SMARTPHONE PHOTO TIPS
How to get the best photographs from your smartphone
Sunny weather means no excuse to stay inside or to slack on your insta-game. Pittsburgh is filled with views of the cityscape and skyline and lush parks and rivers that promise to keep the likes rolling in — if you know how to photograph them, that is.
This amateur photographer sought advice from local pros — Chris Rolinson, assistant professor of photography and photojournalism at Point Park University; Aaron Henderson, assistant professor of photography in the University of Pittsburgh’s Department of Studio Arts; and Jon Lisbon, portrait and fine art photographer and adjunct faculty member of digital photography at The Art Institute of Pittsburgh. These are their best tips for getting that perfect outdoor shot.
Embrace the moment: Don’t underestimate the quality of smartphone cameras or wait to take pictures until you can afford a better device.
“The best time to take pictures is when the moment is happening,” Mr. Rolinson said.
When Mr. Lisbon knows that he’ll be taking pictures, he brings a more advanced camera with him. But when a moment unexpectedly strikes, he doesn’t hesitate to whip out his smartphone, which he thinks of as a sketch book — not what he’d use for the most detailed and pressing projects but an excellent way to practice the craft. Avoid rookie mistakes: The most common pitfall that Mr. Lisbon and Mr. Henderson see?
A dirty lens. If the image seems blurry, gently wipe the lens with cotton cloth.
Also, avoid zoom. Smartphones already have low resolutions, and zooming degrades the image quality further. To get Pittsburgh Post-Gazette a closer shot, do it the old-fashioned way — by getting closer.
This can mean getting very close. Most smartphone cameras have a wide angle lens, which is helpful for photos of landscapes but means standing very close to your subject when taking a portrait, Mr. Henderson said.
Hold your camera steady, Mr. Lisbon said. Even small movements can blur a good photograph. If reaching for the button on the screen is too cumbersome, pressing either of the volume buttons on the side of the phone will also set off the shutter. There also are tripods available for smartphones.
Flash is rarely helpful because the bulb is weak in smartphones and can only cover small subjects, Mr. Henderson said. To get a better photograph in dark settings, either turn on the lights or recruit an assistant to shine a flashlight on your subject.
The technical stuff: Smartphone cameras are user friendly, meaning that they do a lot of the work for you. But remember: You know the subject better than the camera. If something doesn’t look right, seize manual control.
The camera automatically focuses in the center of the photograph — even if the subject is off to the side. To manually set focus on an iPhone, tap on different areas of the screen. To lock the focus, hold down on one spot until a box reading “AE/AF LOCK” appears at the top of the screen.
Once you’ve locked the focus, you can also adjust the exposure using the yellow sun icon on the left side of the focus box. Move the sun upward to increase the exposure and make the picture brighter;
move it down for a darker photograph. Know the drawbacks:
IPhone cameras lack depth of field, Mr. Rolinson said, meaning that everything looks like it’s in the same plane. Portrait mode, available on iPhone 7 Plus, is a partial solution, allowing for a focused foreground and a blurrier background.
For Mr. Lisbon, the biggest problem with the iPhone is its limited dynamic range, meaning that there’s not much detail in areas of bright highlight or extreme shadow.
Turning on the “HDR” mode on the iPhone can be helpful. HDR combines three photographs taken at different levels of exposures into one, allowing for greater diversity in light levels. Beware: If you’re photographing a moment filled with movement, using the HDR setting might mean a blurry picture. Because HDR mode isn’t perfect, Mr. Lisbon recommends shooting in shadowy areas with a flat, constant light. Without bright highlights and deep shadows, the camera captures more detail.
Smartphone cameras need a lot of light because of a too-small light sensor, Mr. Henderson said. If you’re outdoors, consider what you can shoot well in the reduced light. Find your light: Lighting seems simple, but it can be the difference between a good photo and a great one.
Unless you’re aiming for a silhouette, the sun should be behind the photographer’s back. When the sun is behind the subject, the photograph is called backlit, and the subject will appear very dark. If backlighting is the only option, turn on HDR, lock the focus on your intended subject and adjust the exposure.
Shoot portraits in the shade. Bright light can lead to extreme shadows, including bags under the eyes.
When you have a choice, Mr. Rolinson recommends shooting at the “fringes of the day” — around sunrise or sunset. While light is harsh and flat at midday, the light is golden before sunset, and pinks and purples will streak across the sky later. Shadows deepen and grow more complicated.
Mr. Henderson added that these rules are general, and there are lots of exceptions. For example, if you’re shooting in a forest, the light will be dappled and gentle even at midday. If you want dark shadows, the high contrast of midday might be better. Return to the same spot at different times of day to experiment with changing light.
Composition is key: Mr. Rolinson says a compelling composition defines a good photograph. Learning composition can take a while and is mostly a matter of experimentation, but there are some tips — such as the rule of thirds.
Most people instinctively position the primary subject of the photograph in the center. The idea behind the rule of thirds is that a photograph might be more visually interesting and compelling with a subject off to the side or in a corner. Turn on the camera’s grid for help judging proportions, Mr. Rolinson said. Mr. Lisbon’s best advice? “Keep the background simple.” Position people in front of blank skies rather than loud traffic signs.
After that, experiment! Test out different camera angles (don’t be afraid to get down on the ground or to climb a ladder for a better view!) and study the work of professional photographers. Mr. Lisbon instructs his students to “break your world down into design elements.” Rather than seeing a coffee pot and a mountain, look for lines and forms.
Find a hidden spot: The fun part: what to photograph?
“Try to figure out a view where other people don’t go,” Mr. Rolinson said.
“Photographs present themselves to you all of the time. You just have to be open and aware,” Mr. Lisbon said. He recommends walking around your house, neighborhood and other familiar areas to seek out pictures. Try to look at familar places through the eyes of a stranger. This will hone your photographic vision.
Most amateur photography is reactive, Mr. Henderson said — something strikes you and you feel compelled to take picture. He encourages his students to be more proactive, seeking out the good photos, rather than just letting them strike you. “I like finding things that are unusual,” he said, “things coming together in ways that are unpredictable.”
Practice makes perfect: The simplest advice is always the best: take more pictures. Also, try out all the filters available through various apps such as Snapseed and Hipstamatic to create mood or different presentations.
If you’re on scene, Mr. Rolinson recommends taking a second photograph or trying a different angle. Your best photograph is probably not the first.
Mr. Lisbon suggests taking a short photography class, be it three hours long or three weeks.
With practice, “You’ll develop your own unique eye,” Mr. Rolinson said.
Catherine Cray, a former Post-Gazette intern, is a rising junior at Yale University.