How do you control blur?

There are only a few ways to control blurring in your images. But there is only one element, light. How you add enough light to prevent blur is the key. Increase ISO, widen your aperture or Flash.



The first two tools for adding light are the quickest and easiest options. The third, adding flash, may be easy too for those whose cameras include the unit in their models, but for those with a semi-pro to pro body camera without flash built-in, it becomes more challenging.

Adding light through the use of raising ISO, while quick and easy, can create another problem, noise, though unless you show it full size or print it full size you may not notice the noise. I generally shoot in the 100-200 range ISO, but I have found myself in situations where even after opening the Aperture to it's widest I have to raise ISO to 600, 800 even higher to gain any acceptable images. The price the image pays is, as stated, noise. But that can be acceptable too if you are not shooting a wedding or a portrait. And sometimes even then you can modify the image for an unusual, what I like to call an alternative, shot, to compensate for the added imperfection.

The last option, flash is a whole other subject to itself. Easy? Yes if you are in Auto Mode on your camera and your flash. But if in Aperture Priority or Shutter Priority you'll need to think about synching your flash to the shutter speed of your particular camera body. This is specific to each body series and by manufacturer and then there is the flash itself. To learn about this I always recommend doing some research online in addition to your flash manual.

So you are in a situation where your camera is delivering images, yet they are soft, blurred. In most outdoor occasions I go first to opening to my widest aperture, then to the tripod, then to ISO. And of course if you are using a lens with image stabilization, unless you are using a really long telephoto lens, say above 400mm, you want to turn off the AF and go manual focus. IS or OS or VR, all mean the same thing, stabilizing your jittery movements, with software and motor drive technology. They do not help, on the other hand with your subject's movements. That is another subject which is dealt with through the use of IS II, but I won't get into that here.

If after trying the widest aperture and even raising the ISO doesn't give you what you are seeking, then you will simply have to try the tripod and perhaps even a shutter release control. And finally the flash for adding more ambient light.

Here's a good, if short treatment on the subject from one of the better sites I frequent. There clearly is much more on the idea of adding light but if you need something more lengthy, you'll find a ton of info by defining your keywords in a search.  

Next time you go out on a cloudy day or find yourself in a shady spot, no not that kind, try to remember these tips and while I can't promise you you'll get exactly what you want, I can promise you you'll get closer.

Leave a comment below on how it worked for you.

5 Ratings Tools for Buying Art

Rich Collins Photography Ratings Tools for Buying Art


Storm Lifting by Rich Collins


When you look at art which you are evaluating for your home or office, what criteria do you use before you purchase? For those of you who take a subjective approach, that is you simply are overwhelmed by it's effect on you, this tool may not be as helpful, yet it won't hurt to look it over. And by the way I do believe that most art is purchased under the auspices of beauty, or a sense of connection, or its profound statement on us as individuals.

And of course I am not speaking to auction houses such as Christies or Sotheby's, as this art is rarely bought for anything other than the value a collector sees as a future sale, though clearly there are some collectors who enjoy their art, the majority is beyond the scope of this tool.

So let's say you have been "In the Market", if you will, for a few pieces for any number of reasons. Maybe you have just moved into a new home or opened a new office, or you are redecorating. It could be you are seeking a gift for Mother's Day, Father's Day a birthday or a dozen other holidays. Or you feel your clients or patients will feel more at ease, or will heal better by adding certain art pieces. Take a look at the following tools for the how and why of buying art.

The criteria which always seems to come first is FIT and one of the three which we use in an objective way.
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1. FIT is the element of how the art will look in our selected rooms. Are we seeking art to fit into a scheme of colors which already exist? Or can we paint a broad enough brush when selecting our art that we might consider painting our rooms so decor compliments the art, as opposed to the art complimenting the room? Either way this consideration is primary.


Iron Creek below Iron Creek Falls by Rich Collins

2. SIZE takes on a powerful part of our decision if considering its statement as either a part of a montage on a wall, or as a single sensory large piece for its impact beyond the photo itself. We know what impact this has when we recall large prints in a fine home or business office. There is nothing so profound as a photo print we like immensely but are further impressed because of the sheer size. The next time you are in a room with art that really grabs you take a mental note of how much of the wall space it takes up. If you are good at estimating frames or canvas prints sizes, do the same with the wall and you'll have a great way of sizing up your room for art.


Tabernacle by Rich Collins

3. PRICE is also a very important factor in considering any piece of art. First it has to fit your budget, meaning you won't likely buy a photographic print which empties your checking account or stretches your card limit beyond the norm, unless of course you have been searching for a time and finally found what you like. Normally though I think most of us find it best to purchase what is within our financial range.


Salmon Creek 1 by Rich Collins

The next two follow because of our taste and feelings in the work we will eventually purchase.

4. MOOD is where we begin to move into the realm of subjectivity. After using the above criteria to evaluate from an objective stance, we need to now allow ourselves room for feelings and senses to help with our decision. What strikes you as warm or endearing, dramatic or powerful or memorable, are all elements which we recognize by merely experiencing what the piece causes us to feel. This is an important part for me whenever I create a photograph as it is the emotional effort I put into such a piece, that often more than anything else, places one of my works in someones possession.


latourell Falls 3424 by Rich Collins

5. SEASON is without a doubt one of the most common motivators in purchasing a print. It is the sense we get when we begin to enjoy Springs first blooms, or Winter's first chill, Fall's first color and so on. At these times we want to enjoy this indoors as much as we do outdoors. And so we long for images to surround us as the seasons approach.


Daisies & Lavender by Rich Collins
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I believe that most art is purchased from the heart, rather than the head. Which is why I hope these tools for evaluating your next art purchase can be helpful. Certainly when we fall in love with a piece we don't want to impede that decision to add it to your collection, but at the same time we also want to feel good in a sensible way after such a purchase. By using these tools now, ahead of your next purchase, I hope you find that it has given you an added advantage.

Feel free to copy & paste and print out or link to my photography and use them as a starting point.

Happy Mother's Day Mom

Happy Mother's Day.

This is in honor of my Mother, whom most of her friends call Dot. I caught her in the midst of preparing the kitchen for dinner.

    I should say that Mom, Dot, is much more than a Mom to me, she is an Angel. She has been my inspiration for positive thinking for a lifetime and continues to inspire me. Why? I can recall when I was very young and was tied to the farm, milking cows, slopping hogs, feeding horses and chickens, gathering eggs, all of this twice a day, that I used to complain about not having enough time to spend with my friends who were all free of these (work duties - ahem) activities, and she'd say, "Well what would the animals do without you?" How could I argue with that? Or when I'd come in with near frozen fingers from winter's chill and she'd have a warm steaming wash towel for my hands. "Here", she'd say, "this will warm you in no time".


Why else? She has spent many, many years helping at her church, St Joseph's, with whatever they needed. She has volunteered in the community for St Vincent De Paul's for a very long time, and visited older citizens in care homes who have no relatives near for more years than I can recall. She has always been there when relatives have needed help in decorating for the holidays, or providing a temporary home until they got on their feet. And when I was served in Viet Nam she sent me so many cookies and candy bars, home made bread and assorted cakes that I became known as the Cookie Soldier.

I love you Mom and even though you are spending your Winter's in a golf course home in Arizona these days, I always feel like you are with me. Happy Mother's Day Mom. This one's for you.

Oh, and no the picture is not for sale.