Capture the world – Christian Nørgaard on travel and portrait photography

CAPTURE THE WORLD

Christian Nørgaard on travel and portrait photography B O O KS

PREFACE

Don’t wait to become a photographer, do it.

I don´t think that we become better photographers merely by taking pictures once in a while. I believe that we have to work on our skills whenever we have time and feel the passion. Many photographers I know is working every day and has done it for years - and eventually evolved from taking generic photos to capturing masterpieces that uses their eyes, heart, and soul.

PHOTO BY DAVID TRUD

All creative minds know that we have to generate a lot of output to create a masterpiece every once in a while. As far as I am concerned, I consider it crucial to shoot and try to improve every day, that way photography will be on your mind at all times, no matter what you do.

We can, of course, go to photography school or work for photographers as an assistant; however, in order to stand out and create great works requires more than talent - it requires hard passionate work on a daily basis.

If you find yourself losing your passion and can’t get into your creative zone - then just relax and spoil yourself, until the spirit and soul gets back. Spend your time studying photobooks, visiting exhibitions, and meeting up with people who have a passion for photography. The sooner the better you start honing your skills, acquiring your spirit and passion becomes that much easier.

This book is a hearty and humble way to share some of my best advice as well as tips and tricks which I acquired over the past decades as a professional photographer and which I still use today.

With respect - Christian Nørgaard

A BETTER MOMENTS BOOK TEXT AND PHOTOS BY CHRISTIAN NØRGAARD EDITOR-IN-CHIEF LAURA GRAF ART DIRECTOR HÅKAN ANDERSSON BETTER-MOMENTS.COM BMPHOTOWALKS.COM

TABLE OF CONTENTS

1

THE CORNERSTONES OF PHOTOGRAPHY

Basic rules for composition

2

FOLLOW YOUR PASSION Elements that can make the difference

3 4 5

STREET PHOTOGRAPHY Finding interesting things in an ordinary place

LIGHT, COLOR AND POST PROCESSING Preparing your photo session

EQUIPMENT Bring only the most important things

PART 1 THE CORNERSTONES OF PHOTOGRAPHY

The cornerstones of photography By following simple but basic rules for composition, you can improve your photography dramatically. In portrait photography, the purpose of properly composing images is to draw the viewer’s eye straight into the most important detail of the portrait - the subject’s face, and more specifically, the eyes. This is where two important rules kick in: rule-of-thirds and rule-of-depth.

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RULE OF THIRDS

One of the fundamentals of painting and photography, the Rule of Thirds is a technique designed to help you build drama, interest, and harmony in your images. The rule states that a piece should be divided into nine squares of equal size, with two horizontal lines intersecting two vertical lines. Place points of interest (the main player in your images) on intersections.

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FRAMINGS

Framing is a technique that is used to draw attention to one element of an image by framing it with another element. Use natural frames like windows and doors, have a person look through a small gap or even use their hands around their face. Framing gives an image, depth, and dimension as it draws the viewers eye to a point of interest.

1 THE CORNERSTONES OF PHOTOGRAPHY

■ FIGURE-GROUND RELATIONSHIP

is a clear distinction between figure (subject) and ground (background). A light figure on a dark background, or a dark figure on a light background

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FILL THE FRAME

Don’t waste time in your pictures by having, for instance, big whites or black areas in your image remember that you always have to tell a story, regardless of rules.

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CENTER DOMINANT EYE

In a portrait photo, locate the dominant eye that leads the viewer to its gaze – this should be placed in the center of the image.

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SYMMETRY

In an otherwise symmetrical vertical image, a subject that is placed offcenter can create some tension. Water reflections are useful for creating horizontal symmetry in photos.

1 THE CORNERSTONES OF PHOTOGRAPHY

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PATTERNS AND REPETITION

Placing a subject in front of a pattern is a great way to disrupt it and create attention. Repetitions can, for example, be used as a leading line to the subject or the subject can actually become a part of the repetition.

