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Best Lightroom Portrait Presets in 2021 (6 Gorgeous Picks)

29 Sep

The post Best Lightroom Portrait Presets in 2021 (6 Gorgeous Picks) appeared first on Digital Photography School. It was authored by Matt Murray.

Finding the best Lightroom portrait presets can be a challenge for many photographers. With so many preset packs available in the marketplace, how do you find the right ones to suit your style?

In this article, I recommend some of my favorite Lightroom presets for portraits in 2021.

A quick note: When testing different preset packs, I loaded each option into Adobe Lightroom Classic. Then, to demonstrate each preset, I used the same RAW image taken on my Fujifilm X-T4 with the XF 56mm f/1.2 lens. I created multiple virtual copies in Lightroom, then had fun playing around with all of the presets and settings!

1. Brixton Film presets

First up for the portrait photographer is the Brixton Film preset bundle. These presets are brought to you by The Luxe Lens, a website that sells dozens of presets, Photoshop actions, LUTs, overlays, and much more. The names of each collection in the Brixton Film bundle evoke the type of mood they portray: Bold & Vibrant, Yesteryears, Earthy Moods, Film Essentials, and Love Story, to name just a few.

In particular, the Brixton Film Cinematic collection caught my eye, and I was instantly impressed when I applied the black and white Light and Lifted preset for a classic monochrome look:

Brixton Film presets — Brixton Film collection: *Light and Lifted*

There were a number of interesting color choices in this collection, but my next choice was the Teal and Berry preset, thanks to its eye-popping hues. It gave the portrait a completely unique look:

Another gorgeous collection from the Britxon Film stable is Oak & Ivy. This collection contains 25 film presets, 8 layer presets, and 62 tools presets, designed to bring out the organic colors of nature in your images. My favorite from this collection is Muted Forest, which did a great job of mixing earthy colors with clean skintones (see the image below). All of the Brixton Film presets were fun to use, instantly transforming my RAW file into a beautiful final product.

2. Mastin Labs

Mastin Labs are the market leaders for portrait and wedding photography presets, and it’s easy to see why.

These presets were first created over a decade ago by photographer and color scientist Kirk Mastin. After painstakingly scanning many different types of film, Mastin Labs developed a series of presets to give the classic look of your favorite film emulsions to digital images.

Mastin Labs claims to have the most authentic film emulation presets on the market, and many of their preset bundles reference names of classic film stocks, such as Portra Original, Fuji Original, and Fuji Everyday.

Full disclaimer: I’m a huge Mastin Labs fan. I’ve bought all three of the classic film packs I just mentioned, but while writing this article, I decided to use two new preset packs for the first time: Ilford and Portra Pushed.

Installation is a breeze; just download the presets, quit Lightroom, run the installer, and get ready to roll. Using the presets is simple with Mastin’s easy, three-step workflow: apply the preset, adjust the exposure, then adjust the white balance and tint.

Mastin Labs portrait presets — Mastin Labs Ilford: *Pan F* *with green filter*

Mastin Labs: Ilford Original pack

The Ilford Original pack contains three highly customizable presets that mimic classic British black and white film emulsions: Pan F, HP5, and Delta 3200.

Pan F gives you a high contrast look with low grain, the ever-popular HP5 delivers medium contrast and grain, and Delta 3200 gives your images glowing highlights and the chunkiest grain in the pack. Each emulsion gives you two further choices – 35mm or 120, with the latter giving you more subtle and smoother grain.

As with all Mastin presets, the Tone Profile section provides various combinations for making the highlights and shadows hard or soft in your image. It’s often hard to know which one you’d prefer without a bit of testing.

What I love most about the Ilford presets is the next two sections: B&W Filter and Paper. For decades, photographers have been using colored filters to control contrast and mood in their black and white photos. The clever people at Mastin Labs allow you to consider these creative effects by three different filter options: red, green, and yellow.

Next up are three paper types that mimic the effect of the image printed in the darkroom on warm-tone, cool-tone, or neutral paper. I really love these choices; I have a lot of fun playing around with them!

Mastin Labs: Portra Pushed pack

I’m a big fan of the Mastin Labs Portra Original pack, which is ideal for giving clean, warm tones and glowing skin to portraits. With this in mind, I was more than a little intrigued by the Portra Pushed pack. I’d heard it gave a wonderfully dark and moody look to images, but would it meet my expectations?

Note: You may be wondering why this pack is called Portra “Pushed;” pushed is a borrowed term from film development. A roll of film generally has a recommended ISO (e.g., 400), and you typically match it with the ISO dial on your camera.

If you set the ISO on your camera to 800 despite an ISO 400 recommendation, however, you are underexposing the film by one stop, so you’d typically ask for the film to be pushed in development one stop. In other words, you’d ask the lab to develop the film for longer to make up for the underexposure. Why would you want to do this? There are a couple of different reasons, but one is that the process typically gives color film more contrast and saturation.

The Portra Pushed presets mimic this effect with intense, moodier colors and boosted saturation. The pack has a choice of three different film looks – Portra 160, Portra 400, and Portra 800 – and with each, you can apply the one-stop or two-stop push look.

This pack may not have the B&W filter and paper options of the Ilford pack, but it does include a tone profile, a toolkit with auto white balance and lens correction, and a choice of 35mm and 120 grain.

I was impressed by the clean and consistent look of the Portra Pushed presets. They gave a high-contrast, moodier look to images than the Portra presets and really brought out the earthy tones.

3. Julia & Gil

For the last seven years, Julia & Gil have been photographing people in love all over the world. Not only are they skilled photographers, but it’s clear they’ve learned a thing or two about editing photos along the way.

Julia & Gil offer three stunning sets of presets: wedding, portrait and mobile. I took the wedding and portrait presets for a spin in Lightroom and was impressed by what I saw.

The Wedding collection is designed to add soft colors and “a little magic” to wedding photos. Julia & Gil are fans of soft tones, creamy whites, beautiful skin tones, and natural colors, as you can see from the image below. The collection is perfect for all lighting situations.

Best Lightroom portrait presets Julia & Gil — Julia & Gil Wedding: *Classic*

The Portrait collection is made up of eight presets for couple and portrait shoots. They are billed as “the modern answer to creating that popular film look” and are designed to add soft colors to your photos. As you can see from the Cream preset below, this collection gives a soft, dreamy look which I really love.

Both preset packs offer a range of tools, including colors down, colors up, a range of options for grain, three different sets of tones, vignette tools, and several ways to warm up your images. In just a click or two, Julia & Gil presets give a wonderfully unique look!

4. @rwpho Portrait Lightroom presets

@rwpho Portrait Lightroom presets are brought to you by Filtergrade, an online marketplace offering a range of resources for photographers and videographers, including actions, presets, LUTs, overlays, and templates.

Created by photographer Reed Walchle, the @rwpho presets are focused on adding warm, complementary, orange and teal tones to your images while keeping natural-looking skin. The presets shift the overall palette toward complementary colors to make photos stand out, adding character and depth. They seem to work especially well on pictures where the subject is well lit compared to the background.

There’s only a handful of presets in this pack, but sometimes less is more. I really liked the tones of both the Joyce Warm and Elena Cupcakes presets. All in all, the presets were easy to apply and gave great results instantly.

5. Etchd Portrait presets

The next set of Lightroom portrait presets come from award-winning portrait, landscape, and travel photographer Matt Horspool, better known by his Instagram handle, @etchd.

Matt is incredibly well traveled, having backpacked across 48 countries on all seven continents. His images and articles have been published by National Geographic, Australian Photography Magazine, The Australian, and Olympus Passion.

Etchd Portrait Presets Volume 1 contains 15 timeless and beautifully refined presets that “soften and breathe life into your portraits.” The presets come with a detailed, 37-page, step-by-step installation and application guide. I really like the information in the second part of this guide – Matt gives you a detailed description of each preset, along with information on what to adjust in your images. For example, there are tips on suggested adjustments to the RGB tone curve, white balance, and split toning.

Many of the preset names are a nod to Matt’s travels: Roadtrip, USA, India, and the preset I used for the image below, Verona. The latter preset comes with two versions, and the one I’ve used has a built-in Radial Filter. (The guide also gives step-by-step instructions on how to apply Radial Filters to your portraits.)

6. dPS

Last but certainly not least are the comprehensive range of portrait presets by our very own Digital Photography School team. The dPS preset bundle consists of three packs, each containing 101 presets: 101 Lightroom Presets, 101 Landscape Lightroom Presets, and 101 Lightroom Portrait Presets.

dPS portrait presets — dPS Portrait Presets: *Art Series 50s*

For this article, I tried out some of the portrait presets created by Rachel Devine. These give you countless image-enhancing options, and included in the pack are the Art Series, Black and White, Film Series, Traditional Series, and a Touch-Up Kit featuring 37 brushes.

