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Posts Tagged ‘Unique’

Samsung patents wraparound phone display with unique photography features

30 Apr

Dutch website Let’s Go Digital has uncovered a Samsung patent that details a wraparound mobile phone display. Unlike the company’s folding phone, this recently approved patent shows a flexible display that wraps from the front of the phone up over the top and down partially across the back. Among other uses, the rear display could be used to provide an image preview to the photo’s subjects.

An illustration from the patent showing how the secondary display can be used to help the subject see themself in the frame.

The patent describes multiple potential uses for the rear display, including as a camera preview. A translation of the section describing this potential use reads:

For example, at operation 1620, the electronic device may confirm to the user that he wants to selfie. When the self-portrait mode is selected, the control unit of the electronic device can activate the rear display provided in the same direction as the direction in which the camera is mounted. The preview image generated in operation 1660 may be displayed through the activated rear display.

Who needs a high-resolution front-facing camera when a secondary display can turn the main camera unit into a selfie cam?

Though the idea of a dual-display smartphone isn’t new, Samsung’s method — using a flexible OLED panel for a seamless wraparound screen — is unique. Of note, this arrangement could enable users to capture selfies using the device’s superior rear camera in lieu of the front-facing camera.

As with any patent, it’s possible Samsung may never bring a device featuring this technology to market.

Articles: Digital Photography Review (dpreview.com)

 
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5 Ways to Use a Piece of Glass for Unique Portraits [video]

29 Mar

The post 5 Ways to Use a Piece of Glass for Unique Portraits appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

In this video by Jessica Kobeissi, you’ll learn how you can use a simple piece of glass in different ways for some interesting portrait effects.

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You can use the glass from a picture frame to achieve these effects:

1. Glass Alone

Simply experiment with the piece of glass using light reflections for shapes.

2. Water Drops

Add water drops to the glass and experiment with depth of field with it to create interesting effects on your model. Bringing the glass closer to the camera and focusing through it changes the effect.

3. Facial Mist

Spray a facial mist onto the glass to soften the image of the model and giving it an ethereal feel.

4. Clear Gel

Smear clear gel onto the glass to add interesting texture. Focus in on the gel or focus through to the model for a softer effect.

5. Shiny Stickers

Add shiny stickers to the glass. Bring the glass closer to the camera for out-of-focus bokeh effects created by the light on the stickers.

 

You may also find the following articles helpful:

5 Photography Hacks to Improve Your Creative Photography

Easy to Create Fake Underwater Photography Hack

DIY Photography Hacks and Accessories You Can Make at Home

5 DIY Hacks to Have in Your Camera Bag

DIY Lighting Hacks for Digital Photographers

The post 5 Ways to Use a Piece of Glass for Unique Portraits appeared first on Digital Photography School. It was authored by Caz Nowaczyk.


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Simple Yet Unique Ways to Add Creativity into Your Photos

06 Mar

The post Simple Yet Unique Ways to Add Creativity into Your Photos appeared first on Digital Photography School. It was authored by Karthika Gupta.

A lot of us get into a creative rut when it comes to winter time or gets into a winter slump! For some, the start of a new year means new goals and new resolutions which also means trying out everything that they possibly can.  If you are like me, and always love looking for new and creative ways to push yourself further or merely interested in just trying out a new technique, here are some tips. Without breaking the bank of course!

#1 Experiment with double exposures or even triple exposures

Karthika Gupta of Memorable Jaunts Creative Photography Multiple Exposures

Three exposures to indicate multiple personalities of people for an editorial photoshoot.

I own a Canon Mark III and doing double exposures is relatively easy.

You can find the drop-down menu from the main menu screen. Select multiple exposures and then select the number of exposures you want. Get creative with 2, 3, or 4 exposures.

Try shooting the next few frames in live view to see how your images overlap. You can get that cool multiple exposure effect.

#2 Creative images with slow shutter with intention

The use of a slow shutter speed in landscapes is common. However, try bringing that in with portraits or even your everyday lifestyle photos. There are many unique ways you experiment with slow shutter speeds:

  1. Have a subject stand still while everything else is moving in the frame. You can do this with self-portraits, outdoor scenes or even with clients. Keep your shutter speed at 1/50th or even 1/80th. If it drops below that, you might get motion blur even if you are as still as possible.
  2. Use a flowing dress or a scarf to indicate movement by using a slow shutter.
  3. Slow shutter speed shows the movement in the frame. If you use it intentionally to tell a story within your frame, it’ll be your best friend! Shutter speed is powerful. When we are so used to using it always set high to freeze movement, especially with kids running around, the opposite can have a different effect when used intentionally.