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DIAGONALS

■

LEADING LINES

Use natural lines to lead the eye into the picture.

Use natural lines to lead the eye into the picture.

1 THE CORNERSTONES OF PHOTOGRAPHY

■

CREATE DEPTH

■

HOLD YOUR CAMERA AT AN ANGLE

It is scientifically proven that the eyes are most attracted to four different points of an image.

Sticking with these four points will help frame the subject in the most pleasing manner. Furthermore, when taking photographs, it goes without saying that the images produced will be 2-dimensional. To make an image appear to be 3-dimensional and to make the subject pop out of the frame, there has to be some depth in the composition. An image’s foreground, middle ground, and background are essential in achieving the necessary depth. The paragraph on bokeh discusses this concept in depth.

Horizontal and vertical framings are not the only options when it comes to shooting portraits. While getting your images straight can be important, for some photos, holding your camera at a diagonal angle can also provide a little fun and energy into your images.

Just go ‘all in’ – even if it means people asking themselves if you may have held your camera crooked by mistake.

■W ATCH THE DYNAMICS OF YOUR CAMERA AND LENS

By shooting a portrait, you are effectively translating a three-dimensional face into a flat plane of space, so deciding on your lens or focal length and on how to position the camera in a way that complements your subject’s features, will have a significant effect on the success of the resulting image.

Are you coming in close for a headshot or are you taking an environmental portrait that conveys a sense of what a person does or where he or she lives? These two vantage points require a different approach.

Keep in mind that whatever is closest to the camera will appear largest in an image and that wide-angle lenses will amplify this effect.

1 THE CORNERSTONES OF PHOTOGRAPHY

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FOCUS

As photographers we have the words ‘sharp focus’ drummed into us as the ultimate objective to achieve in our work – but sometimes a lack of focus can create shots with real emotion, mood and interest.

There are two main strategies for taking unfocused images that work: Focus on one element of the image and leave your main subject blurred. To do this, use a large aperture which will create a narrow depth of field and then focus on something in front of or behind your subject.

Leave the full image out of focus. Again, choose a wide aperture but focus well in front of or behind anything major that is in your image (you will need to switch to manual focus to achieve this).

These kind of shots can be incredibly dreamy and mysterious.

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IT’S ALL ABOUT THE EYES

Eyes are often referred to as “windows to the soul” - nothing could be closer to the truth when it comes to portrait photography. When photographing people, you will almost always want to place the emphasis on their eyes.

You could have the perfect composition and exposure, but if the eyes are not sharp and in focus, the entire image suffers. Moreover, remember to place the dominant eye in the center.

1 THE CORNERSTONES OF PHOTOGRAPHY

■ C HANGE THE FORMAT

Don’t get stuck in a habit of only shooting in either in ‘landscape’ (when the camera is held horizontally) or ‘portrait’ (when the camera is held vertically) mode. Look back through your images and see which one you use predominantly.

Just because vertical framing is referred to as ‘portrait mode’ doesn’t mean you always need to use it when shooting portraits. Alternate between portrait and landscape and you will add variety to your portfolio of images.

■ I NTRODUCE

MOVEMENT

Portraits can be utterly static – but what if you added some movement into them or little spice? This can be achieved in a few different ways:

□b y making your subject move □b y keeping your subject still but having an element in the scene around them move

□b y moving your camera

(or its lens to achieve a zoom burst)

No matter which method, it is key to use a slow enough shutter speed to capture the movement.

Obviously, the alternative would be to have your subject move fast and to use a shutter speed fast enough to ‘freeze’ their movement.

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MOVE!

When you think you have nailed the shot, MOVE. Get closer, move back, get down on the ground or find a place to shoot from above. JUST MOVE. Very often we get stuck and take the same photos again and again.

So we need to force ourselves to move around and try something different: photograph from above, use the rule of thirds in various ways, incorporate the surroundings, lie on the ground – there are SO many things you can alter to achieve exciting results.

PART 2 FOLLOW YOUR PASSION

Follow your passion Let’s go more in depth and reflect on the few but important elements that can make the difference when we do our photography.