I really love the look of all the Art Series presets, but perhaps my favorite was Art Series 50s, which gave my images a classic vintage appearance. Another fantastic preset is Found, which has a beautiful, warm effect reminiscent of film stocks such as Kodak Gold.

What are the best Lightroom portrait presets in 2021?

The best portrait presets for Lightroom will differ from user to user. Ultimately, it’s up to you to decide which look and feel suits the images you take!

I love using all of the preset packs recommended above; they’re simple and give incredible results.

So which preset is your favorite? Tells us in the comments below.

Best Lightroom portrait presets: FAQs

Should I use Lightroom presets for my portraits?

Lightroom presets are a fantastic way to get a consistent look in your portrait photo shoots.

Which Lightroom presets should I buy for portraits?

That depends on your photographic style and your budget. Take a look at the images above and visit the websites featured to find the presets best suited for your images.

Are Lightroom presets easy to use?

Most of the presets featured here are very easy to use. You can transform images in one or two clicks.

Do professional photographers use presets?

Yes, many professional portrait and wedding photographers use off-the-shelf presets.

The post Best Lightroom Portrait Presets in 2021 (6 Gorgeous Picks) appeared first on Digital Photography School. It was authored by Matt Murray.

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7 Tips for Gorgeous Glass Ball Photography

22 Sep

The post 7 Tips for Gorgeous Glass Ball Photography appeared first on Digital Photography School. It was authored by Simon Bond.

7 tips for crystal ball photography

Glass ball photography is a fantastic way to create compelling images, the kind that will leave your audience both wowed and curious.

But how do glass ball photos work? How do you set up beautiful images? And how do you use a simple crystal ball to capture such striking effects?

In this article, I share everything you need to get started, including a lensball recommendation, plenty of tips, and even a few crystal ball photography ideas.

Let’s dive right in.

$Doing Crystal Ball Refraction Photography - house inside glass ball$

How does glass ball photography work?

Glass ball photography, also known as crystal ball photography, uses refraction to capture unique images. A crystal ball (lensball) is placed in front of a scene; the scene is then refracted in the ball. Thanks to the magic of physics, you end up with an inverted image in the ball, which you can then capture with your camera.

As the photographer, you have ultimate control over your lensball image. For instance, by repositioning the ball (and by repositioning the camera with respect to the ball), you’ll capture different perspectives. You can also adjust the aperture for shallow depth of field effects (where the ball is framed by a blurry background), and you can change the distance from the camera to the ball for an interesting close-up effect. I discuss these techniques in greater detail below.

1. Consider flipping the upside down image

Thanks to refraction, the image inside a glass ball is flipped. Which means you have two options:

You can leave the inverted image and incorporate it into the composition. For instance, you can juxtapose the flipped image with the real scene in the background.
You can rotate the image during post-processing, so that the ball’s image appears right side up. Here, you may want to blur out the background with a wide aperture; that way, the flipped background isn’t obvious.

As you’ll see throughout this article, I use a mix of techniques. Sometimes, I like to keep the inverted crystal ball image. Other times, I flip the image for a less disorienting effect.

By the way, if you want to create a sharp, right side up image but you don’t want to do any rotation in post-processing, there is another option:

You can use the ball to photograph reflections. After all, reflections are naturally upside down, but the ball will invert them for a normal-looking result.

The image inside the ball will be upside down.

2. Get on a level with your subject

It might be tempting to put your glass ball on the ground and shoot into it, but this will actually cause significant distortion, plus it will create less compositional impact.

Instead, I recommend getting your ball up off the ground and on a level with your subject. The key here is to ensure your subject is centered in the ball, so feel free to move the setup around until you get the composition you’re after.

Note that you’ll want to keep your hands out of the frame, so you can either get up close and only photograph part of the ball, or you can perch the ball on an elevated platform, like a rock, a car, or a bench.

Of course, there are exceptions to this advice. Sometimes, it pays to place the ball on the ground, especially if you plan to photograph puddles or leaf beds.

3. Fill the glass ball with your subject

Unless you get close to your subject, it will appear very small inside the ball. So do what you can to close the distance, until your subject looms large in the ball (and consequently the frame).

This might involve careful planning or even some creativity. The ball is like a wide-angle lens, so try to think about your shot as if you’re photographing it at 16mm or so. Would the scene fill the frame at 16mm? If so, you’re golden!

In this photo, the cityscape is captured inside the ball.

4. Choose the correct lens

Yes, you can do glass ball photography with literally any lens, from ultra-wide to super-telephoto. But if you want to maximize the impact of the ball, I’d really recommend using a macro lens (or a telephoto lens with significant close-focusing capabilities).

Thanks to a macro lens, you can get close to the ball, which does two things:

It lets you increase the size of the ball in your shot (in other words, you can get close for lots of detail).
It helps you create strong background bokeh, which is key if you want to flip the image and keep it natural looking (discussed in Tip 1).

A wide-angle lens can work, too, but only if the scene allows it. I recommend experimenting with a macro lens and a wide-angle lens to determine the effect you like best.

5. Choose the correct aperture

The aperture influences the depth of field (i.e., the amount of the scene that’s in focus).

Set an ultra-wide aperture, and you’ll end up with a beautifully blurred background and a sharp foreground. Set an ultra-narrow aperture, and you’ll end up with a crisp foreground and a crisp background.

Neither is obviously better than the other; it just depends on the effect you want. If you’d prefer to create a blurry background (for example, you want to flip the image without a disorienting result), you might try using an aperture of f/4 or so. This will generally blur out the background while creating a sharp image inside the ball.

But be sure to review the image on your LCD afterward to make sure you get the result you want. If you go too wide, even the ball will be blurred, and everything will become an out-of-focus mess. Also, the depth of field depends on other factors as well, such as the distance between the lensball and the camera, so experimentation is always a good idea.

lensball close up

6. Find a safe place to position the ball

This is very important, especially if you are photographing from a high vantage point. Balls are, well, balls, which means that they like to roll, and you certainly don’t want your crystal ball rolling off a bench (or worse, a building). Best case scenario, it’ll end up with scratches – and worst case scenario, it’ll smash and you’ll need to buy a new one.

That’s why I recommend putting the ball on a flat surface, and a crevice is better (if you can find one). Place the ball carefully, then let it sit for a few seconds. Even if the ball seems stable, keep your (or a friend’s) hands nearby, and watch it like a hawk, especially on windy days. You do not want the ball to blow off in the middle of a photo!

If you can’t find a good resting place, you might just ask a friend to hold the ball for you. Or, with some practice, you can hold the ball yourself (though this is always tricky; unless you’re working with a tripod, you’ll need to hold the ball in one hand while focusing and firing the shutter with the other!).

In this photo of the Taj Mahal, there is a reflection in the background, and this reflected image is in fact upside down.

7. Make sure your subject is well-lit

Pretty much every photo can benefit from a well-lit subject, but it’s especially important for crystal ball photography.

Why? A strongly lit subject will shine through the ball while minimizing reflections. (Yes, those pesky reflections that come from in front of the ball and can show unwanted elements such as the camera lens!)

That’s why I recommend you photograph with the sun behind you and striking your subject directly. Alternatively, you can photograph during the blue hour or at night, but aim to photograph buildings with brightly lit facades.

(On the other hand, reflections can create interesting effects, so don’t be afraid to try out different lighting scenarios if you’re feeling creative.)

Glass ball photography vs standard photography

Are you wondering whether it makes sense to pursue glass ball photography? After all, do you really want to play around with a lensball when you could be capturing a beautiful wide-angle shot of the same scene?

In this section, I’ve put together a quick list of pros and cons – which will help you decide whether crystal ball photography makes sense for you.

Glass ball pros

A glass ball is cheaper than a lens and allows you to create a unique fisheye effect
A ball offers flexibility; you can move it to different positions in your scene
You can use a large aperture in conjunction with the ball to create bokeh
Scenes created with a crystal ball often have a more artistic feel
The ball creates a natural frame for your scene

Glass ball cons

Larger glass balls are heavy to carry (in an already heavy camera bag)
You need a macro lens to get the best results
The edge of a glass ball produces distortion
Getting a sharp image inside the ball can be difficult
The image in the ball is upside down, which gives you another problem to contend with

In fact, here’s a quick illustration of a crystal ball effect. First, we have a standard wide-angle image of a scene:

A wide angle photo of a famous road junction in Shanghai.

And here’s the same scene, but shot with a glass ball:

Lensball road junction

What do you think? Which shot do you prefer? The choice to use a glass ball is yours to make, though I highly recommend trying it out. Personally, I feel the pros majorly outweigh the cons (plus, you’ve made it this far in the article, which means you know all sorts of helpful tips!)

