after I had moved closer in to emphasise it on the horizon.

Checking my photographs I also noticed that there was a light behind the tree that was a little distracting so I decided to change my position.

Does the picture work better in portrait format?
This version also caught someone walking past the tree.

For my next photograph I turned the camera to get a portrait mode and include more of the sky. I took a few photographs this way and in one of them a person was walking past the tree; I didn’t notice him until I got home but I thought he added to the image.

The final image, closer in and with the lights of the Royal Free Hospital in the background.

And here is the final photograph I took.

I had come in much closer now and I realised that I could actually make a feature of the lights in the background that I had tried to exclude earlier. They were in fact the lights of the Royal Free Hospital in Hampstead a mile or so away. I quite liked the idea of the quiet of the Heath contrasted with all the activity that was going on in the hospital.

This was the process I went through to photograph this particular tree.

It is not always about getting the best picture but getting the picture that tells the story you want to tell. It could be that as you explore different stories emerge.

For me it was the last photograph of the tree on the horizon against the lights of the hospital in the distance. I also liked the one with the person in it which was taken by chance.

All the photographs were taken handheld. I had set the camera to the highest ISO setting (hence the grainy quality of the images) and I had opened up the lens to the widest aperture.

None of these pictures would have happened if I had just seen the subject, photographed it and walked past.

Next time you are out photographing, why not spend some time working your subject? Explore it from every angle and taking multiple photographs until you get the image you want.

It can help you create better photographs and you will be more engaged with your photography.

Still leaves

It’s almost the end of autumn but there is still time to capture autumn colours.

It’s the beginning of November and soon all the leaves will have fallen. The beautiful displays in our woods and parks and on the streets will have passed and the trees will sleep through the dark winter until the spring.

Before the leaves have been cleared away or decayed into the forest floor, you have one last chance, with a bit of planning, to continue to take photographs of the autumn colours. And it’s a great opportunity to practice your skills as a still life photographer!

Autumn in the woods

It is a magical moment when you are outside in the woodland watching the colours change. You become a part of the place, breathing in and out with the wind in the trees and listening to the sounds of the forest. It can become almost a meditative process.

Last time I wrote about how you can capture the beautiful colours of autumn outside. If you missed the chance to get outdoors, don’t worry. You can continue to photograph autumn colours even after the leaves have fallen.

Capturing Autumn at home

When I am out photographing in autumn I like to collect fallen leaves as well as seeds and seed cases, especially horse chestnuts (conkers). Then when I get home I can recreate autumn as still life photographs on the kitchen table.

For me still life photography can also be a form of meditation. It’s when I have control over all the elements and can take the time to create the image I would like to see. My mind is focused solely on the process of creating the photograph.

The table is next to a large east facing window. Direct light spills in for a short while each day but I tend to find the best lighting is more indirect. I can also diffuse it more by pulling down the blinds. It throws an even light on the subject and provides some definition in the shadows.

I use a reflector to bounce some of the light back into the subject. A large white board can do the same thing. Use a different coloured board if you want to create a particular tint – gold can be useful for autumnal images.

Arranging the subject

Once you have your studio set up the next thing to do is to arrange your objects. This is where you can begin to disappear into the process of photography. As well as the leaves you might want to include other objects, that speak autumn to you, perhaps items of clothing such as gloves and hats – choose ones which fit in with the colour scheme for your composition.

If you can’t source all the objects yourself why not add some to your shopping list? This time of year is a great time for pumpkins for some reason!

You might also want something to act as a background. This could be something neutral and thrown out of focus to ensure your subjects stand out. Or it could be an integral part of the composition; maybe a piece of weathered wood or slate.

Setting up your camera

Now you’ll need to set up your equipment. You could photograph handheld but I tend to always use a tripod. This provides for a more stable image. Also, it helps makes the whole process more contemplative rather than the more reactive method of simply holding the camera.