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DON’T FORGET

An important point that I always remind myself of when being at a new location, is to look for situations I can fully immerse myself in a culture not of my own, in order to find something I care about or stories that have meaning to me. Therefore, I always seek out areas where there is a unique but safe environment - e.g. local markets, ports, or local craft streets.

■ GET OFF

THE BEATEN TRACK

Expect unique photos in unexpected places. A great number of my best pictures were taken along the way and not necessarily at the planned destination of my journey. This is regardless of whether I walk, drive in a private car, or lazily sit in a rickshaw.

■ BOP TILL YOU DROP

Get out, shoot and find the stories or sceneries you want to capture. I force myself to leave my hotel on arrival day, even if I arrive late. It is all about getting out there and start shooting. Too much preparation can lead to procrastination.

You need to keep shooting to keep up your momentum. As Einstein wrote to his son, Life is like riding a bicycle. To keep your balance you must keep moving.

2 FOLLOW YOUR PASSION

■ HOW TO APPROACH PEOPLE

Sometimes it can feel a little awkward to ask a stranger if we may take their portrait. The best advice is to ask politely – use gestures if you do not speak the same language. You can always see if a person wants to be photographed or not – and vice versa - they can tell that you want to take a picture.

First of all, I never try to hide the fact that I am a photo​grapher and that I want to take photos. Concealing my camera and taking pictures without asking for permission first is not only disrespectful but also goes against my values of portrait photography.

For instance, whenever I visit a local market or a monastery, I behave mindfully. In some places you simply may not take pictures and in other places and situations it is ok – as long you treat people with respect, and for sure you will.

When I meet or see a person who I would like to portray, I approach quietly to get a sense of the person. For me, the best indicator is body language since it can give away if someone is interested in being photographed. If he or she is nervous and/or shy, I smile gently and try to win their trust.

At this stage I will not start to takes photos yet, instead, I will wait until I feel welcome. Only then I will quietly begin taking images.

In short: wait and win people’s trust (and never abuse it) – and then take your photograph with the utmost respect. Just as you would expect a stranger to approach and treat you.

2 FOLLOW YOUR PASSION

■ PATIENCE IS KEY

One prerequisite to finding the right setting, the right light, the right moment, is to go back time and time again until you feel you have really gotten the best you can out of that situation. I can’t count how many times I’ve returned to the same spot to find a new angle to optimize my last image - since you’re never better than your last frame. Don’t be a quitter, and give up on an image, wait for the right situation, the right light, the right moment.

■ KNOCK ON STRANGERS’ DOORS

Sometimes I have to knock on strangers’ doors to get the best shot.

Most often, people are very friendly and besides taking unique photographs, I get to meet amazing people. Despite having a different religion, skin color and for that matter, or views on politics, we the potential to share a friendly moment.

It all depends on how you relate to people, and how you develop a connection and pay them the utmost respect.

■ TREAT THE WORLD WITH RESPECT

When I get to a place where I feel that something very rare may occur here, I try to become a ”fly” on the wall, invisible, follow the flow, and wait for something to happen. If nothing happs, I will still explore, discover and have a little adventure. And if I am lucky and a scene unfolds that is worth capturing, I will greet people and the situation I’m focusing on with respect and not just run up and put my camera in their face.

■ CAPTURE A MOMENT FOR A LIFETIME

Use your camera and talent to tell your story. Say something that is going to matter, something that you can learn from and that will change your viewpoint about the world - and those of others. Push yourself to tell a story with your portraits - portrait photography is storytelling.

■ DO YOUR HOMEWORK Check the weather forecast in the local media as soon as you arrive somewhere so you can make plans for sunny, cloudy, or rainy days.

PART 3 STREET PHOTOGRAPHY

Street photography Street photography is sometimes referred to as candid photography.

It is almost an art form since you are striving to capture a random situation in public, often ordinary place. I suggest you give it a go because it can result in fascinating, unique, or even dramatic images.