If you find crystal balls too heavy to carry all the time, you can try scouting scenes in advance, then returning for a second visit with only the equipment you need to get your photo.

Glass ball photography: final words

Well, there you have it:

Plenty of tips to get started with crystal ball photography. You will, of course, need a crystal ball – which you can buy easily on Amazon for around $ 27 USD. Once the ball arrives, head to a local landmark and start experimenting. The list of subjects really is endless; you can start with a lone tree, a church, or even a cityscape scene.

Now over to you:

Have you tried lensball photography? Do you think you’ll start? Share your thoughts and images in the comments below!

Volcanic lake found in Indonesia in glass ball

Natural landscapes look great inside the ball. This is a volcanic lake found in Indonesia.

The post 7 Tips for Gorgeous Glass Ball Photography appeared first on Digital Photography School. It was authored by Simon Bond.

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Tamron Launches Gorgeous 18-300mm Zoom for Fujifilm (and Sony)

23 Jul

The post Tamron Launches Gorgeous 18-300mm Zoom for Fujifilm (and Sony) appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Tamron launches 18-300mm zoom for Fujifilm and Sony

Earlier this week, Tamron unveiled the 18-300mm f/3.5-6.3 Di III VC VXD, an all-in-one lens designed for both Sony E-mount and Fujifilm X-mount cameras.

While Tamron has spent several years perfecting mirrorless lenses for the Sony E-mount, the company has not yet launched glass for Fujifilm users. The announcement hints at a new direction for Tamron; assuming the X-mount version is sufficiently popular, you can expect future Fujifilm-compatible lenses, a major win for Fujifilm’s dedicated fanbase.

The lens itself draws on Tamron’s experience with flexible zooms and will sit alongside products such as the 28-200mm f/2.8-5.6. According to Tamron, the 18-300mm “is the world’s first all-in-one zoom lens for Sony and Fujifilm APS-C mirrorless cameras featuring a 16.6x zoom ratio,” and indeed, the zoom range is remarkable. At 18mm, you can capture landscapes, wide street shots, and architectural shots. And at 300mm, you can photograph tight telephoto landscapes and even some birds, thanks to a near-500mm field of view (with the crop factor applied). Then there are the midrange focal lengths, and you can use these for portrait photography, sports photography, and much more.

If you enjoy capturing the occasional close-up shot of insects or flowers, then you’ll love the 18-300mm’s close-focusing capabilities. You can shoot at up to 1:2 magnification, perfect for casual macro photography (and you’ll even be able to capture an abstract close-up or two for variety).

Tamron also promises “extremely fast and precise autofocus – the highest level in its class.” As you can imagine, this is a big deal for fast-paced travel and street shooting, not to mention bird and wildlife photography. Users will need to be content with a relatively narrow maximum aperture (f/6.3 on the long end, f/3.5 on the wide end), but the Vibration Compensation should offset this problem somewhat when shooting in low light.

Of course, when purchasing a lens, a lot hinges on optical quality, and superzooms are notoriously finicky – though Tamron promises “high-resolution performance” and “high image quality that is among the best of all all-in-one zoom lenses.” Bottom line, the 18-300mm is bound to work for photographers aiming to keep their backpack lightweight and minimalistic. For the right shooter, this lens could genuinely replace an entire bag of glass, saving on space, money, and more.

So if you like the sound of a convenient superzoom and you’re a Fujifilm or Sony user, keep an eye out for the 18-300mm f/3.5-6.3. While the price hasn’t yet been revealed, bank on a Fall 2021 release date and prepare for some fun photoshoots!

Now over to you:

What do you think about the Tamron 18-300mm? Is it a lens you’d be interested in? What would you use it for? Share your thoughts (and images) in the comments below!

The post Tamron Launches Gorgeous 18-300mm Zoom for Fujifilm (and Sony) appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

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12 Tips For Gorgeous Indoor Natural Light Photography

29 Jun

The post 12 Tips For Gorgeous Indoor Natural Light Photography appeared first on Digital Photography School. It was authored by Dena Haines.

12 tips for indoor natural light photography

Feeling frustrated with indoor photography? Want to know how you can capture beautiful indoor photos with only natural light?

Working with natural light indoors can be tricky. So in this article, I’m going to share plenty of tips and tricks I use in my own photography. And I’ll also share plenty of examples along the way – so that you can see my advice in action!

Let’s dive right in.

1. It’s all about the windows

Indoor photography comes with a significant problem:

A lack of light. And without light, you can’t get beautiful, well-exposed photos.

So what do you do? Some photographers turn to artificial lighting, such as studio strobes and flashes. But I prefer to keep things natural, which is why I look for light coming through windows, and I use it to illuminate my subject.

In fact, as soon as you’ve chosen a subject, walk around your indoor space. Think about the quality of light that the different windows provide; does it flood the room softly? Does it beam in, bouncing off the walls and floors? How would it look when illuminating your subject?

Soft light will add a soft glow, and harsh light will give a dramatic or moody look.

Also recognize that the color of light changes throughout the day. Light looks warm at sunrise, cool at midday, and warm at sunset.

Once you know indoor lighting well, you’ll be able to use it to achieve the perfect effects.

2. Turn off the lights

Natural light doesn’t like competition.

Specifically, natural light doesn’t like electric lights, which cause two problems:

Electric lights cast unexpected shadows and will interfere with the directionality of your main window light.
Electric lights produce warmer or cooler illumination, which contrasts with the color of the natural light.

In particular, skin tones can look odd when artificial and natural light start to mix.

The easiest way to fix this?

Just turn off all electric lights! That way, you can keep your colors looking natural while focusing on a single light source.

3. Shoot in Aperture Priority mode

In Aperture Priority mode, you choose the aperture while your camera chooses the shutter speed. This gives you flexibility over your exposure without stepping over into the Wild West of Manual mode.

Aperture Priority is generally marked with an AV or an A, as shown below:

aperture priority for indoor natural light photos

So what settings should you dial in for the best indoor natural light photography?

I’d recommend starting with a wide-open aperture to let in lots of light. Choose a low f-number such as f/2.8 or f/1.8 to keep your exposure nice and bright.

Plus, when you use a wide aperture, your depth of field will be shallow. So your subject will stay in focus while your background is left soft and blurry. This adds a beautiful effect to portrait, nature, and product shots.

Note that, for portraits, an aperture of around f/5.6 or f/6.3 will keep the entire face in focus (though this will depend on your focal length and your distance from the subject). Focus on your subject’s eyes for best results.

Also, shoot in RAW. A RAW file will give you a lot more to work with when editing – so you can enhance your indoor photos for stunning results.

4. Choose your white balance in advance

Some photographers like to select their white balance during post-processing (so they’ll leave their camera set to Auto White Balance when shooting).

But while this can work, it’s often easier to get the white balance right before taking a photo (plus, it’ll save you lots of time during editing).

So take your camera off Auto White Balance. Observe the light and consider which white balance preset works best for your situation.

For instance, I generally use Daylight for indoor portrait photography, though you might also pick Cloudy for a warmer look. And the other white balance presets can work, too, depending on the effect you’re after.

Honestly, I’d recommend you try several different white balance settings when first starting out – that way, you can determine which looks you like and which looks you’d prefer to avoid.

(Always bear in mind, however, that the white balance results will change depending on the quality of the light. Applying a Cloudy white balance to a shot lit by cloudy light will give a neutral look, while applying a Cloudy white balance to a shot lit by warm evening light will actually enhance the warm effect.)

And remember:

If all else fails, you can always adjust your white balance while editing.

5. Use a light-catching backdrop

Remember how I said that indoor settings tend to lack light?

That’s why you’ll need to maximize existing light. And a simple way to do this is with a reflective backdrop.

Specifically, a white backdrop will help catch the light and bounce it back onto your subject. Here’s the type of setup I’m talking about:

light catching backdrop for natural light photography

The white material helps cradle the light around the flowers:

And creating a simple light-catching backdrop isn’t hard, either. The one featured in the above photo was made with a freestanding collapsible clothes rack and a long piece of white material.

(It’s very easy to set up and very easy to move around!)

6. Use a light box

A light box will create a similar effect as a reflective backdrop, but it will help control the light even more.

In fact, you can construct a light box with lots of cloth – but instead of putting it behind your subject, wrap it all around. Here’s a makeshift light box I used for this food still life:

use a natural light light box for indoor photos

And here’s the final image:

7. Use a reflector

A reflector bounces light back toward your subject.

And it’s a great way to keep your entire subject nicely lit.

For the shots below, I set up a backdrop and positioned my daughter so that her left side faced the window. She held a reflector in her right hand, which helped lighten the shadows:

tips for indoor natural light photography

And here’s a behind-the-scenes photo:

use a reflector for natural light photography

8. Use a mirror

A mirror is another great way to control natural light. Simply hang a mirror in the window; I used a large suction cup with a hook to hang the mirror pictured below:

Then have your model look in the mirror. As you take your shot, make sure your reflection doesn’t appear. (It can take some patience to get the angles and reflections under control, but it’s worth it.)