If you are super-brave, try combining double exposures with slow shutter speed.

You have just opened up a whole new way to get out of a creative rut and spend hours ‘playing’ with your gear. Yes, we all know some of us really don’t need that! We can spend hours with our gear anyway!

Remember there is no right or wrong here, and experimentation is always for fun. If you get it right, you know what to do next time, and if you think it didn’t turn out the way you like, well you know what not to do next time!

Karthika Gupta Photography - Memorable Jaunts DPS Article- Creative Photography Slow Shutter Speed

Slowing down the shutter to capture a ghostly effect on the waves and the fog that rolled in.

Karthika Gupta Photography Memorable Jaunts Creative Photography Slow the shutter

A slightly unintentional slow shutter speed moment but I love this image of the young monk running.

#3 Try using objects to shoot through

This is one of my favorite techniques when I want to try something new. I don’t know about you, but I crave the creative freedom to experiment – even if they end up being a fail sometimes.

I always find I learn something new when I experiment with techniques, tools and even photography subjects. One of my favorite ways to experiment is by shooting through various objects.

Here are a few options:

  • A fabric cloth
  • Shooting through glass or a window
  • Glass cube or prism
  • Bubble wrap
  • Twinkle lights
  • Leaves
  • Plastic colorful flowers

Your creativity is only limited to your imagination.

Karthika Gupta Photography - Memorable Jaunts DPS Article Creative Photography Techniques

This was using fake flowers and I love the light leak effect here, almost similar to old film cameras.

Karthika Gupta Photography - Memorable Jaunts DPS Article Creative Photography Photographing through objects

This was more intentional where I was behind a bush and decided to shoot through the leaves

#4 Free lensing

Why not step out of your comfort zone and experiment with a little free-lensing?

Free-lensing is a technique where you disconnect the lens from the camera and use the viewfinder and manual focus to photograph.

I will caution, that depending on the size and weight of your lens, this is a bit difficult to maneuver. Also, be careful not to drop your lens! I would recommend you try this with a lightweight lens or an older lens that you are not too attached. Free-lensing works best with manual focus.

Free-lensing adds much creativity to photos because:

  1. It truly helps you let go of the perfection and you begin to appreciate the beauty in simplicity
  2. If you love dreamy images that tell a story
  3. It helps you with your storytelling

#5 Creative photography projects

Dedicated photography projects are a great way to force yourself to photograph consistently. Sometimes it is committing to photographing every day for a year.

Alternatively, it could be something like a weekly theme.

Both are great ways to channel your creative energy.

Doing something every day is one of the easiest ways to get good at it. Shooting every day is something every photographer can do to get better and better at their craft.

It doesn’t have to be stressful or take laborious effort. You don’t have to worry about models and outfits. Instead, focus on the techniques – shoot at different times of the day, shoot in different lighting conditions, use still objects or moving subjects likes kids and pets, or practice motion blur. The possibilities are endless.

Think outside the box and do something different every day. Maybe even start an exercise like a 365 project (one photograph every day for a year). Soon enough you will find that you are not only better at the technical parts of photography but the creative aspects as well.

Karthika Gupta Photography - Memorable Jaunts DPS Article Creative Photography Photographing iPhone Photography

I love photographing horses at the barn we visit and often times challenge myself to get action shots with just my iPhone – this was with the burst mode

Karthika Gupta Photography - Memorable Jaunts DPS Article Creative Photography Photographing iPhone at sunset

This is another personal project of capturing sunrise and sunsets just with my iPhone. I love the two runners who happened to come in the middle. Rather than waiting for them to pass, I used them as a creative subject here.

#6 Try a new genre

Trying a new genre helps you reconnect with the basics of photography without the pressures of trying to be perfect at it. Sometimes we get in a creative rut because we are doing the same thing over and over again. If this is you, perhaps try another genre of photography.

