Boise, Eagle, Meridian, Nampa, Idaho photographer.




also see
CHOOSING A PHOTOGRAPHER  |  PHOTOGRAPHY TIPS


John Baker is a Boise, Idaho, photographer serving Ada County, Canyon County and beyond.  John turned professional in December, 1978, while living in Wales. He is a Welsh speaking Brit having moved to the United States in 1985.

  TRUST
He believes that integrity emanates from the very heart of a person, and touch all things one is involved in. For John, this is also based solidly in wholesome values which will be reflected in attitude, care shown, and a general 'can do' disposition.


 
BACK TO THE BEGINNING
John was born in Lichfield, Staffordshire, England, and primarily raised in Warwickshire children's homes where his many photographic odysseys have their roots. A move to Wales and involvement as a Group Leader of a Welsh Young Ornithologists group led John into his initial passion of natural history photography. Early subjects were the many species of bird that were nursed back to health, plus a love of landscape and the macro subjects that abound everywhere one goes.

The ornithological work led to the receiving of a Prince of Wales Award in 1978, which is when John took on school, wedding and commercial photography.  This included items such as product imagery and photographing professional musicians for the Welsh music label, Sain.

  AWARDS
At the same time he also freelanced for Welsh and English publications, and for whoever would buy his photography work and his occasional writing. The awards flowed within the Welsh and English Photographic Federations, and also at the Welsh National Eisteddfod [a festival of the arts] on a regular basis.  John's work also found recognition in several nationally distributed British photo magazines.

  AND SO TO THE PRESENT
John ran a full-time photo studio in the mountains of the McCall, Idaho, from 1985 to 1998 when he moved to Idaho's capital, Boise. Still full-time, John works from a home office shooting commercial projects, weddings and meeting image library needs, creating photo-designs, and leading photography tours for small groups etcetera.  

Since his arrival in the U.S.A. John has been widely published in many British and Canadian magazines including Natural History and Farm and Ranch Living here in the United States . . . plus many other magazines and projects in-between.

He has written 80 plus photography columns, teaches the 'photographic arts' at conventions and seminars, and plans to have a 'coffee table' book of images on release in the next 'decade' [he likes to be realistic!].

  JOHN AS A PRODUCER AND PRESENTER  OF 'MULTI-IMAGE' PROGRAMS
John also specializes in what the British term as 'slide/sound' production. In the U.S.A. this might be termed as 'multi-media' or 'audio-visual'. Perhaps the more accurate term of 'multi-image' goes a little further in conveying the delicacy, deftness, sensitivity, emotion and creativity that John puts into his two-projector work. His programs are collectively titled 'Visual Journeys', and have been screened at many conventions and business meetings etcetera.

For more details go to the multi-image presentations page.

Because of the recognition brought about by his presentations, John has been asked to photograph and produce various customised pieces for a number of businesses and organizations over the years, and has now transferred this to the digital arena.

  A LAST WORD
You will have noticed that John is certainly not a one-subject photo specialist. He is a photographer in every sense of the word, and his experience in many photographic fields gives him insights, perspectives and solutions in all the photographic situations he finds himself in.

In other words, in John you'll get a wealth of experience, true artistry, and someone who is very easy to work with indeed.



 

  OWN A CAMERA?  OK, HERE'S A HANDFUL OF JOHN'S PRACTICAL PHOTO TIPS



  VISION  |  Develop the art of 'seeing' images . . . awareness, anticipation and imagination are a few of the 'tools' needed to 'manipulate' our photographic equipment, and produce images that fall into the 'out of the ordinary' category. For example, you're on a hillside looking down on a winding road. What you visualize is a red vehicle at a given spot in the road. Now all that is needed is some 'waiting' patience, and the appropriate camera settings . . . then voila!

 LIGHT  |  Utilize the best light of the day.  Texture enhances any image, be it a close-up or landscape.  Sometimes, just by changing our camera angle we'll improve the lighting on a given subject. Get yourself to your chosen spot early or late, and then hurry up and wait!

  SIMPLICITY  |  'Clutter' is fine and necessary with some subjects such landscapes with foreground interest, but as a general rule keep things simple. Also, keep an eye out for distractions in the background which might be something like a branch, or a patch of unwanted light.

  CREATIVITY  |  Experiment with techniques . . . could this subject be recorded best with a slower shutter speed; by selective focus; or a ‘ton’ of depth of field and so on? Make the ordinary look extraordinary.