I used a small handheld mirror for this shot. A larger mirror would require less cropping:

9. Tidy up

There are often things lying around the house, especially if you have kids. And this clutter can be distracting in a photograph. It’s worth taking a couple minutes to tidy up before you start shooting.

In fact, a backdrop can serve a double purpose here: it can control light, while also covering up all the background clutter! It can help make a small space more workable.

For most of the photos in this article, I pushed our sofa and table into the middle of the living room, then I set up in front of our largest window. Without the backdrop, this location would look far too busy.

10. Place your subject close to the window

Earlier in this article, I talked about the importance of windows when doing indoor photography.

But it’s not enough to just use windows. You also need to carefully position your subject.

Specifically, place your subject a foot or two away from the light source. That way, you’ll make use of the natural light, and you’ll also avoid the harsh contrast that comes from being too close to the window.

One more tip:

Experiment with lighting effects. Try backlighting, sidelighting, and frontlighting (just have your model face in different directions and follow them with your camera!).

11. Use the curtains

If the light is harsh, you’ll get unpleasant shadows and contrasty subjects – unless you can diffuse it!

So here’s what I recommend:

Use curtains or blinds!

If you have translucent curtains, let them cover the window completely. If your curtains are opaque, consider closing them partway, then let the light feather onto your subject.

Alternatively, if your curtains aren’t suitable for diffusing the light, you could hang a piece of diffusive material over your curtain rods.

12. Shoot reflective objects

Natural light can turn the most common thing (like the moisture on the window pictured below) into something beautiful.

Personally, I think reflective objects look gorgeous when hit by sunlight. Here are just a few examples:

So have fun playing around with reflective objects and natural light. The light will create all sorts of interesting reflections, and it’ll even glisten off shiny objects:

natural light through water on the window

Indoor natural light photography: You’ve got to love it!

It’s easy to love indoor natural light photography.

The setup is inexpensive, portable, and easy to use, plus you can create beautiful photos no matter the weather or time of day.

Don’t forget to have fun and let that inner beauty shine through!

Now over to you:

Have you tried indoor natural light photography? Let me know how your natural light shoots go by commenting below!

The post 12 Tips For Gorgeous Indoor Natural Light Photography appeared first on Digital Photography School. It was authored by Dena Haines.

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4 Tips for Drop-Dead Gorgeous Waterfall Photography

13 Jun

The post 4 Tips for Drop-Dead Gorgeous Waterfall Photography appeared first on Digital Photography School. It was authored by Eric Leslie.

4 tips for gorgeous waterfall photography

Waterfall photography is a lot of fun – but coming home with the best shots can be a difficult task.

In this article, I’ll share four simple tips designed to take your waterfall photos to the next level. I’ll discuss the best gear, settings, and light…

…and by the time you’re done, you’ll be ready to capture waterfalls like a pro.

Let’s get started.

1. A camera and a tripod is good enough

Photographers often claim that waterfall photography must be done with neutral density filters, but this is completely false.

All you need is a camera that can shoot in Manual mode and a tripod. Nothing more.

See, the biggest problem that waterfall photographers face is the light. When the sun is bright and overhead, you’ll end up with blown-out highlights and dark shadows that don’t look great. Plus, the light is harsh and flat, not flattering for landscape photography.

And sure, you can put a neutral density filter on your lens, which will block some of the light so you can do long exposures. But even the best ND filter can’t change the quality of the light, which should be your primary concern.

So instead of thinking about your equipment, focus on your timing. Show up at sunrise and sunset, when the light is soft and beautiful. You can also come toward the middle of the day if the waterfall is heavily shaded. Waterfalls are often in deep canyons, so as long as the sun is behind the mountains, you can achieve a long exposure with nice even light, with or without a neutral density filter.

In fact, you can plan ahead to maximize this. Think about it: if the waterfall you want to shoot faces east, the sun will start moving behind the falls in the afternoon. So an east-facing waterfall can be shot with beautiful shade in the late afternoon. You won’t need an ND filter; the shade will let you lengthen the shutter speed all on its own.

2. Choose a shutter speed based on your waterfall

What’s the best shutter speed for waterfall photography? I think the answer varies – like people’s taste in fast food.

Personally, I put waterfalls into two different categories. There are the falls that rage so hard they take your breath away. And there are the falls that are dainty and delicate.

In general, I don’t want my waterfalls to turn out as a blob of white water. So I set my shutter speed (and my other settings) accordingly.

For big, roaring falls, I try to keep my exposure under a second. Anything between 1/4s to a full second will show the water’s motion and still retain lots of detail.

Small, stringy waterfalls just love putting on a show with longer exposures. These falls look great when you can go as long as possible. If you need to narrow your aperture to get a lengthy shutter speed, that’s okay; don’t be afraid of losing sharpness. Photography is always about compromises, and in this case, the slightest loss in sharpness will be greatly outweighed by capturing the water’s movement. For smaller waterfalls, I recommend an exposure between one and four seconds, so stop down to f/22 if you need it.

I usually start with the lowest ISO my camera offers (ISO 100). Then I set my aperture small enough to maximize focus, usually around f/8 or f/10. Finally, I dial in a shutter speed based on my camera’s meter.

Here, my goal is to create a good exposure while also ensuring beautiful water. So if the shutter speed isn’t in the right range, I’ll adjust the aperture or ISO to get the ideal result.

3. Take a second exposure to keep the foliage sharp

Have you ever tried to shoot a waterfall with a long exposure and noticed that the leaves on the trees and plants move with just the slightest breeze? And turn into a messy blur?

It happens all the time, and it’s not ideal. So here’s what you do:

After you’ve bagged your main shot of the waterfall, look around the edges of the photograph. See if the plants are soft and fuzzy. If they are, increase your shutter speed to 1/100s or faster (the goal is to freeze the moving plants). To keep a nice exposure, you can open up the aperture, but make sure you don’t lose your maximum focus. If you still don’t have a fast enough shutter speed, boost your ISO until you get the result you’re after.

Back home, take the two exposures and blend them together using layer masks in Photoshop.

4. Head out when it’s cloudy

Cloudy days are incredible for waterfall photography. (And rainy days? Even better!)

Cloudy days offer all the benefits of shooting when the sun is low or when the waterfall is in the shade – except you have the freedom to shoot all day long without stopping.

I also find you get much better color when it’s overcast, so mossy rocks and autumn leaves really pop. And you get a wonderfully dark, dramatic mood with lots of beautiful shadows:

One pitfall to avoid on cloudy days, though:

Including the sky. Cloudy skies are boring and drab and generally poor additions to a waterfall photo.

So if you can get up high to shoot down on the falls, do it; you’ll eliminate the sky for a more pleasing composition. You can also try shooting falls in heavily forested areas, or you can zoom in for a more intimate waterfall shot (one that keeps the sky outside the frame).

Worst-case scenario, you can frame out part of the sky then clone out the rest in post-processing. But this takes an annoying amount of time, which is why I highly recommend getting it right while out shooting.

Waterfall photography tips: final words

As with all things photography, shooting waterfalls takes practice and experimentation.

But if you remember these tips and persevere, you’ll get great shots in no time at all!

Now over to you:

What do you struggle with most in waterfall photography? Do you have any advice for readers? Do you have any waterfall images you’re proud of? Share your thoughts and photos in the comments below!

The post 4 Tips for Drop-Dead Gorgeous Waterfall Photography appeared first on Digital Photography School. It was authored by Eric Leslie.

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10 Flower Photography Tips for Gorgeous Results

30 May

The post 10 Flower Photography Tips for Gorgeous Results appeared first on Digital Photography School. It was authored by Anne McKinnell.

10 tips for improving your flower photography

Are you looking to capture stunning flower photography? You’ve come to the right place!

In this article, I’m going to take you through plenty of tips and tricks for gorgeous flower shots. Specifically, I’ll explain:

The best light for flower photography
A simple way to create a beautiful soft-focus effect
My secret for amazing foregrounds
Much more!

So if you’re ready to improve your photos, then let’s get started.

1. Photograph flowers on an overcast day

Did you know that overcast skies are perfect for photographing flowers?

It’s true. The soft light of an overcast day complements the delicate petals – plus, there are no shadows and no harsh bright spots, so you can get a nice, even exposure.

You need to be careful, however. Toward the beginning and end of a cloudy day, the light gets pretty limited, which leads to unwanted blur (especially when shooting at high magnifications). So aim to photograph at midday, then pack up before the sky gets too dark.