I recently took a class on food photography. I am a terrible cook and always thought that food photographers have to be fantastic cooks to not only cook the food but also photograph it.

However, my instructor was super nice and let us in on a secret – store-bought cheesecake is just as good as homemade, and no-one knows the difference. The basics and rules of photography apply to across genres. So go ahead and give yourself permission to experience and experiment with something new to you.

Karthika Gupta Photography - Memorable Jaunts DPS Article Creative photography food photography

I hope these tips help you add a little bit of fun, creatively and freshness to your photography. Remember, always keep learning and trying something new to keep the fun element front and center of everything that you do.

Do you have other creative tips you’d like to share in the comments below?

 

The post Simple Yet Unique Ways to Add Creativity into Your Photos appeared first on Digital Photography School. It was authored by Karthika Gupta.


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Photokina 2018: Sigma interview – ‘There’s no magic to it, we just try to be unique’

14 Oct
Katuto Yamaki, CEO of Sigma, pictured at this year’s Photokina trade show in Cologne Germany, last month.

We spoke to several senior executives last month in Germany at the Photokina trade show. Among them was Sigma CEO Kazuto Yamaki, who shared his thoughts on the photography marketplace in general, and the just-announced L-mount alliance. The following interview has been edited for clarity and flow.


How did the L-mount alliance come about?

I don’t remember exactly when but I think it was two or three years ago. At that time we’d already decided to make a full frame mirrorless camera featuring Foveon technology. We were planning to develop our own short flange back mirrorless system. Actually we already had a design. I don’t remember the exact spec but I think the flange back was about the same [as the L mount], about 20mm, and a similar mount diameter.

And around that time, Panasonic approached us and proposed that we work on it jointly. At around that same time, Panasonic approached Leica, and finally the three companies came together – I think it was about two years ago. And then we agreed to join the L mount system and we discontinued the development of our own original mount system.

Panasonic’s forthcoming Lumix S1R will be a professional-grade full-frame mirrorless camera built around the L-mount. One of the biggest announcements at this year’s Photokina was the alliance between Leica, Sigma and Panasonic – the first fruits of which are expected in spring of next year.

Was there anything about the L mount from a technical point of view that made it particularly attractive?

I would say it’s a well-balanced mount. The flange back is short enough without being too short, and the diameter isn’t too big. It’s a good balance. If the diameter is too big, sometimes it’s difficult to make the camera bodies compact. And if we make a slow lens, like an F2.8 prime or an F3.4-5.6 zoom lens, with a wide diameter mount the shape of the lens will be like this [indicates a funnel shape, tapering from a wide mount to a narrow front element] where the front is slimmer than the back. That doesn’t look great, in my opinion. So the L mount is a well-balanced mount size. 20mm is not too short.

Do you have a timeframe for your own L mount lenses?

I need to check with our engineers, but probably we’ll start shipping our first L mount lenses sometime in the middle of next year.

Will they be L mount versions of your existing designs, or will they be entirely new designs?

Both. We already have the 14 lenses for Sony E-mount, so we’ll make L mount versions of those lenses, and they’ll start shipping next year. We’ll also start shipping brand new L mount lenses.

Canon’s new EOS R debuts the RF mount, which will eventually replace EF as Canon’s main interchangeable lens mount. Alongside the camera, Canon launched a brace of excellent new RF mount L-series lenses, optimized for mirrorless.

Are you in communication with Canon and Nikon around their new mounts?

Around the new systems? No, not at all. We have a great interest in the two new systems but right now I have no plans.

In the past, there could be problems when Canon and Nikon might release new cameras, with slightly changed software, and third-party lenses would stop working properly. Is that a worrying possibility for you?

I can’t deny the potential risks of a similar problem in the future. However, I think such possibilities are significantly lower than before. To be honest, our firmware in the past was not so robust, therefore, we experienced some issues in the compatibility. However, the situation today is quite different.

We’ve worked hard to make the current firmware very robust, and we will continuously enhance the strength of our firmware. Even if we see some minor issues, we’ll upgrade our firmware to make our lenses work perfectly using our USB Dock.

Did Sigma have any influence into the design of the new Panasonic S1/R?