For me the simplest layout for the images is from the top. I have an extension to my tripod that allows me to look straight down onto the table top. This does give equal prominence to all the objects as they will have similar lighting and focus. If you would like parts of the image to fall into shadow and out of focus you may prefer to photograph straight on, layering your objects.

Once you are ready, make the photographs!

If you have missed the chance to take photographs out in the woods in autumn this is one way to capture the autumnal feel at home. Or if you were lucky enough to get out somewhere, to hang on to the autumn colours a little bit longer.

I hope that you found this has given you a little inspiration to try your own still life photographs on the theme of autumn. If it has I would love to see them. If you share them on Instagram tag @stephentaylorphotography so I can see them. I’d also love to hear your own thoughts on creating still life photographs; please add them in the comments below.

Autumn colours

The turning of the year from summer to Autumn (or Fall) offers the most astonishing range of colours. It is an opportunity that any photographer should not miss. Even on the dullest of days a brightness can break through.

It is certainly one of my favourite times of years to photograph. I have been capturing its colours and details for many years. Here are five ideas that I try to do when photographing in the autumn (plus a bonus idea).

Boost the colours

Bright orange autumn leaves on a mature tree stand out against a blue sky on a sunny day

This is the only technical piece of information I am going to include! Use a polarising filter to boost the autumn colours. It fits in front of your lens and darkens the sky to increase contrast, reduces glare on wet surfaces like leaves making them look more colourful. It usually rotates so you can see the effect as you turn it.

Select your subject

A lichen covered branch stretches out above a woodland floor covered in red leaves at the end of Autumn.

It is easy to get overwhelmed by the colours around you, above your head and underfoot. Take a moment to look carefully, select your subject and compose your photograph. If you see a carpet of fallen leaves in a forest perhaps focus in one of them and make that your image. Or in this photograph I contrasted the red leaves on the forest floor with the white branch covered in green lichen hanging over it.

Colour the city

If you live in a city and can’t get out to a forest in the countryside, don’t feel left out. Most of my photographs of autumn are taken of street trees as they turn. And take a look down; there are other details you can capture as well once the leaves have fallen to the ground, contrasting with the street markings.

Play

A blurred image of fallen autumn leaves kicked up

Do you remember when you would run through the fallen leaves, kicking them into the air? Why not try it again, this time with your camera? It will take several goes but you can create great abstract shots of blurred leaves. And it is still great fun!

Capture something different

A detail of grey plastic bags with one of them splitting to show the autumn leaves bundled inside of them collection after being swept up on the street.

Autumn can be an obvious time of year to photograph but be on the look out for something different that still tells the story of the season. I captured this collection of plastic grey bags full of leaves swept up by council workers. One of them had split so I could see the autumn colours poking out of the dull grey, creating a lovely contrast.

Bonus idea – practice your still life photography

Green, purple and yellow acer leaves lie on a balck slate in a still life image

Here’s an extra idea. Autumn is the time for gathering in the harvest. Why not collect some leaves, nuts and berries and try your hand at still life photography? More to follow…

I do hope this is helpful. If you would like to see more of my autumn photographs head over to my gallery here. I’d love to see your photographs too. If you share them Instagram tag @stephentaylorphotography so I can see them. And if you have any other tips for photographing in autumn, please add them in the comments.

Dull

Photographing in Grey Light: Embrace Dull Days

Grey light. It’s not much fun is it?

Especially if you were planning to go out taking photographs. It can put you right off! But today I am going to give you three reasons why you should photograph even on the dullest of days.

Not every day can be a gloriously sunny day – or a day of dramatic clouds overhead. Some days the clouds roll in and turn the sky grey. It becomes featureless and uninspiring. If you are lucky the sun might just about appear as a smudge. If you are unlucky it will start raining.

For the cloudspotters amongst you, these are the stratus or altostratus clouds. They are low to medium height clouds which can cover the sky in a featureless grey. There is also nimbostratus which does the same and throws in rain. In all of them the sky will hang in the background of your photographs, just looking a little boring.

But I am here today to praise boring skies. There are times when opaque skies can be useful for your photography.