2. Backlight will make your flowers glow

As you learned in the previous section, clouds are great for flower photography. But what about clear days? Can you shoot when the sky is bright and cloudless?

Absolutely!

You see, another type of light that is excellent for flower photography is backlight. You get nice backlight when the sun is directly in front of you, lighting your flower from behind.

Because petals are translucent, backlight makes flowers glow, like this:

Try to photograph late in the day when the sun is close to the horizon; that way, the backlight will hit your flower petals directly, plus it’ll cast a nice, warm light over the rest of your image.

(You might even be able to catch some rays of light filtering through the trees!)

3. Watch out for wind

When photographing flowers, wind is your enemy. It’ll blow your subjects in every direction, which makes it annoyingly difficult to focus (and if you’re shooting with a slow shutter speed, it’ll introduce plenty of blur).

The easiest way to avoid wind? Do your photography early in the morning when the weather is still calm. And a little wind is manageable; just bring a piece of cardboard or a reflector, then hold it up next to your flower.

If you prefer not to get up early, or if you need to take photos on a windy day, you do have a second option:

Bring your flowers inside. You don’t need a complex studio setup to get beautiful shots indoors – just put the flowers near a window and find a solid backdrop to set behind them. I photographed the flower below by taking it inside and placing it in front of a white sheet:

4. Get closer

Here’s one of the easiest ways to create stunning, unique flower photos:

Get as close as you can.

You can do this a number of ways:

First, you can use a telephoto lens and zoom in on the flower. You’ll want to pay attention to the minimum focusing distance (MFD) of the lens because some lenses just can’t focus especially close. (The MFD is usually marked on the outside of the lens, though you can also look it up online.)

If you’re lucky, your telephoto lens will focus close, and you can use it for beautiful flower shots. But what if you can’t get as close as you’d like?

You have a couple of choices. You can use extension tubes, which mount on your camera and let the lens focus closer. Or you can use a close-up filter, which attaches to the end of your lens and works like a magnifying glass.

Honestly, both of these options come with pretty significant drawbacks; extension tubes are inconvenient, while close-up filters reduce image quality. Sure, they work, and if you’re just getting started with flower photography, either method will help you take interesting close-up shots. But if you want to really improve your images, I’d recommend a dedicated macro lens, which will let you capture intimate images without the need for accessories.

5. Use a reflector

Here’s a quick tip:

Shaded flowers can make for some stunning photos (especially when you combine a shaded subject and a well-lit background!).

But you’ll need to keep your flower relatively bright. So if your subject is in the shade, use a reflector to bounce some light (this will also make your flower more vibrant!).

6. Avoid a cluttered background

Here’s another quick piece of advice:

In flower photography, the background can make or break the image. A uniform background can look great – whereas a cluttered, distracting background will draw the eye and prevent the viewer from appreciating your main subject.

Before you hit the shutter button, ask yourself:

Does my background complement the flower? Or does it distract?

And if it does distract, try to change your position until the distractions are gone, and you’re left with nothing but a beautiful wash of color.

7. Use a shallow depth of field

Shallow depth of field flower photos can look great – but what is a shallow depth of field, and how do you achieve it?

A shallow depth of field features only a sliver of sharpness. So the flower stays sharp, but the background is blurred, like this:

flower photography tips blue flowers with water droplets

To get a shallow depth of field, make sure to use a wide aperture (i.e., a low f-number) such as f/2.8 or f/4. And get as close as you can to your subject while also increasing the distance between the subject and the background.

8. Keep a part of your flower sharp

A shallow depth of field effect is great – but you’ll still need to keep at least part of the flower sharp so that your viewer’s eye has an anchor point.

So do what’s necessary to get a crisp image. If you’re shooting in good light, raise your shutter speed and focus carefully. If you’re shooting in poor light, use a tripod and a remote release to avoid camera shake.

Remember: Even if there doesn’t seem to be wind, flowers always move a little. So if your flower isn’t sharp, try raising the shutter speed a stop or two.

Finally, check your focus. If necessary, focus manually. Make sure you’ve nailed the most important parts of the flower, such as the petals and the flower center.

9. Change your point of view

If you’re after unique flower photos, don’t just take a standard shot. Instead, move around and try some different angles and focal lengths.

For instance, shoot the flower from behind or from below to capture an interesting point of view. You might also try shooting down from above, getting unusually up close and personal, or zooming out for a wider environmental image.

10. Focus through another flower

“Focusing through” is a popular technique among professional flower photographers, and for good reason:

It looks really, really cool, especially when you get a lot of colorful foreground blur.

Like this:

flowers photographed with the shoot-through technique

But how can you create such a compelling image? How do you get a nice foreground blur?

You simply find a flower you want to photograph, then adjust your position until another flower sits between the lens and the flower. (The closer the foreground flower is to the lens, the better the look.)

Ultimately, the secondary flower will become a blur of color, and your final image will have a more professional feel.

Tips to improve your flower photography: conclusion

Well, there you have it:

10 easy tips to take your flower photos to the next level.

Hopefully, at least one or two of the tips speaks to you – and you feel inspired to get out and start shooting!

Now over to you:

Do you have any flower photos you’re proud of? Which of these tips do you like the most? Share your thoughts (and images!) in the comments below.

The post 10 Flower Photography Tips for Gorgeous Results appeared first on Digital Photography School. It was authored by Anne McKinnell.

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21 Family Portrait Ideas for Gorgeous Photos

11 Mar

The post 21 Family Portrait Ideas for Gorgeous Photos appeared first on Digital Photography School. It was authored by Simon Ringsmuth.

Preparation is key to any successful photoshoot, and having plenty of family portrait ideas will help ensure your session goes as smoothly as possible.

Whether you’re working with friends, repeat clients, or new customers, you want to make your family portrait sessions fun and engaging, because this will always lead to better pictures.

So if you’re stuck in a rut or just looking for something new to try, check out these 21 ideas. They’ll stimulate your creativity and get you thinking about fun ways to take pictures of families.

Let’s get started.

1. Standing together

This one won’t win any awards for creativity, but it’s a classic. It just works.

Position everyone close together, with those on the outside turned slightly inward. Kids can stand on the ground or be held by an adult.

family portrait ideas standing — Nikon D750 | Nikon 70-200mm f/2.8 | 200mm | 1/400s | f/2.8 | ISO 1400

I always like to start with shots like this to cover my bases before I try new and creative ideas. That way, you can always deliver a classic posed image your clients will love, in case your other ideas don’t quite work out.

2. Look for interesting backgrounds

While the focus of your family photos should always be the people, it can help to use different locations – especially if you find yourself working with repeat clients.

Introducing new background elements or other scenery can dramatically alter the look and feel of an image, and will give your clients pictures they will remember forever.

family portrait ideas background — Nikon D750 | Nikon 50mm f/1.8G | 1/250s | f/4 | ISO 100

3. Group hug!

Family portraits should be a celebration of love and togetherness.

So find ways to use that in your images!

Get the kids to snuggle up with the parents so everyone’s near each other.

Let the family, and others who see the photos, remember the love that can barely be contained in a single image.

family portrait ideas group hug — Nikon D750 | Nikon 70-200mm f/2.8 | 200mm | 1/350s | f/4 | ISO 800

4. Go for a walk

Tell everyone to stand back, get in a line, and slowly walk toward you.

Here’s an example:

family walking — Nikon D7100 | Nikon 85mm f/1.8 | 1/500s | f/2.8 |ISO 200

This type of shot is a classic for a couple of reasons. For one, families love it. Plus, it’s the type of photo you can’t get with a mobile phone.

I recommend using a zoom lens, because you can zoom from telephoto to wide as the group gets closer.

It also helps to have a camera with a fast continuous shooting speed and a deep buffer, so you can take as many shots as you need to nail the perfect one.

5. Go for a run!

This one works great if you have children involved. Just tell everyone to back way up and then run toward the camera.

(Kids love doing this type of shot!)

family running — Nikon D750 | Nikon 70-200mm f/2.8 | 135mm | 1/200s | f/4 | ISO 360

Make sure everyone is holding hands; otherwise, the speedier ones will end up ahead.

Also, quick tip:

Use your camera’s high-speed shooting functionality combined with a fast shutter speed to freeze the action.

6. Showcase the generations

When doing a multigenerational family portrait session, it’s a good idea to get at least one shot showing the eldest couple plus the family.

Put the eldest couple in the middle and surround them with their children, grandchildren, and other relatives. This creates a sense of closeness and family bonding that’s immediately apparent to anyone who looks at the photo afterward.

family portrait ideas generations — Nikon D750 | Nikon 70-200mm f/2.8 | 130mm | 1/180s | f/4 | ISO 280

7. Headshots of each person

This might seem like cheating because a single headshot isn’t the same as a family portrait.

But I love taking headshots for my family clients since they require almost no extra effort on my part and the families always enjoy the results.

