Photography

I am an amateur photographer.  My biggest problem is focus.  To the naked eye, the photos look fine but I know they should be sharper.  Any tips?

Mastering Focus: Expert Photographer Provides Personalized Tips

Hi Cynthia, my name is Jason Boland, I'm Nick on Ambassador and Motion, Picture still photographer. Great question about Focus. There's so many variables in that question, though, I'd be really more than happy for you. To send me a shot on Instagram, just 2 p.m. and or DM whatever you want to call it these days and I can take a look but you know, it's I've got to really see the settings to understand what you're talking about and you know whether you're shooting manual. Whether you're shooting autofocus and what mode you've got it on, what camera is shooting on, what the light and conditions are the iso, the shutter speed? It could be. There's so many variables so you can send a good question directly to me here or you can send me a photograph and and then I'll answer it here for you. Okay, hope that helps. All right, she's

Send me a photo on Instagram at 2PM or DM me and I'll take a look at the settings to understand what you're talking about. I need to know what camera you're shooting on, the light and conditions, ISO, shutter speed, etc.

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Hi Cynthia, I'm Jason Boland, a professional photographer specializing in motion and still photography. It sounds like you're facing a challenge with focus in your photos. To provide you with the best advice, I would need more information about the specific settings and conditions you're working with. If you'd like, you can send me a photo on Instagram through a direct message, and I'll be happy to take a look and offer guidance. Understanding factors like whether you're shooting in manual or autofocus, the camera and lens you're using, and the lighting conditions will help me provide more tailored tips. Feel free to reach out with your question or send me a photo, and I'll be glad to assist you.

Do you use both auto and manual focus? How do you decide?

Mastering Auto and Manual Focus: A Photographer's Take

Hi Dylan, I'm Jason Boland. Motion Picture still photographer. Hey yeah, that's a really good question. Do you use both autofocus and manual focus and how do you choose? Okay, well I come from the old school where everything I shot was manual. Focus. You know right through to the film Matrix and and Peter Pan, I moved over to digital but you know I spent a Lifetime on manual focus and you know, I always just look at the eyes and go for that sparkle and we didn't have focus peaking. Thing in those days. So literally was the sparkle that you are after and people would always comment on how you do your work because eyes just the eyes just ping but now autofocus is so good and you know, I'm the Nick on system on those Ed nines and the I shoot mainly 3D focus and it's phenomenal. It really is phenomenal for those that don't have. I focus the reason to use manual focus would be If you've got something in the way, you know, you got bars or a fence or, you know, something that you can't get through, you know, if you have got a fence or bars, go right up close to it and the lens will pretty much shoot through it. That's not a problem whatsoever. Now, there is two reasons well and that is one reason I use manual focus. The other reason why I use manual focus is, I do a lot of ground Riggs, so and mounted rigs for action, and I shoot man, On that and I just go to the focus, peaking peaking. I should say, and I look for an average there and away. I go. Focus peaking is fantastic. The auto focus these days is just unbelievably good, especially with the I focus and, you know, and don't forget to that. The I focus is not there to leave on all the time. There's so many Focus modes in your camera and now there for a reason so you need to turn them off. Sometimes as well. Turning a focus mode off is also a mode. Don't forget that. So so yeah, if I didn't answer your question, quite right back it up and with with another question and I'll, I'll try and help there. Thanks have a good weekend. Cheers.

I started with manual focus when shooting film and moved to digital, always looking for the sparkle in the eyes. Nowadays I use auto focus a lot due to the advanced technology, but sometimes I still use manual focus if there is something in the way obstructing the shot or if I am doing action shots on rigs that require focus peaking.

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Hey Dylan, Jason Boland here, a motion picture still photographer. Your question about using both autofocus and manual focus is a great one. Personally, I come from the old school where everything was shot with manual focus. Even when I transitioned to digital, I stuck with manual focus because I had spent a lifetime mastering it. I would always focus on the eyes and look for that sparkle, without the luxury of focus peaking.

However, autofocus technology has come a long way and it's incredibly good now. I primarily use the Nikon system on my Ed nines and rely on 3D focus, which is phenomenal. Autofocus is especially useful when you have obstacles in the way, like bars or fences. You can get up close to them and the lens will shoot through without any issues.

There are two main reasons why I still use manual focus. First, when I encounter obstacles that can't be easily bypassed. And second, when I'm using ground rigs or mounted rigs for action shots. In those cases, I rely on focus peaking to find the average focus and proceed from there.