So here are three ways to think differently about dull days.

First of all, rethink boring.

Instead of dull, think of them as quiet and reflective, maybe an element of melancholy? How could you capture that? Or, if the sky is darker perhaps your subject could be more moody and dramatic? In both cases colour will play a minimal role. You might just be thinking of black and white or shades of grey. For the quiet and contemplative mood perhaps choose lighter shades of grey; for drama choose darker shades. In both circumstances carefully consider composition to make sure that your subject is separated from the background.

A person walking along the beach in an overcast setting, with a sandy shore and calm water in the background.
Dull lighting can play a part in creating a mood for your photographs

This photograph was taken on a cold and overcast day in an out of season holiday resort. I watched this woman walking down by the water’s edge. Her head was down, hands in her pockets, and she was lost in thought. I think that the muted light provided by the dull day added to the mood of the image.

Then think in colour

Yes, I know I said everything is grey on dull days. That isn’t always the case, though. Sometimes, instead of greys, choose muted colours. And there are times when a little spot of colour in an otherwise world of greys can play its part.

Go back to the photograph of the woman walking on the beach. Did you notice the spot of colour? That little bit of orange on the top of her sweater lifts the picture.

On a dull overcast day colours can in fact look more saturated than on a sunny day. The even lighting gives you a more uniform tone. On a brighter day the sun will throw highlights and shadows onto your subject. This means that any colour will have darker and lighter patches.

A close-up view of red and yellow autumn leaves intertwined with a black chain-link fence against a brown brick wall.
Vibrant colours on a dull day.

I saw these red autumnal leaves one morning as I was taking a stroll before work. I try to do that as often as I can. In this image I liked how their deep red colours stood out along with the black fence and the red brick wall. It was an overcast day which I think made the colours more saturated.

Think natural lighting

An overcast sky can also be helpful when it comes to lighting your subject. Natural light portraits can benefit from the softer light a dull day gives. Both the stratus and altostratus clouds have a variation which allows the sun to shine weakly through. This can give just enough form to your subject.

A woman in a white sweater and dark pants standing on a fallen tree trunk in a lush green woodland, surrounded by ferns and wildflowers.
Soft even lighting can make portraits more flattering

Natural soft light is great for portraiture as it casts an even light across the person.

I took this photograph of a friend as we went for a stroll through some woodland. It was late in the afternoon and the sun was no longer reaching into the wooded valley. There was still enough light to capture this picture of her as she tentatively stepped over a gulley.

It can also work for still life and architectural photographs.

Next time it looks dull and overcast think melancholy or drama, think colour, think natural lighting.

One thing you might notice in all of the photographs I have shown here is that the sky hardly appears. It looks much better out of the picture as it is likely to be overexposed. On overcast days look elsewhere for photographs. Tilt the camera down and focus on what the sky is lighting and not the sky itself. Maybe portraits, or still life, or street photography instead.

Even dull skies can have a part to play in your photography. So if you look out the window and see that it is overcast don’t be disappointed. Head out with your camera and see what you can discover. Unless, of course, the clouds are nimbostratus. In which case stay at home and keyword your photographs! Although I recently wrote about photographing in the rain so there is no excuse to stay at home.

If you do decide to get out photographing on dull days I would love to see your pictures. If you share them on Instagram tag my name, @stephentaylorphotography, so I can see them.

Rain

How to Photograph in Rainy Weather

Rain changes everything.

Spaces are emptied as everyone hurries for shelter; sounds change; the light softens and becomes more gentle. And the rain can create its own scent; petrichor – the smell of water as it drops on dry ground.

Is your photography becoming jaded? Are you desperately seeking inspiration? If so, why not seek it out on a rainy day? The rain can make the familiar seem unfamiliar. The streets you walk down every day can sparkle with reflected light from puddles. The buildings above you can fade into the sky through the rain. And the leaves on the trees can shine more brightly.

A photograph of a woman holdng an umbrella as she steps across a wet pavement at Aldersgate, London. In the background a blurred red bus passes the Museum of London building.