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JUST TAKE THE SHOT

□ P hotography can be about finding something interesting in an ordinary place.

□ I f you stay aware of what is

happening around you, you will find pictures anywhere. It’s a matter of noticing things and organizing them.

□ T he more you think about a

shot, the easier it is to lose it.

Just take the shot.

□ Y ou’ve got to be spontaneous

and seize the moment when it presents itself.

□O ne of the main ingredients for

photography is curiosity. Go out and take pictures, you’re going to get more interesting results than if you stay at home.

□ Y ou can take many different

shots of the same thing, just by varying the distance between you and the object.

□ I f you don’t have a camera with you, pretend you are a camera and blink your eye at a significant moment. That will teach you to observe.

□ T he balance of light, not the

amount, is what you need to consider. The balance between shadows and highlights determines where the emphasis goes in the picture.

□ I f you are serious about taking

photos, you should study the classic arts—you need a visual sense of composition to create memorable photos.

□ F ind substance in your pictures.

2 FOLLOW YOUR PASSION

PART 4 LIGHT, COLOR AND POST PROCESSING

Light, color and post processing Occasionally you will need to create your own light in order to take portraits.

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FIND YOUR LIGHT

Use a flash in situations where there is almost no light or even darkness. It will require practice as it can be difficult to control the direction and amount of light – but exercise will make you a master.

Take a LED lamp, which is a cheap and easy way to light up your “set”. Point the light in the desired direction but make sure you check the preview for the result before you snap away.

You can also use simple tricks like placing your person near a window where the light illuminates the person’s face. This solution has been used since forever - and that’s for a good reason.

■ USE COLOR CAREFULLY

Find and use color in own personal style. It can make or break the mood of a great shoot - that is why colors are so crucial in your works.

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THE COLOR WHEEL

Working with color theory photography creates imagery with harmonious and balanced colors.

■ COMPLEMENTARY COLORS PHOTOGRAPHY

Find complementary colors by choosing two colors from opposite sides of the color wheel. This is a great scheme to use for bold impact and to show off vivid colors.

For example, the red complementary colors are green and blue (depending on the exact red hue), and the yellow complementary color is purple.

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EVOKE EMOTION

■

SEVEN COLORS

Color has a whopping effect on our mood. Colors make us feel. Use color tones and temperature as part of the framework for your photo’s story. A person captured and bathed in warm, soft sunlight in the golden hour will always look great and friendly.

Another very easy solution is to place the person nearby a white wall or mirror that reflects the light. A doorway will also work. Place the person in the shade – not in the dark – to take advantage of the soft light.

Did you know that you can even use your own body as a reflector? Wear a white T-shirt, shirt or blouse from which the light can bounce back onto your photo subject. A travel reflector is also a great thing to have, however, you may need the assistance of another person to hold it in the right position.

and some of their associated meanings and emotions.

Red – energy, excitement, passion, anger.

Orange – warmth, happiness, enthusiasm.

Yellow – cheerfulness, friendliness, creativity.

Green – calm, natural, balance, growth.

Blue – serenity, cold, sadness, trust.

Purple – spirituality, mystery, luxury.

Magenta – innovation, transformation, non-conformity.

4 LIGHT, COLOR AND POST PROCESSING

■ WORK WITH THE BEST LIGHT

To get the best out of your portraits, you need to plan and organize your day in regards to when and where to find the best light.

□ F ind out at what time the sun

rises and sets. Where is east, west, north, and south relative to your location?

□ I f you have gathered all neces-

sary information, you can start planning your day. In general, you will want to avoid shooting with indirect or strong light. For outdoor photography, the best light is during morning and evening hours when the light is soft and flattering and with no harsh shadows.

□ I n the middle of the day, with

razor sharp light and terrible shadows, you should photograph indoors, for instance in pubs, inside houses or buildings where locals work, indoor markets etc.

□ I n other words - be smart and

divide your day into three photo sessions. Make sure you arrive at your designated photo location well in advance so that you have time to set up your equipment and don’t need to rush.