(I’ve found that most people aren’t expecting individual headshots when you do a family portrait session. So they’re seen as a fun bonus and will keep clients calling for repeat business.)

Nikon D750 | Nikon 70-200mm f/2.8 | 200mm | 1/250s | f/2.8 | ISO 360

7. Use backlighting

It’s always important to look for the light any time you’re taking photos, and it’s especially true for family portraits.

Normally I like the light to be behind me, but it’s fun to play around with backlighting and see how it can dramatically alter your images.

In this example, the fountain behind the couple adds a brilliant shine to the shot, thanks to the power of backlighting:

family portrait ideas backlighting — Nikon D7100 | Nikon 85mm f/1.8 | 1/2000s | f/2.4 | ISO 100

The sun also adds a nice rim light to the newly engaged couple. See how they shine in the late afternoon sun?

The couple was thrilled with the result, and your clients will be, too.

8. Group the genders

Grouping the genders isn’t exactly new or groundbreaking. But it’s a tried-and-true formula for success – one that your clients might not think about in advance but will greatly appreciate afterward.

So put all the women together and take some shots, then do the same for the men.

My clients always have fun doing this, and it gives them some great photos to hang on their wall.

family portrait ideas genders — Nikon D750 | Nikon 70-200mm f/2.8 | 175mm | 1/180s | f/4 | ISO 220

9. Show playfulness

Kids love to laugh, play, and run around.

So why not embrace that during a photoshoot?

Ditch the poses for a minute and let your clients just have fun. This works especially well with young kids; parents will pick them up, swing them around, and have a great time just enjoying the day.

But have your camera ready to capture those moments!

father and child playing — Nikon D750 | Nikon 85mm f/1.8 | 1/200s | f/1.8 | ISO 400

10. Build photo benches

I did many family photo sessions that left me frustrated. You see, I didn’t have a great solution for a very basic problem:

I didn’t have a spot for people to sit.

If you’re in a controlled studio environment, you can deal with this easily. If you like to shoot out in nature, however, you might not be so lucky.

Thankfully, with a few cheap pieces of wood from any home improvement store, along with some tools and a free afternoon, you can build your own photo benches (and solve this problem once and for all!).

I now have three benches in different sizes that I use to accommodate a variety of families. They can be used separately or placed together as one long bench. It doesn’t even matter if they get scuffed or dirty, since imperfections add to a sense of character.

And the results are amazing, plus I no longer worry about finding a spot for my clients to sit comfortably.

family portrait ideas photo benches — Nikon D750 | Nikon 70-200mm f/2.8 | 200mm | 1/250s | f/4 | ISO 640

11. Just the kids

Amidst the joy and chaos of a family photoshoot, it’s easy to overlook this classic pose – but it’s one that you’ll regret leaving out.

Parents love shots with their kids together, and even when not all the kids are happy and cheerful, I still get positive comments. Pictures like this show the unique personalities of each child, and I usually get one or two kids smirking, grinning, or doing their own thing, to which their parents say, “Yup, that’s just who they are!”

family portrait ideas kids — This old coffee table was what I used before I built my own photo benches.
Nikon D750 | Nikon 70-200mm f/2.8 | 200mm | 1/200s | f/4 | ISO 250.

12. Involve the pets

Bringing pets to a photoshoot can be a mixed bag. When you introduce a four-legged friend to a formal family photo session, you add a lot of uncertainty, and it’s almost impossible to make the animal do what you want it to.

Even so, there’s a host of important benefits: It puts your clients at ease, helps them remember their pets fondly, and can make for some genuine smiles.

I find this works best if you do your photo session at your clients’ house. But if you do go out, make sure the clients bring a portable kennel or some treats to keep the furry friend occupied when it’s not in the shot.

family portrait ideas pets — Nikon D750 | Nikon 70-200mm f/2.8 | 200mm | 1/250s | f/4 | ISO 100

13. Use structures

I like going out around town to do family photo sessions (preferably to a handful of places I have scouted in advance and used many times before).

The nice thing about some of these spots is that they have built-in structures and other accoutrements that allow you to take fun, sometimes unplanned, pictures of your clients.

So don’t be afraid to include these! Embrace the structures around you and use them to add flair to your photos.

kids on a structure — Nikon D750 | Nikon 70-200mm f/2.8 | 200mm | 1/180s | f/4 | ISO 280

14. Show affection

This one is a little tricky, but the results can be absolutely heartwarming.

Just be careful how you talk with your clients and direct them during the shoot. You don’t want signs of affection to be forced or uncomfortable, and unless you are good friends with your clients, you might not know where to draw the line.

That being said, I’ve had nothing but positive results just by asking parents to give a quick hug or kiss to their little children. These simple signs of affection often end up being my clients’ favorite shots.

family portrait ideas affection — Nikon D750 | Nikon 70-200mm f/2.8 | 200mm | 1/500s | f/4 | ISO 2200

15. Read a book

Any time you do a family photo session with kids, particularly younger ones, you have to be willing to accept a degree of uncertainty.

After all, the kids might be hungry, fussy, or defiant – and it’s your job to make the best images possible in spite of these obstacles.

I don’t recommend handing out sweets or treats to children, as this can introduce even more unwanted uncertainty. But if you want to get the kids to cooperate, ask your clients to bring along some of their child’s favorite books. This helps them relax and can lead to some very special pictures.

parents reading to daughter — Nikon D7100 | Nikon 35mm f/1.8 | 1/320s | f/2.8 | ISO 200

16. Use their home

I do almost all of my work for clients outdoors. But sometimes I’m invited inside their homes, and this can make for some very special sessions.

If you schedule a shoot at your clients’ house, ask if you can arrive early. Assuming you get the go-ahead, come before the session and politely look for good spots to take pictures. Look for furniture, toys, and large windows that will let in plenty of light.

Ideally, you want to schedule a pre-consultation with your clients to discuss the session. Treat these at-home opportunities with the respect and dignity your clients deserve, and they will be glad to ask you for future photo sessions.

family interacting at home — Nikon D750 | Nikon 35mm f/1.8 | 1/90s | f/4 | ISO 5600

17. Show context

I sometimes get asked to photograph singular events in my clients’ lives: birthdays, graduations, and other milestones.

And while you can always use these opportunities to capture the same types of portraits you would normally shoot, what really matters is context.

So find ways of incorporating visual elements from the event into your photos, as I did in this image:

family portrait ideas context — Nikon D750 | Nikon 70-200mm f/2.8 | 70mm | 1/4000s | f/4 | ISO 560

My friend asked if I would take pictures when he received his Ph.D., and I made sure to include campus buildings in the frame to serve as a reminder of his time in graduate school.

18. Capture candids

Sometimes the best shots of a photo session are completely unplanned. While posed pictures are nice, it’s also fun to get pictures of your clients just walking around, laughing, talking, and enjoying one another’s company.

In other words:

When photographing a family, show them being a family!

And it’s okay to cheat a bit here, too. For the shot below, I asked the couple to walk across the veranda, then I caught them in a candid moment of joy.

family portrait ideas candids — Fuji X100F | 23mm | 1/125s | f/5.6 | ISO 400

19. All hands on deck

When taking pictures of a large family, especially one that spans multiple generations, make sure to get an image with hands.

Clients love seeing mementos like this, and they can instantly pick out which individuals were present just by looking at the hands.

Plus, an image like the one below captures myriad details that are missing in headshots and full-body portraits: wedding rings, the weathered hands of the grandparents, and the small hands of children next to their mother’s and father’s hands. It’s a touching image that speaks volumes about the family without showing any faces at all.

hands together — Nikon D750 | Nikon 70-200mm f/2.8 | 86mm | 1/500s | f/4 | ISO 280

20. Use their ideas

Any time I do a family session, I make sure I’m well prepared. I have a clear idea of my goals for the session, where I want to be, what kinds of images I want to get, and of course, plenty of spare batteries.

But you have to be willing to adapt and incorporate your clients’ ideas, too. They might want to try something different, go to a new location, or pose in a way you hadn’t considered.

Don’t shut these ideas down! Even if the images aren’t your personal favorites, your clients might love them, and they will certainly appreciate your willingness to listen to their suggestions.

couple on a bridge — Nikon D750 | Nikon 50mm f/1.8 | 1/4000s | f/1.8 | ISO 100

21. Use a silly noise-maker

This idea is last because you have to use it carefully. If you know your clients well, and if there are young children in the family, then one fun thing to consider is a remote-controlled fart machine.

Yes, I know that seems absolutely ridiculous, but nothing sends kids into a gleeful bout of giddiness quite like an unexpected breaking of wind.

These little gadgets are inexpensive and can be hidden underneath a bench, taped to a stool, or tossed behind a tree. Right as you prepare to take a shot, click the remote and watch the kids erupt with laughter.