So if you are inspired to head out in the rain with your camera what do you need to know?

First of all, there are some practical things to consider to protect yourself and your camera. You will also need to think about how to capture the images on a rainy day. What shutter speeds and aperture settings you might want to use. And what do you want to photograph? There are plenty of opportunities out in the rain. Read on to find out what some of these might be.

Weather proofing

The first thing to consider is how weather proofed you and your camera are for the conditions.

To protect yourself, go for a decent sized umbrella, maybe a golf umbrella, big enough to cover you and your camera. Be aware, though, this does mean that you might only have one hand free to use your camera.

There are a couple of options here. Try to use your camera with one hand or put the camera on a tripod. We’ll look at both of these in more detail further down. Or you could try to fix the umbrella to yourself perhaps inside your jacket and/or strapped to yourself so that you can keep both hands free.

Alternatively, have a willing friend to hold the brolly for you!

As for the camera keep it covered in a waterproof casing as much as possible. This can be anything from a purpose built cover to a simple plastic bag with a hole in it for the lens. A few other things you might want to consider to protect your camera:

  • Stick to one lens to avoid exposing the inside of your camera in the wet conditions.
  • Add a lens hood and UV filter to keep the rain off.
  • Put the camera away when you are not using it perhaps inside your rain jacket.
  • Make sure you dry the camera carefully with a dry lint free cloth when you can.

And, if you are uncertain of taking out your expensive camera then why not use the camera on your mobile phone?

This photograph of a bicycle in Hyde Park was taken in the rain on my phone

Taking the photographs

When you are out taking photographs in the rain you might be trying to keep dry under an umbrella. This means you may be using the camera single-handedly. If that is the case use your camera’s auto settings. All you have to do is compose and fire the shutter.

I tend to put it on aperture priority and auto ISO. I set the aperture and the camera will choose an appropriate shutter speed and ISO. In the rainy conditions the lighting might be lower so I tend to open the aperture a bit.

This photograph of trees in Lesnes Abbey Wood, south east London was taken with one hand as I held an umbrella overhead

Alternatively put the camera on a tripod. This can be quite a fiddly process though, especially if you are still holding that umbrella! Once set up, however, you will have more control over the settings for your camera. You will be able to choose a lower ISO to get a higher quality image for example.

Choosing your subject

When you are out in the rain there are so many different things you could photograph. These could be the falling rain or standing water (both work extremely well in street lights).

You could also take advantage of the quality of the light. It tends to be much softer and ethereal than harsh sunlight.

Here are a few things I tend to look out for.

Look up

Photograph of dark clouds rolling in

Check out what’s going on overhead. Just before the rain comes in watch for rolling clouds looming above you. If the sun begins to break through while it is still raining, look for the rainbow. If the rain cloud is low overhead the tops of tall buildings might disappear into it.

(When you are trying this one, watch out for water droplets on your lens.)

Look down

Photograph of close up of puddle in Hyde Park

Get close up to the puddles and look out for reflections. These can be particularly dramatic after dark. Use a slower shutter speed to capture blurred lights of moving traffic. Also look out for the fallen raindrops sending ripples across the water.

Look out … the window!

Photographs from the top of a bus

If you don’t want to or can’t get out in the rain, stay inside. You can get some great images through the window. Focus on the water droplets and throw everything else out of focus. This is a great technique to try after dark. One of my favourite places to try this is on the top deck of a doubledecker bus watching the traffic below

Getting outside

Photograph of rainbow

It can be hard work deciding to go out when it is raining but I hope that I have given you a few ideas to encourage you to take the camera outside next time it is raining. If you do I would love to see your work. Share them on Instagram and tag me @stephentaylorphotography so I can find them. And if you have any of your own ideas about taking photographs in the rain do share them below.

Remember we are always learning.

Slow

Exploring Slow Photography in London’s Ancient Woods.

The other day I went exploring some local woods.

I had spent the weekend stuck at home with a cold and wanted to get out for a few hours of fresh air to clear my head.