No. Actually, I personally had no idea about the new camera. So at the press conference [at Photokina] I saw the camera for the first time. We do not exchange information [between Sigma, Panasonic and Leica] about our roadmap for products for the new system. It’s a matter of compliance [with antitrust legislation]. We simply cannot do that.

With the announcement of the L-mount alliance, Sigma has confirmed that it will discontinue development of its own SD-series APS-C format cameras, in favor of a new full-frame system built around the L mount.

Now that you’re working on a new full-frame L-mount camera, does this mean that you’ll cease production of your SA mount mirrorless cameras?

We will continue to manufacture and sell our existing SA mount cameras, but we won’t develop any new SA mount cameras in the future.

Will you continue to make lenses in the SA mount?

Yes, as long as we manufacturer lenses for DSLRs, we’ll continue to make lenses in the SA mount. There are still SA mount camera users out there in the world.

Do you expect that the market for M43 lenses will be reduced, following Panasonic’s entry into the full-frame market?

I don’t know, and I might not be the best person to comment, but I’ve seen many journalists using M4/3 system cameras here in Photokina. In my opinion, M4/3 is a great system if you need compactness.

Today we have some second-generation employees and even some third-generation employees.

How will Sigma continue to differentiate its products in the future, from other third-party lens manufacturers?

I don’t believe there’s any magic to it, but we try to be unique and different to other companies. We just invest in the technology, and in the factory, and we improve communication with our customers. We will do everything that we can do, to differentiate from other manufacturers. Also, we have very loyal employees. They’ve worked for us a long time. Today we have some second-generation employees and even some third-generation employees.

It’s different for example from the semiconductor business. When it comes to lenses, the experience and the know-how of the employees makes a big difference. With lenses it’s analog-based technology, where experienced workers are key. And that’s why we [don’t want to] move our factory. If our factory moved, we’d lose our experienced workers.

Sigma’s new 40mm F1.4 Art has been designed as a ‘reference’ prime lens for the Global Vision series, and offers excellent performance, albeit in a relatively large, heavy form factor.

Check out our full gallery of samples here

Why did you decide to create a 40mm Art-series lens?

40mm is a very popular focal length for videographers, so there was a demand from the cine market. Also there were some requests from our own users. Our first DP2 camera was a 40mm equivalent focal length.

Do you have any predictions for the proportion of your lenses that you expect to sell in mirrorless mounts versus DSLR mounts, in the future?

Within three or four years I expect our mirrorless mount lens sales to be much bigger than for DSLR. Maybe 70% to 30%.

What is your opinion of Canon and Nikon’s new lenses for the RF and Z mounts?

I’ve been very impressed by Canon’s new lenses for RF. The 50mm F1.2 and 28-70mm F2. Very impressed – and a little jealous! They’re possible due to the wide diameter and short flange back. Otherwise such lenses would be very difficult or impossible. Having the larger elements at the rear of the optical system makes it easier to achieve good performance at large apertures.

Software can’t create detail, only good optics can do that.

One thing that is an option in mirrorless cameras and not DSLRs is in-camera lens corrections. When you’re designing new lenses for mirrorless do you include software correction into your planning?

Until just a few years ago I was quite negative about software corrections. Software can’t create detail, only good optics can do that. But today, sensors have more resolution, and the correction algorithms are much better than in the past. So I think software correction is a good tool, when it comes to achieving good image quality. That’s why we started to support Canon EOS DSLRs’ lens correction. Software lens correction is a useful tool, but it’s not a good idea to rely on it too much.

How do you prioritize development of which system you’ll develop lenses for?

It’s basically done based on demand. But for example even if demand for our SA mount lenses is very small, we’ll still prioritize it because that’s our own system. Moving forward, now that we have the L mount, we’ll give that priority.

The new ‘S’ class Sigma 70-200mm F2.8 features ten low-dispersion glass elements including nine FLD elements which have very similar properties to fluorite. The FLD elements are indicated in yellow, in this schematic.

The new 70-200mm F2.8 is classified as ‘Sport’. How would an ‘Art’ version of this lens be different?

It’s a sort of a mid-point between Sport and Art. But it’s Art-class glass. This lens uses nine FLD glass elements. FLD glass has almost the exact same optical characteristics as fluorite. To be honest, Canon and Nikon’s 70-200mm F2.8 lenses already represent the highest optical quality for this type of lens. We believe that we can [still] improve on that but the difference is not huge. It’s hard to differentiate just by optical performance.