It's important to note that autofocus modes, like I focus, shouldn't be left on all the time. There are various focus modes in your camera for a reason, so it's necessary to turn them off when not needed. Turning off a focus mode is also a mode in itself.

If I didn't fully answer your question, feel free to follow up with another one, and I'll do my best to help. Have a great weekend! Cheers.

What’s the most important thing to account for about composition while taking a photograph?

Photographer reveals key to captivating compositions

NSF, thanks again. Oh no, these aren't for me but you're asking such good questions. I thought I'd answer and by the way my name is Jason Boland and I'm a motion picture still photographer. So what's the most important thing to account for about compensation composition? I should say, well, taking a photograph well, composite compensation is really important too. Composition. Well for me, it's all about storytelling and sometimes if I know it's going to be used for insta or something like that, you know, even if it's a big release, I'll try and centrally frame it and then let the studio crop it. If they need to generally, I like to present my image as it's going to be used. I do like a lot of off-center work. I like to like to have it a flow. Whether that's say it's ahead having it on the right and having neg space on the left sometimes that set or seen of that. Nags Pace can take you on the journey through and other times, if I would have it on the left, looking out towards the next space, it's going to ask you where they've been so the two things there next base. At the back asks, you, where they've come from the next base in front makes you a square. I going so and centrally composed is, I guess they go nowhere but they'll be going somewhere but it does a lot of it depends on the background and the light and I just let it drift it, so it comes organically but you know there's nothing wrong with overthinking it and and seeing where it leads. You also under think and see how you go to just pick up the camera and fire away. Hope that helps. That's some great questions Esther thanks.

The most important thing to consider when it comes to composition in photography is storytelling. I like to frame my images in a way that tells a story, either by having the subject off-center and leaving space for the viewer to imagine where they've come from or what will happen next, or by centering the image to give the scene context and direction. It ultimately depends on the background and the light, and I let it drift organically.

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The most important thing to consider about composition while taking a photograph is storytelling. As a motion picture still photographer, I focus on capturing images that convey a narrative. Depending on the intended use, such as for Instagram or a big release, I may choose to centrally frame the subject and allow the studio to crop it if needed. However, I generally prefer off-center compositions that create a flow. For example, placing the subject on the right with negative space on the left can lead the viewer on a visual journey. Conversely, having the subject on the left looking towards the negative space prompts curiosity about where they have been. The background and lighting play a significant role in determining the composition, and I often let it unfold organically. Overthinking or underthinking the composition can both yield interesting results, so it's a matter of experimenting and seeing where it leads. Ultimately, the goal is to capture a compelling image that tells a story.

What is the best way to get better at photography?

Shoot, shoot, shoot: The Best Way to Improve Your Photography Skills

Right, well the best way to get better at photography is to shoot, shoot, shoot. Carry a camera with you everywhere, you know, most people take a pack or a bag with them wherever they go. You know, cameras these days are light, you know, get away from the habit of pulling out your iPhone or your Samsung or whatever phone you're using. You're not going to learn anything about photography like that. Shoot manual, always shoot manual exposure. You're going to learn about light that way. It's the only way you're going to learn light. If you're shooting on auto exposure, the camera's doing all the work and it can get it wrong, it can pick up, you know, little bits of light and it'll expose for that. You know, most people are on mirrorless now, well I mean there's a lot of people still on DSLRs too, but you've got the screen on the back, you know, you can get the exposure right. If you are on mirrorless, that's the best way to learn light is shoot manual exposure on that because you're looking through the EVF. You've got live exposure, you're seeing exactly what the camera's going to deliver for you. You've got to be the boss, don't let the camera push you around. And you know, the only thing you've got to learn about is the triangle of exposure with ISO, aperture and shutter speed and what shutter speed is going to work for what you're shooting, whether it's something moving or something not moving. So get the triangle right and shoot every day.

The best way to get better at photography is to shoot, shoot, and shoot. Always shoot in manual exposure so you can learn about light. Get the triangle of exposure (ISO, Aperture and Shutter Speed) right and shoot every day.

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The best way to improve in photography is to shoot frequently and consistently. Make it a habit to carry a camera with you everywhere you go, as cameras nowadays are lightweight and portable. Avoid relying solely on your phone for photography, as you won't learn much about the art that way. Instead, shoot in manual mode to gain a deeper understanding of light. By taking control of exposure settings, you can learn how different lighting conditions affect your photos. If you have a mirrorless camera with an electronic viewfinder (EVF), shooting in manual mode becomes even more beneficial. The EVF allows you to see the live exposure before capturing the image, empowering you to be in charge and not let the camera dictate the outcome. Focus on mastering the exposure triangle involving ISO, aperture, and shutter speed. Learn which shutter speeds work best for subjects in motion or still subjects. Practice every day to refine your skills and develop your photographic eye.