Coldfall Wood

The wood I chose to visit is Coldfall Wood in north London. It is a remnant of a larger ancient woodland. There have been trees here since prehistoric times. Other parts of the ancient woodland nearby include Highgate and Queens Woods.

Coldfall Wood, like the other remnants, is tucked away between suburban housing; the busy North Circular Road is not far away either; and overhead planes stack up waiting to land at London’s airports. It is not the quietest of places!

Slowing down

But once you step through the gates into forest you can start to leave the world outside behind, and slow down.

That was what I try to do when I enter any woodland, and I use my camera to help me. I wanted to find one small space of the wood, a few square metres, and then explore it in depth, spending time looking at it from all angles. Perhaps I will stop using my eyes and feel the object instead. Maybe I will simply listen to the sound of the wood.

Then I will lift the camera.

The old tree

Image gallery image

The fallen tree is embraced

This time I discovered a fallen tree. It had lain there for some time; its bark had long since worn away and the inner layers were exposed, almost like muscles and sinews.

My plan was to take time, get in close to explore the tree and the space around it. I noted its surroundings; a younger tree appeared to be growing out of the space it had vacated. I liked how some of the roots of the living tree ran above the ground, seeming to embrace the older tree.

I was also drawn to the tiny quantity of leaves that had fallen into a small hollow at the base of the old tree, adding a touch of bright autumn colour.

Now I looked closer at the sinews of the dead tree.

As I came in closer I noticed something else; tiny mushrooms growing between them. To my fanciful mind these looked like small sailing ships riding the waves or tiny dwellings running up a mountainside.

Ships at sail or mountainside villages

Slow photography

For the next couple of hours, lost in the wood and oblivious to the world beyond I continued my slow, deep photography.

For every image I carefully composed the image, setting the camera up on the tripod. I have written about the joys of tripods before. I used a low ISO to get the sharpest images possible and I went for a longer shutter speed to compensate – dead trees don’t move!

Practicing slow photography is one way to become more in connection with your surroundings. You start to notice small details you might not have seen. Your photography can become more engaging. Most importantly it is a great way to take a deep breath and a step back from your regular life.

Next time you take your camera out, slow down and see what happens.

The spirit of the tree

After a while I had to leave although I was reluctant to do so. Just before I packed up though I looked at the ancient tree one more time and realised that I was being watched. Perhaps the spirit of the tree itself!

Image gallery image

The spirit of the tree

Seaside

I grew up by the seaside, at Weymouth on the south coast of England.

I was a teenager in the long hot summer of 1976, when it didn’t rain for months and temperatures were in the mid 30s everyday (that’s over 90 degrees Fahrenheit). After school and all the time during the summer holidays we would escape to the beach.

It was then that I learnt to swim.

Beach huts at Weymouth
Beach huts at Weymouth

There were rafts out on the bay; you could walk to them at low tide and we would spend all afternoon bobbing on the waves. Eventually, though, we would have to return to the land. Now, with the tide in the only choice was to swim so I threw myself in and began to thrash with my arms and legs. I was surprised that I could make progress and in the right direction. Every so often I would pause and try to touch the bottom for reassurance. Eventually my toes felt the sandy seabed and after a while I waded the rest of the way home.

The seaside is the perfect edge.

I have always been fascinated by edges, the places where one thing ends and something else starts. Sometimes it can be the frayed edges of a city but the perfect edge is when you stand on the shore looking out to sea.

A few years ago I explored these edges, cycling along the coast of Dorset and taking every turn that would lead me to the sea, dirt tracks that would fade out at the water’s edge. Later I cycled from London to where the road ran out at Bradwell on Sea in Essex.

The seaside resort gets a bad rap.

Because they are on the edge they are left behind and forgotten about except by those seeking to feed off long simmering grievances.

Even those who might be more sympathetic tend to look down on them. They see them as cheap and cheerful, bucket and spade, bright and garish in comparison to more favourable holiday destinations, usually overseas.