Are there future technologies that would allow you to take the next step, and move performance forward?

I think so, for example FLD. We didn’t have that before. This is Hoya glass, and we worked together to develop this new glass material, which helps achieve better performance. If a careful photographer checks the amount of longitudinal chromatic aberration and bilateral chromatic aberration, we believe they’ll see this lens is better. But if they just check resolution, they may not see a difference [compared to Canon and Nikon’s current 70-200mm F2.8].

Sigma now supports several mounts, plus the L mount, plus potentially Canon RF and Nikon Z in the future. How will you grow the company to accommodate this scaling-up without losing Sigma’s identity?

I will admit that is quite challenging. But obviously the volume of lenses produced per mount will be reduced, because I don’t think the market will grow like it has in the past. That means we have to produce more kinds of products per month. Which could cause us to lose efficiency, and ultimately drive up production cost. This is very challenging for us. We need to create a new production system to keep our efficiency up, even if we manufacture more products per month.

Kazuto Yamaki, pictured at Sigma’s main assembly plant in Aizu, Japan, during our visit to the site in 2014.

Read our complete factory tour

If we used external suppliers it would be easy – we’d just reduce our purchases from those suppliers, but we do almost everything by ourselves. We’re continuously increasing the size of our factory, and even right now we’re planning to build another facility [at our main site in Aizu] and we’ll continuously invest in new manufacturing over the next few years.

After I took over my father’s business, over the past six years we’ve built new three buildings at Aizu. This will continue.

Will you run out of space?

Yes, this is a problem! Usually manufacturers choose flat ground for their factories, but my father liked to build in the middle of the mountains. His dream was to become a company like Carl Zeiss, and they have a factory in the hills. He thought that flat ground was boring! It’s very challenging.


Editors’ note: Barnaby Britton

In 2018, Sigma is a company in flux. Since the launch of the Global Vision lineup in 2012, Sigma has gone from focusing primarily on just two DSLR lens mounts (plus lower-volume production of Some Sony A, Pentax PK and Sigma SA-compatible lenses) to soon supporting eight, excluding PK but including the L-mount, which will effectively replace the older SA mount in Sigma’s own forthcoming full-frame camera lineup.

That’s a of a lot of work for any company, let alone a relatively small manufacturer but if CEO Kazuto Yamaki is daunted by the prospect, he doesn’t show it. His main concern, expressed in this interview and in previous conversations, seems to be making sure that as it evolves and grows, Sigma doesn’t lose its identity along the way.

In order to maintain efficiency and keep costs manageable, Sigma will need to develop new manufacturing processes

Sigma’s Global Vision lenses are popular for two main reasons: they’re very good, and they’re excellent value for money. Doubling the number of lens mounts that it supports is not an automatic win for Sigma, or even necessarily for its customers. As Mr. Yamaki points out, increasing the number of products in the company’s lineup does not mean that total sales will increase by the same proportion.

In order to maintain efficiency and keep costs manageable, Sigma will need to develop new manufacturing processes – something that Mr. Yamaki freely admits. Add to that the challenge of creating a brand new lineup of full-frame cameras, and the next few years at Aizu promise to be very busy.

Yamaki is confident in his products, proud of his engineers, and trusts their ability to tool up for the new mirrorless mounts

As usual, Mr. Yamaki’s responses to our questions at Photokina were candid and thoughtful. He’s confident in his products, proud of his engineers, and trusts their ability to tool up for the new mirrorless mounts. Despite the challenges ahead he’s genuinely excited by the possibilities presented by Canon and Nikon’s entry into the full-frame mirrorless market, not only for Sigma but for the industry as a whole. We’ve noted before that while many senior executives seem to prefer pretending that competitors don’t exist, Mr. Yamaki’s respect – and praise – of his competitor’s products is unusual.

In return, Sigma’s CEO is widely liked by his peers in the industry. The recently announced L-mount alliance with Panasonic and Leica would quite possibly never have happened if it weren’t for the close relationship between Mr. Yamaki and Panasonic’s Yosuke Yamane. Leica’s majority shareholder Dr. Andreas Kaufmann, in turn, has praised Mr. Yamaki’s leadership of Sigma, which remains a family-owned company.