4 LIGHT, COLOR AND POST PROCESSING

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DON´T GET LOST POST-PROCESSING

For years, I worked for one of Scandinavia’s largest newspaper publisher, Berlingske. Back then, I developed my black and white films and hand copies myself, together with my photographer colleague. We spent hours in a dark room, being exposed to the fumes of chemicals and fluids - it probably wasn’t the healthiest hobby.

But to the point: what I learned was the handcraft of making copies, by replicating the situation we had previously captured with our cameras. That was the cornerstone of our photography - recreating reality.

When I edit my images in Photoshop or Capture One today, I am still aiming for the same result: to recreate what I photographed without falsifying it - this time without being poisoned by chemicals.

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POST PROCESSING

■

MORAL

□ C reate a photo the way you saw it. □N ever fundamentally change a photo. □M erely play with the contrasts, clarity, colors and some lens correction. □ I ncrease the sharpness of the eyes. □U se gentle vignetting to focus on the main player in your picture.

If a shot doesn’t have an incredible composition, strong colors and natural contrasts, postproduction won’t win you an award either.

PS - I do not miss the old dark rooms days with film and paper. I enjoy my coffee while I enjoy working on my images. Long live digital photography.

PART 5 EQUIPMENT

Equipment When you are going traveling, think twice and do not take more than you actually need as a big and heavy suitcase makes it difficult to get around. Bring only the most important things and leave everything redundant at home.

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CAMERA BAG

My camera bag is designed for the gear I need for my projects. It fits the hand luggage regulations so I can bring it on the plane with me.

Here is what I usually take with me: □ T wo cameras - one for shooting and the other as a back-up. □ T hree fully charged batteries that cover about three days of normal shooting. Of course, in countries or regions where it is difficult to charge batteries regularly, I bring more.

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LENSES

When I work with a 34x36 mm camera system, I use a 24-70 mm lens. This focal angle has me covered in almost all situations that I encounter during the journey.

In addition to that, I like to use the following lenses: ZEISS Otus 1.4/28 ZEISS Otus 1.4/55 ZEISS Otus 1.4/85 ZEISS Batis 2.8/18 ZEISS Batis 2.8/135

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TRIPOD

My tripod is made of carbon and has a heavy head to mount the camera body on.

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FILTER

As I do not use any filters on my lenses, I cannot recommend any. In my opinion, filters are not beneficial for your image as it may actually lower the quality - if you have a good lens, a filter is not required at all.

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REMOTE CONTROL

A remote is essential for long exposure shots.

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FLASH CARD AND HARD DRIVE

6 SanDisk 128 GB memory cards 2 WD My Passport Wireless Pro - 3 TB

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DON’T LEAVE YOUR BUDDY BEHIND

Don´t leave your equipment behind at hotels where you do not feel that it is 100% safe to do so.

You should also keep windows closed and covered with curtains to prevent those that can spot your equipment from outside.

During the night, I usually store equipment in uncommon places, e.g. in the bathtub hidden under bath towels or behind the toilet door. A suitcase is not suitable as repository, as this will be the first place to look for valuables.

Never - as in never - have your camera bag hanging on your back and out of sight when you walk around a market or any other busy place. Have it in front of you so you always have it under control. Personally, I do not take my camera bag along at all when I visit busy places. I only take my camera as well as some batteries and memory cards, which I store in my pockets.

Moreover, the saying “out of sight out of mind” very much holds true. If you are out and about you should never put your camera somewhere where you cannot see it and grab it when needed. Believe it or not, I have traveled with quite many photographers over the years who have simply forgotten their cameras at restaurants, in the back seat of a taxi, and various other places.

If possible, do not travel with equipment in your suitcase. There are many reasons why this is a bad idea - here are three:

□ Y ou never know if your suitcase will arrive at your

destination in one piece - or if it will arrive at all. I once waited 10 days for my suitcase to arrive - with my tripod, extra camera body and my long lens in it.