Adults might roll their eyes, but the kids will love it, and you’ll get some of your favorite shots of the session.

family portrait ideas noise machine — If you want to get genuine smiles and laughs from kids, this can definitely help. But don’t use it with new clients. Make sure you have a good relationship with clients and their kids first.

Family portrait ideas: Final words

There’s no guarantee that these family portrait ideas will result in perfect pictures. Any number of things can go wrong on a family shoot, but any number of things can also go right.

The point here is to fill your mind with possibilities. That way, you can do everything in your power to get the best possible shots.

And above all else, try to relax, have fun, and enjoy the session!

Your clients will love the results…

…and they’ll soon be asking you to come back for more pictures.

Frequently asked questions

What should my clients wear for a family session?

I recommend solid colors in matching groups (such as some people wearing blue, others wearing green, etc.). But remember that the photos are for your clients, and even if they show up in clothing you wouldn’t recommend, your job is to take good photos regardless.

Do I need a tripod for family photos?

Absolutely not! You can use one if you prefer, but I find that tripods and even monopods are more of a hassle than a help. You need to move around, especially if you’re shooting pictures of kids – and if you are tied down to a tripod, you won’t be nearly as flexible and adaptable.

You do a lot of outdoor family photos. What’s the best type of location to look for?

I try to avoid popular spots like botanical gardens and college campuses (which often have beautiful landscaping) and look for spots that are off the beaten path. My primary consideration is light: I like spots with tall trees and even lighting, even if there aren’t flowers or fountains. Choose your locations so the emphasis in your images will be on the people, not their surroundings. 21 Family Portrait Ideas for Gorgeous Photos

What camera is best for family portraits?

You can use almost any camera for family photos, but I recommend one with a large buffer and the option for a battery grip. The former will prevent you from wasting time waiting for your camera while photo opportunities slip by. The latter will give your camera enough battery power to last for hours, which means one less thing for you to think about during the shoot.

Do I need an expensive portrait lens?

No, but if the only lens you have is the kit lens that came with your camera, I would recommend at least investing in a single prime lens. A 35mm or 50mm lens won’t be expensive and can yield amazing results, especially for family photos.

The post 21 Family Portrait Ideas for Gorgeous Photos appeared first on Digital Photography School. It was authored by Simon Ringsmuth.

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Sony Releases a Gorgeous (and Expensive) 35mm f/1.4 Lens

19 Jan

The post Sony Releases a Gorgeous (and Expensive) 35mm f/1.4 Lens appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Just last week, Sony unveiled its latest high-powered creation:

A 35mm f/1.4 GM lens, designed for full-frame, E-mount cameras, and offering an impressive set of capabilities (for an eye-watering price).

As you’d expect from a G Master lens, the 35mm f/1.4 features a no-holds-barred, pro-level design. You get a beautifully-constructed barrel, a handy aperture ring (for changing the aperture on the fly without having to fiddle with camera dials), plus dust and moisture resistance. The lens is relatively light and compact (Sony highlights its 524 g/18.5 oz weight, as well as its ability to sit “comfortably in the palm of your hand”), which makes it ideal for travel and on-location photoshoots. In fact, Sony has managed to create a lens that you’ll want in your bag for pretty much any photography scenario, be it studio work, natural light portraiture, landscape photography, street photography, or event photography.

Aside from its build, what makes the Sony FE 35mm f/1.4 GM so special?

First, there’s the optics. Sony claims that the 35mm f/1.4 offers “extraordinary resolution” and “stunning contrast,” and early reviews bear this out, commenting on the lens’s impressive sharpness, even at f/1.4. This makes the 35mm f/1.4 a worthy choice for landscape photographers after a mid-wide prime, as well as for architectural photographers.

Then there’s the f/1.4 maximum aperture. Wide open, you can capture buckets of light; this is perfect for event photographers who frequently shoot indoors and need to keep their shutter speeds high, even at night. Plus, the f/1.4 setting combined with an 11-blade aperture is practically guaranteed to produce class-leading bokeh – for the kind of portrait backgrounds that will leave the viewer stunned.

Sony also promises speedy autofocus (specifically, “fast, smooth, and silent AF performance”), as well as effortless (“immediate and precise”) manual focus for those portrait photographers, landscape photographers, and videographers who require intense control when adjusting focus.

Of course, a big part of a lens’s appeal is its focal length, and here the Sony 35mm f/1.4 excels. On a full-frame camera, you get a medium-wide field of view for landscapes, environmental portraits, and wider street shots. Mount the Sony 35mm f/1.4 on a crop-sensor body, and you’ll have a handy 50mm lens, one that’ll work for standard portraits, tighter street photos, walkaround shooting, and more.

Unfortunately, the Sony 35mm f/1.4’s price tag sits just under $ 1400 USD. However, if you can afford the cost and require the absolute best image quality and bokeh around, the Sony 35mm f/1.4 won’t disappoint.

You can check out the Sony 35mm f/1.4 right here; shipping starts on February 15th.

Now over to you:

What do you think of the Sony 35mm f/1.4 GM? Are you interested? Is the lens too pricey? Or is it worth the cost? Share your thoughts in the comments below!

The post Sony Releases a Gorgeous (and Expensive) 35mm f/1.4 Lens appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

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XP-Pen Artist 24 Pro Review: A Gorgeous Graphics Tablet for Photographers

08 Jan

The post XP-Pen Artist 24 Pro Review: A Gorgeous Graphics Tablet for Photographers appeared first on Digital Photography School. It was authored by Sime.

XP-Pen Artist 24 Pro graphics tablet review

I’ve been using Photoshop for many years – primarily as a photographer that works in Lightroom and sometimes exports images into Photoshop for editing. But using Photoshop with a mouse is something that takes a lot of practice; it’s not really a natural way to post-process, which is why many serious editors turn to graphics tablets.

Now, when the team from XP-Pen reached out and offered us a review unit of the XP-Pen Artist 24 Pro, a 2K, 23.8-inch QHD graphics tablet, I’ll admit I was a little dubious. I’d only ever owned one graphics tablet – a tiny little Wacom that didn’t get a lot of use. I was certainly keen to try a new tablet, but I’ll admit that I was a little worried about not liking it.

Fortunately, as you’ll soon see, I needn’t have worried. As I share in this review, the XP-Pen Artist 24 Pro is a powerful graphics tablet, one that both looks and works great.

So to discover all the nitty-gritty details, including both the benefits and the drawbacks of working with the Artist 24 Pro, read on.

First impressions

The package that arrived was much larger than I expected. I knew the Artist 24 Pro featured a 24-inch display, but I had clearly not managed to comprehend just how large the tablet would be.

I have a desk with two 27-inch displays, which meant that the XP-Pen Artist 24 Pro would need an extra bit of real estate. So after I MacGuyvered something together with a Kupo light stand and my Tether Tools Aero, it was time to get the new tablet set up!

I tried using the tablet in two different configurations:

First, on a stand with my Macbook sitting behind it. This is a great setup for shooting tethered, as you can perform quick edits there and then with the tablet while using it as your main display.

The second configuration, as shown in the photograph above, was with the tablet adjusted to the height of my standing desk, ready to go!

Design

The XP-Pen Artist 24 Pro offers one HDMI and two USB host ports (so you can charge things like phones, etc.), as well as the power input on the back of the unit.

There’s also a USB-C port, which allows me to connect my iMac to the display. This was very quick and convenient; it worked straight out of the box with very little configuration required.

The rear of the tablet sports a flappy-paddle stand that, when depressed, moves a foot into the desired position. This lets you adjust the unit to stand up or lay almost flat, as though you’re writing in a nice big notepad.

XP-Pen Artist 24 Pro graphics tablet tilting

I love how I can stand up the tablet to use as a regular second monitor for my 13-inch Macbook Pro, before laying it flat and working on photographs.

XP-Pen Artist 24 pro setup — The XP-Pen Artist 24 Pro lying almost flat.

Ease of use

The XP-Pen Artist 24 Pro comes with a piece of software (a download) that adjusts the settings of the tablet, pen controls and functions, monitor configuration, express key setup (more on that in a bit), calibration, and other general features. I’ve found it very easy to use with no what-the-heck-am-I-doing moments to speak of!

However, when you first set up your tablet and open Photoshop, make sure you have the correct monitor mapped. Otherwise, you’ll find yourself deeply frustrated; I speak from personal experience.

Performance

There are many technical reviews of the XP-Pen Artist 24 Pro on the web, and most of them will tell you, in superbly technical terms, that the tablet is a very capable tool.

In fact, my conclusion is similar – the large screen, the 2560×1440 resolution, the 90% AdobeRGB color gamut, and the tilting stand makes for a very usable tablet.