  COMPOSITION  |  Can the composition be improved with a different camera angle, or tighter framing? Zoom in and out, walk around and consider the angle of light on your subject and would-be distractions, then go ahead and shoot in the knowledge that you are giving the subject 'your best shot'.

  IMPACT  |  Fill the frame whenever possible.  Try a different camera angle, especially closer, lower or higher. Maybe a use the widest angle lens you have, then get in close.  Experiment with panning techniques.  Try different flash/daylight exposure combinations.

 QUALITY  |  Use a tripod, and slow film whenever practical. The same applies to digital, as the 100/200 ASA will be superior to 400 ASA and above. Choose 'quality subjects' too.

  DETAILS, DETAILS  |  Explore your viewfinder and remove those elements that will bother the life out of you later!  This will usually be something akin to a splash of sunlight on a rock, or misplaced blade of grass when doing a macro [close-up] shot

 GUIDELINES  |  Follow those photo guidelines such as the ‘rule of thirds’ and so on, BUT, also break those ‘rules’ whenever you see fit.  Rule 1, take note of the rules, and rule 2, break the rules!

  BE PREPARED  |  Especially when traveling.  Closer to home, have a camera on hand for those special moments and so on.  Make sure your not at the end of a roll or a full memory card, and pre-set a manual camera to around 125th @ f.8, or on Program. I also like to set my camera to Auto Expose Bracket [AEB], turn on wind/drive feature, and shoot freely in the knowledge that I'm covering all bases. This is a particularly good technique for difficult exposure situations, and for wildlife and sports etcetera.

  KEEP AN OPEN MIND  |  Quality images ARE to be found with the sun at it’s highest point of the day, and polarization does work at other than right-angles to the sun. In other words you don't have to align yourself with the common clichés.

  GO A STEP HIGHER  |  Don’t settle for ‘second-best’ . . . consider all the elements that could improve your picture before you release the shutter. This might be something distracting in the picture such as rubbish or a branch. Also, does the subject merge with something in the background that can be cured simply by moving to the right or left?

  PLANNING AND PATIENCE  |  Get to know your subject's behavior patterns be it Elk during the rut, a bird approaching a nest, or when the sun will hit a mountain peak at dawn. It's all very rewarding and satisfying.  

  THE RIGHT EQUIPMENT  |  To improve your pictures consider your lenses and accessories. Will a filter help? Will a longer lens be useful for landscapes?  Will auto-focus alleviate your focusing problems?  These are decisions you have to make for yourself, so practice them until they become second nature to you.

  WHICH CAMERA SYSTEM?  |  None in particular in my opinion. It's really all down to how you see and compose pictures, so it's not the equipment, it's you!   

  BE ADAPTABLE  |  Change camera positions to leave out those power poles or 'stray' people.  Perhaps the shade of a tree can serve as your lens shade?  Lost or broken your cable release? . . . use the self-timer.

  TELL A STORY  |  Include the 'environment'.  What does the image say about the time, place or person? I personally like to fill the frame with my subject, but once in a while I will include more of the background, such as in character shots to create an 'environmental portrait'.

  TAKE THE OPPORTUNITIES THAT ARISE  |  Take the opportunities afforded by zoos, wildlife farms, and events such as historic re-creations to capture those rare and otherwise unobtainable images. Obviously you'll want to get in tight on your subject, so use longer lenses to eliminate society's distractions.

 MAKE THE EFFORT  |  An image you have in mind may require some elaborate setting up. If the image is worth the effort, then go ahead and manipulate and coerce!  Also, don't leave that tripod in the car or think, "the right lens is in my bag, but . . . ".  When you take the time to get it right you won't be disappointed.

  ENJOY YOUR PHOTOGRAPHY  |  Take pictures for your own pleasure first of all. Please don’t do it to please others or a club judge, though that will certainly follow.

  PHOTOGRAPHY IS AN ART  |  . . . and just as with the many other arts out there in the big world, you will naturally develop your own style. Yes, even with a camera. I've been in Camera Clubs and at exhibitions and hear comments such as "That's a 'Joe Bloggs' shot", and we all have that potential.

© John Baker Photographer LLC and www.travelimages.com

You are granted permission to use these photography tips provided that a reference to John Baker Photographer LLC and  www.travelimages.com is included.

 
 

John Baker Photographer of Boise, Idaho

 
 

The entire content of this website is strict copyright John Baker Photographer LLC, and is protected by United States and International copyright laws. Images may not in any part or whole, be copied, reproduced, altered, stored or transmitted without the express permission of the copyright owner in writing.  No images within this website are within the public domain.