□ I t is always possible that your suitcase will get stolen at the airport

□H ave you ever witnessed how airport staff handles

baggage when loading it on and off an airplane? Do I need to say more?

To sum it up: be smart and always keep an eye on your equipment and be aware of your surroundings.

Page 1 – 9

NEPAL

BURMA

F/11 1/125 s 50 mm lens

F/6,3 ISO 100 35 mm

ETHIOPIA

ETHIOPIA

F/6,3 1/320 s 50 mm

F/2,8 1/320 s 50 mm lens

BURMA

BURMA

F/5,6 1/125 s 90 mm lens

F/7,1 1/320 s 55 mm lens

Page 9 – 11

NEPAL

NEPAL

F/4,5 1/50 s 50 mm lens

F/7,1 1/80 s 80 mm lens

LAOS F/5,6 1/60 s 70 mm lens

ETHIOPIA F/4,0 1/60 s 36 mm lens

BURMA

CHINA

F/2,5 1/400 s 85 mm lens

F/3,5 1/30 s 50 mm lens

Page 12 – 14

ETHIOPIA F/5,6 1/30 s 50 mm lens

NEPAL F/7,1 1/125 s 80 mm lens

BURMA F/7,1 1/125 s 80 mm lens

BURMA F/7,1 1/80 s 18 mm lens

CAMBODIA F/2,8 1/30 s 35 mm lens

BURMA F/8 1/320 s 28 mm lens

Page 15 – 17

CHINA F/6,3 1/160 s 45 mm lens

BURMA F/3,5 1/60 s 24 mm lens

BHUTAN

CHINA

F/4,0 1/160 s 40 mm lens

F/7,1 1/160 s 70 mm lens

CHINA F/5,6 1/125 s 70 mm lens

BURMA F/5,6 1/60 s 24 mm lens

Page 18 – 20

BURMA

BURMA

F/5,6 1/125 s 35 mm lens

F/5,0 1/320 s 18 mm lens

BURMA F/2,8 1/80 s 18 mm lens

CHINA F/14 1/160 s 24 mm lens

CHINA F/5,6 1/60 s 55 mm lens

CHINA F/2,8 1/100 s 24 mm lens

Page 21 – 23

BURMA F/9 1/160 s 70 mm lens

JORDAN F/5,6 1/125 s 12 mm lens

BURMA F/5,6 1/60 s 55 mm lens

ETHIOPIA F/8 1/250 s 24 mm lens

LAOS F/5,6 1/125 s 24 mm lens

BURMA F/8 1/60 s 35 mm lens

Page 24 – 30

BURMA F/13 1/60 s 50 mm lens

CAMBODIA F/7,1 1/30 s 24 mm lens

NEPAL F/7 1/125 s 50 mm lens

BURMA F/6,3 1/125 s 50 mm lens

INDIA

INDIA

F/2,8 1/400 s 70 mm lens

F/10 1/60 s 70 mm lens

Page 31 – 35

NEPAL

ETHIOPIA

F/3,2 1/40 s 70 mm lens

F/5,6 1/30 s 50 mm lens

NEPAL F/2,8 1/60 s 50 mm lens

BURMA F/9 1/250 s 55 mm lens

BURMA

CHINA

F/1,6 1/320 s 85 mm lens

F/5,6 1/30 s 70 mm lens

CHRISTIAN NĂ˜RGAARD ON TRAVEL AND PORTRAIT PHOTOGRAPHY

CAPTURE THE WORLD Better Moments Books are your guide to better photography.

The eBook collection features carefully chosen content about photography basics and beyond, as well as a fresh approach to the domain from leading names in the business. Each Better Moments expert is an authority in his or her field and can draw from years of experience. Our commitment is not only to provide valuable knowledge and advice but also to inspire and nurture your passion for photography.

The Better Moments experts cover a range of subjects, from travel & portrait, wildlife and landscape photography to basic composition techniques and fundamentals about lighting.

Better Moments - Photography with Passion.

B O O KS