When you get the XP-Pen Artist 24 Pro custom buttons all configured using the two easy-to-control red dial wheels and the 20 customizable shortcut keys, it’s very easy to open and control many different graphics packages, as well as a lot of other options (depending on which software you like to use on your computer).

In truth, I hadn’t previously used a tablet much. I thought that I’d always just edit with my mouse. I guess that comes from having a less-than-pleasant time with the first tablet I tried (and I hadn’t used another tablet until the Artist 24 Pro).

I’ve now had the XP-Pen Artist 24 Pro for quite a while. And when working in Photoshop, while I would have once happily used my mouse, I now whip out the tablet and do my editing on the screen – a testament to the great performance and ease of use of the tablet.

Granted, the 24-inch tablet isn’t the smallest device, and you do need to have space for it. But the tablet only requires one USB-C (or HDMI) and one power cable, so you can have your laptop tucked behind the tablet, using the tablet as your main display with a wireless keyboard and mouse to give your laptop that “big screen” feeling.

I’ve used the tablet as the main display for my 13-inch MacBook Pro for almost everything from movies to editing since I received it.

The XP-Pen Artist 24 Pro review: Conclusion

The XP-Pen Artist 24 Pro offers solid build quality combined with a simple-to-navigate interface, great on-screen performance, visual clarity, and ergonomics.

There was only one thing I thought could be improved, and that was the rear foot of the big screen. It has a couple of rubber stoppers that hold the device nicely in place, but it’s easy to scratch your desk if you’re not careful.

Overall, I like almost everything about the Artist 24 Pro; it’s packed full of features that make it one great tablet!

You can purchase the XP-Pen Artist 24 Pro right here.

The post XP-Pen Artist 24 Pro Review: A Gorgeous Graphics Tablet for Photographers appeared first on Digital Photography School. It was authored by Sime.

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5 Tips for Gorgeous Nature Photography Lighting

22 Nov

The post 5 Tips for Gorgeous Nature Photography Lighting appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

In this article, I’m going to show you how to use light to create nature photography masterpieces.

And I can guarantee that they work.

Why? Because they’re the tricks that I use myself. All the time.

In fact, these nature photography lighting tips can be your photography secret weapon. They’ll get you creative, original photos, no doubt about it.

You just have to be willing to try them out!

Let’s dive right in.

5 Tips for Gorgeous Nature Photography Lighting

Wait until last light for a breathtaking sky

Nature photographers love to shoot during the so-called “golden hours,” the hours just after sunrise and just before sunset, when the low sun casts a beautiful golden glow over the landscape.

And it’s true. The golden hours are a great time for nature photography.

5 Tips for Gorgeous Nature Photography Lighting

But if you want truly stunning nature photos, I recommend you go beyond the golden hours.

Instead, focus on shooting at the very last light, when the sun is touching the horizon.

This is the time when the sky often goes brilliant with colors. This is when you get a sunset sky, one that can absolutely blow your mind.

And this “last light” makes for truly breathtaking nature photography shots.

If you’re a landscape photographer, this probably seems obvious. Nearly all landscape photographers shoot at sunset.

But even if you’re not a landscape photographer, I encourage you to shoot at this time. Because sunsets aren’t just good for landscape photos. They also make for beautiful backgrounds in macro photography, bird photography, and flower photography.

Nature-Photography-lighting-tips

So here’s what I recommend:

Get out to shoot during the golden hours. Take some nice shots. But then stick around until the sun is touching the horizon. And start incorporating some stunning sunset colors into your images.

Note that you don’t have to stop when the sun goes down. The colors remain deeply photogenic.

So feel free to keep shooting until you no longer have the light to capture photos!

Photograph in inclement weather for moody images

While golden light is great for nature photography, it’s not the only type of lighting that works.

In fact, one of my favorite types of lighting is the opposite of golden light:

Dark, cloudy lighting. Or lighting in bad weather.

Nature-Photography-lighting-tips

At first glance, this type of lighting seems questionable. After all, during bad weather the light gets low, and it’s often hard to have enough light for good exposures.

But here’s the thing:

Bad weather creates a mood. It creates an atmosphere. And it can give your nature photography something that’s hard to find under other circumstances:

Drama.

For instance, if you photograph when the skies are stormy, you can produce dramatic, breathtaking landscapes.

And if you photograph in rain or snow, you can create a sense of isolation and solitude that can absolutely take your photos to the next level.

Nature-Photography-lighting-tips

Which is exactly what you want.

Use the broken backlighting technique for stunning bokeh

The broken backlighting technique is one of my favorite ways to create beautiful nature photography backgrounds.

Backgrounds like this:

5 Tips for Gorgeous Nature Photography Lighting

If you look at the photo above, you’ll notice how the out-of-focus areas are intensely blurred. But they don’t look disjointed; instead, they look creamy and smooth.

How do you create such an effect?

By using the light.

Here’s how it works:

Go out on a day when the skies are clear, but the sun is low in the sky. Then find something on the skyline that can come between you and the light. (In other words, find something that breaks the light.)

Trees work especially well, but any type of vegetation will give you some good shots.

Finally, find a subject that’s between you and the “broken” background. Use a wide aperture on your camera, and take some shots.

You’ll end up with beautiful backgrounds.

Nature-Photography-lighting-tips

That’s the power of the broken backlighting technique. You see, the broken backlight will be rendered as blurred pinpricks of light. And those pinpricks are just what you want for the best possible background bokeh.

You can use this for intimate landscape scenes. You can use this for bird photography. And you can use this for macro photography.

It’ll work every time.

Find backlit subjects for stunning silhouettes

Backlit photography isn’t all that common in nature photography.

But it should be.

You see, backlighting can add a lot of drama to your photos. This is often at the cost of color intensity, because the heavier the backlighting, the more underexposed your main subject becomes.

This can be a problem unless you’re willing to embrace it. By increasing the exposure, you can blow out the background but capture a beautiful foreground.

Or, even more dramatically, you can let the main subject become a silhouette.

Nature-Photography-lighting-tips

Here’s how it works:

Wait until the end (or the very beginning) of the day, when the sun is low in the sky. Position your main subject so that it’s between you and the sun. You don’t want the sun itself to be featured in the frame, so you can cover it with your main subject, or keep it just outside the shot.

You also want to make sure that your main subject doesn’t intersect with anything. Ideally, the subject should be framed against the sky, so you have powerful dark-light contrast.

Then switch your camera over to manual exposure. Choose an aperture like you normally would, but dial in a very fast shutter speed. You want your main subject to be underexposed.

And then…

Shoot. Take a number of shots, experimenting with different shutter speeds. You want to capture a beautiful background, but with a completely dark foreground. It may take a bit of testing before you arrive at the perfect shutter speed, and that’s okay.

I also want to emphasize that you can capture beautiful silhouettes of any subject. Trees, flowers, birds, and leaves all look great.

5 Tips for Gorgeous Nature Photography Lighting

You just have to make sure you get the right backlighting and a carefully positioned subject.

And your shots will look stunning.

Use dreary clouds for beautiful intentional camera movement photos

I’ve already talked about the value of dark, cloudy light. It can add mood and drama to your photos.

But I like dreary days for another reason:

They offer very little light. Which is perfect for capturing long, artistic exposures. And it makes them look incredible because the diffused light results in saturated colors.

Of course, when it comes to doing long-exposure photography, you need a tripod for tack-sharp images.

But in this case, you don’t want tack-sharp images. Instead, you want to capture a beautiful blur, like this:

Nature Photography lighting

This is sometimes referred to as ICM or Intentional Camera Movement photography. Low light is perfect for this type of shot because it allows you to keep your aperture wide while still creating blur. This results in especially artistic, abstract images.

Here’s what you do:

Start by finding a subject that’s nice and colorful. The deeper the colors, the better, though the cloudy light will help bring out the hues regardless.

Then set your camera into Manual mode. Choose a shutter speed in the area of 1s to 1/10s. And choose an aperture that will give you a good exposure, while keeping the ISO down as low as possible.

Take some photos while moving your camera up and down, and left and right. Different motions will result in differently-styled photos. So I recommend you experiment with as many options as possible!

One tip is to move your camera along lines in the scene. So if you’re photographing trees, move your camera so that it follows the trunks downward.

Note that you shouldn’t feel constrained to landscape subjects. Yes, ICM photography is often done by landscape photographers. But you can create beautiful ICM shots photographing macro subjects, flowers, and even birds.

So feel free to photograph the subjects you love!

5 Tips for gorgeous lighting in your nature photography: Conclusion

While it can be difficult to use lighting to your advantage in nature photography, it’s not impossible.

And if you use these tips, you’ll be able to capture nature shots that look just stunning!

So have fun shooting and good luck!

The post 5 Tips for Gorgeous Nature Photography Lighting appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

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