Some of the resorts are beginning to change, though. Margate is now the home of the Turner Contemporary Gallery and Weymouth, where I grew up, is making a name for itself as a culinary destination.

I wanted to celebrate the seaside resort.

For a few months I headed off to different seaside resorts, mostly in the south and south-east of England, close to London. I photographed piers, harbours, still waters, troubled waters, light houses, secluded beaches, funfair rides, sunset and sunrise. I travelled to Southend and Leigh-on-sea, the seaside resorts of Isle of Thanet and to London by the sea (Brighton!) Of course I went to Dorset; Boscombe, Bournemouth, Swanage and Weymouth; I give no apologies for that 🙂

In an all cases though I wanted to record the positive aspects of each place I visited to celebrate them. I hope that I have done that.

Every year I produce a calendar – an act of faith in the future.

For 2025 I will be celebrating the English seaside resort. A work of art on your wall every month in 2025. It’s on sale now. Click here to find out more about how to buy it and to explore some of the places I visited.

Cycling on a summer’s day

Alongside photography I am a keen cyclist and whenever I can I try to head out on the bicycle. Very often I try to combine the activities. A few weeks ago I headed out of London into Essex. I was revisiting the “Riding to the end of the road” project and what I wanted to do was spend a little bit of time exploring the hinterland between London and the surrounding countryside.

For this exploration I stuck my ancient GoPro on the front of the bicycle to capture some of those places where the land begins to change.

There will be more of this later but in the meantime, though, here’s a short section of the video when I finally got out into the countryside and tilted the camera upwards to capture the sky overhead. It was a beautiful day and the sunlight was breaking through the trees, dappling the road.

When I’m out cycling I have to concentrate on the road ahead. Filming the sky overhead gives me (and you) another view of the joy of a cycle ride.

I hope that you enjoy the video. I am planning to do more content celebrating the joy of cycling over on my Youtube channel so head over there and subscribe if you would like to keep up to date with these and my videos on photography.

How to fall back in love with photography – Mixing Up Genres

Are you falling out of love with photography? Do you suffer from photographer’s block?

This is one in a series of articles on ways you could re-ignite your passion for photography. One way to do this is to mix up your photographic genres. If you do landscape photography, try your hand at portraiture.

However, what happens if your personality doesn’t really suit a particular genre of photography? In this article I am going to suggest one way of trying a slightly different genre that you might feel more comfortable with. Switching from still life to a kind of street photography.

Street photography

As a street photographer you are on the move, reacting instinctively to the changing scenes, photographing constantly to get the image. You will need to think quickly, be on the move all the time and ready to capture the image. Street photography is also very gregarious – you are in public interacting with fellow human beings. You will need to be a bit of an extrovert, confident of photographing other people without their permission, possibly even getting in close and invading their personal space. Instead of spending time checking your camera settings you will need to be sure that your camera is already set up – otherwise you might miss the picture.

Still life photography

Still life is more perhaps more contemplative. You will have time to create your photograph and make changes to it until you get it just right. You will have more control over your own subject as you can put it together yourself rather than see it appear before your eyes out on the street. Your photography will become slower – you might want to put your camera on a tripod. You might also spend more time thinking about the exposure and focusing rather than relying on instinct.

Still life and street

These two types of photography require two different types of personality – the extrovert and the introvert. If you are an introvert you might not feel comfortable taking photographs of people. I have written about my experiences as a shy street photographer before: Street. In this article I am going to suggest another way of trying out street photography – mashing genres together.

If you are a still life photographer you might find it hard to try out street photography. But there is one way you could do it. Street photography does not necessarily have to mean people – it could mean evidence of people. Instead of photographing the people to tell the story of the street photograph what they leave behind. Abandoned objects on the roadside, perhaps left out for the rubbish collection or just discarded. In a way it is a kind of still life photography – it is just that the objects are found and photographed in situ rather than assembled elsewhere. This could be a gateway for either the still life or street photographer to try the alternative.