Film Making

How do you differ professionally from other stills photographers? 

Photographer captures raw emotions and shuns setups

Wow, that's a question. How do I differ professionally from other photographers? Well, I don't know if I do. I look at some other photographers and their work is absolutely beautiful pieces of art, whereas I don't look at my work as being art at all. I think that I'm a storyteller and I enjoy that part of what I do. In fact, I love it. I don't do setups. A lot of photographers I know do do setups. I think they suck the life out of photography, out of an image I should say. So I'm there for what I call the director's performance. I like to capture an actor right in the middle of giving their everything, all their emotion, all their passion, just leaving it lying on the floor. That's the images that I like to capture and I think that it kind of shows. If you go and have a look at my Instagram, you'll see that. I do a lot of remote rigs on action. I know there are a lot of photographers that do do that, but I believe that my technique might be a little bit different. So there's a few things and maybe I'm not quite as professional as everyone else. I'm a bit of a cowboy, I think, and a bit real raw and gritty. I'm not low for wearing anything. I don't wear shoes half the time except for at work.

I'm a storyteller who captures raw emotions and action, and I take a different approach than other photographers by not doing setups and being more of a "cowboy".

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How do I differ professionally from other still photographers? Well, it's hard to say if I do. When I look at the work of other photographers, I see beautiful pieces of art. In contrast, I don't view my work as art. Instead, I see myself as a storyteller, and that's what I enjoy most about my profession. Unlike many photographers who set up their shots, I prefer to capture the raw, unfiltered moments. I strive to photograph actors in the midst of giving their all - pouring out their emotions and passion. This approach is evident in my portfolio on Instagram. Additionally, I specialize in using remote rigs for action shots, although my technique might differ from other photographers who use this method. Perhaps I'm not as professional as others, as I describe myself as a bit of a cowboy - real, raw, and gritty. I don't conform to norms and often go barefoot unless it's necessary for work.

What techniques do you use in post-processing and how does this differ based on your subject?

Photographer shares unique post-processing techniques for stunning results

Yes, sweet question Jake. What techniques do I use in post and how does it differ with my subjects? Well, I do my first pass in Nikon Studio and I mark it with a number, then I do a second pass and give it a higher number and then I go through and those ones with the higher number I then do a quick edit in Photoshop. Now I don't do very much, I do radials and maybe play around with clarity and tonal contrast and stuff like that. But I then take it into Nik software which is from DxO, Nik Color Effects filters 4, 5, whatever it is now and I make those little tweaks there. And like I said, I don't do too much, I do love a radial but each recipe that I make is individual for an actor or an actor's character or a general for the film. So if it's Mad Max Fury Road I'll have a bundle of Mad Max Fury Road recipes and for Furiosa and for Mad Max and I go from there. So I change it for everything, whatever works to fit the dynamic of the scene.

I do my first pass in Nik on studio and a market with a number. I then do a second pass and give it a high number. I then do a quick edit in Photoshop and make tweaks in Nik software. I also use radial filters and adjust tonal contrast. Each recipe I make is individual for an actor or character, depending on the film.

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In post-processing, I begin with a first pass in Nikon Studio where I mark the photos with numbers. Then, I do a second pass and assign higher numbers to select images. From there, I do a quick edit in Photoshop, mainly utilizing radials and adjustments to clarity and tonal contrast. Afterward, I take the edited photos into Nik software (specifically Nik Color Effects filters) from DxO. There, I make additional tweaks to enhance the image. However, I don't heavily manipulate the photos. My approach varies based on the subject or theme. For example, if it's a film like Mad Max Fury Road, I have a set of customized recipes for different characters or scenes such as Furiosa or Mad Max. Each recipe is tailored to fit the dynamic of the specific scene or character in question. Overall, my techniques adapt to suit the needs of each subject or project.

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Jasin Boland is a renowned global motion picture still photographer whose work has appeared in newspapers, magazines, billboards and movie posters around the world. He has captured the raw emotion of action franchises such as The Matrix, James Bond and Jason Bourne. As a member of The Society of Motion Picture Still Photographers, Jasin has photographed the first three Matrix films and the last three 007 Bond films. As he reflects on his achievements, he sees many more highlights in his career yet to come. Jasin is an avid supporter of aspiring photographers, believing that the enthusiasm of the craft is the heart of photography. He owes much of his success to the mentors and professionals who nurtured his love of photography and helped to propel his career.