My experiences

Here are a few examples of my experiences in this area: a street sweeper’s cart, a blue glove, an abandoned coffee cup on a wall, and a red bauble on a Christmas tree left out on the side.

In all of them except for the Christmas Tree I left the object in situ photographing it as was. For the Christmas Tree I took it a stage further bringing my own bauble and decorating the tree for the purposes of the image. Other ideas could be abandoned bicycles or, in the autumn, fallen leaves.

Your experiences?

What are you experiences? Have you tried this technique and how did you get on? Post your comments below or share your images on Instagram, tagging @stephentaylorphotography so I can see them.

How to fall back in love with photography – Monochrome

This is one of series of articles on how to inspire you to take more photographs. If you are like me you can sometimes get jaded and think you have taken all the photographs you are ever going to take. You might as well sell the camera!

But before you put it on eBay here’s an idea. Why not try something different, disrupt the way you take your photographs? One way to do this is to start photographing in monochrome. Stop seeing the world in colour and see it in subtle shades of grey or dramatic black and white.

We live in a colour world and the ambition of many early photographers was to capture that colour, something which only became practical in the middle of the 20th century. So why reverse 200 years of technology?

Why shoot in black and white?

It can help you with your composition. You will see your subject in a different way, noticing things such as shapes, textures and patterns, and how the light falls on them so this can improve your composition and how you use light. It can help you see things you might have missed in the colour world, for example, the shapes of clouds.

It simplifies your subject. A mass of different colours can be confusing and make it hard for your subject to stand out but if those colours have become shades of grey then your subject is more likely to pop. Also some colours can be distracting, drawing the viewer’s eye away from the subject. Photographing in black and white can remove that distraction.

It can enhance the mood of your subject. Monochrome photography can make a landscape dramatic or a portrait sophisticated. This might be that we are familiar with classic black and white photographs whether they are the work of classic landscape photographers or portraitists.

When black and white might not work

Having praised black and white photography there are occasions when it might not work. Some colours for example have very similar tones so it can be hard to tell them apart in black and white. Take a look at this tulip. The red of the petals have almost the same tone as the green of the leaves they nestle within.

How do you do it?

If this sounds like something you would like to try there are two ways to do it. (Note that I am assuming you are a digital photographer).

First of all you can convert your colour image files to black and white afterwards in the comfort of your own home using the photo editing software of your choice. This has the advantage of giving you complete flexibility over how your images appear.

The better way to do it, though, is to take black and white images in camera. Now you will see your images through the electronic viewfinder or in live view in black and white rather than colour. This will give you the benefits of those reasons for taking monochrome photographs I mentioned above. To do this set the profile on your camera to a monochrome picture style (check your camera manual to see how to do this).

RAW vs JPEG

A word about the image files your camera creates with every photograph you take.

If your camera saves the photographs as RAW files, it will contain all the data your sensor captured, including the colour. You can always switch it back if you don’t think it worked in monochrome. However, if your photographs are saved as jpegs then you will just have the black and white images. But that could be fun in itself, like using a film camera loaded with Ilford FP4 (or a similar black and white film). You don’t get the choice then.

If you are planning to try this you might want to check what file type your camera creates.

Trying black and white for the first time

A black and white still life photograph of a Shimano 600 "Arabesque" rear derailleur bicycle component manufactured in the 1970s or 80s, isolated on a white background and with a thin black border.

If you’re trying it out for the first time choose a subject that you are familiar with, maybe something at home. Look at the original object and notice how it appears, then take a look at it through your camera in monochrome mode. How does it look now? Move it around in the light and see how it changes. When you are ready, take a few photographs and see how it comes out. Try it in standard mode as well with colour and compare the two images. What stands out in the monochrome version versus the colour image?

One final tip. When you are done, switch your camera back to standard mode. Otherwise when you go out taking photographs next time all of your images will still be in monochrome mode!

For other ideas on how to fall back in love with photography, check out my blog post here: How to fall back in love with photography – Disruption

Have you lost your enthusiasm for photography?

Do you suffer from photographer’s block?

Watch this space …