In Mr. Yamaki’s own words: ‘There’s no magic to it – we just try to be unique’.

Articles: Digital Photography Review (dpreview.com)

 
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11 Ideas for More Unique Concert Photos

16 Aug

Musicians, magazines, fans, and record labels alike turn to skilled photographers to tell a story of a momentous performance and return unique concert photos.

Concert photographers are often on assignment for a publication that has sent them out to capture meaningful pictures that could very well go down in music history. Otherwise, music photographers are individually hired by the performing artists. Whatever brings you to the photo pit, your goal is to capture something wonderful.

That being said, the music photography industry has become surprisingly saturated in recent years. In order to stand out amongst the crowd, you have to take live music photographs that differ from others in your photo pit. Here are 11 tips on how to take more unique concert photographs.

#1 – Don’t Forget About the Detail Shots

still life concert image - 11 Ideas for More Unique Concert Photos

Band: Behemoth

Although you want to focus heavily on the musicians performing on the stage, the detail shots are just as important.

Many bands put in a significant amount of effort into their live show productions, from stage props to lighting schemes. A unique and effective statement to your live concert gallery are some close-ups of the epic stage props that the band uses.

At the very least, the artist who created the props or the instrument company will thank you!

#2 – Play with Art and Distortion Lenses

blue and pink concert lighting - 11 Ideas for More Unique Concert Photos

Band: MGT. Shot with the Lensbaby Burnside 35.

Though concert photography is often an assignment from a journalistic outlet, that doesn’t mean that you can’t have a couple of minutes to yourself to do something vastly different. You do not have to be afraid of using artistic or distortion lenses at a live show. If anything, they make the frame exceptionally cool!

The fish-eye lens became very famous by well-known concert photographers by being used at live shows. I, myself, love using the Lensbaby lenses at live concerts. The manual focus can oftentimes be much more effective than relying on autofocus.

Try using a copper tube to create very cool swirls around your subject.

art lenses - 11 Ideas for More Unique Concert Photos

Band: A Mirror Hollow. Shot with the Canon 16-35mm f/2.8 L IS USM lens.

You can submit the standard shots to the outlet, and the unique ones to the band. I am telling you, the musicians will love a new take on their live performances.

#3 – Tons of Flying Hair is Great

hair whipping - 11 Ideas for More Unique Concert Photos

Band: Cradle of Filth

Naturally, try to capture the facial expressions of the performers. However, you are dealing with rockstars here, and part of the cool factor of these rock gods is their wild style.

Take advantage of the flying hair and fun headbanging, they can sometimes make cooler shots than your standard singing portraits.

#4 – Perspective is Everything

band between legs - 11 Ideas for More Unique Concert Photos

Band: HIM

Although concert photography can be very limited, between shooting time restrictions and limitations on your shooting location, you can still play with perspective.

The key to being different is viewing life through a lens that is more diverse than those around you, no pun intended. Get low, low, low to the ground and shoot up or move yourself to the very far side of the photo pit and shoot from there! Photograph in between the heads of fans or get up on the balcony.

Whatever you do, find new angles, views, and compositions to take advantage of to create more unique concert photos.

#5 – The Musician Doesn’t  Always Have to Look at You

musician on stage - 11 Ideas for More Unique Concert Photos

Band: Nightwish

It is true that the viewer connects best when the subject is looking at or engaging with the camera.

However, you don’t always have to fight for that type of shot during a live concert setting. It’s okay for the musicians not to interact with you as a photographer. Shots of them looking away or down can be just as eye-catching.

#6 – Embrace the Light, Don’t Avoid it

stage lighting - 11 Ideas for More Unique Concert Photos

Band: IAMX

Having a good grip on lighting will aid you in your concert photography journey. Stage lighting can differ tremendously between shows, venues, and even what lighting is available for that evening. The lighting can range from bright white strobes to deep reds.

Understanding how lighting is photographed by your camera, how it reflects on the instruments and equipment, and how the bulbs affect the performer’s skin tones will change how you take the photograph.

Most incredibly safe and tame images come from the photographer being wary of taking advantage of the lighting situation at concerts. Don’t be afraid to jump right in there and take advantage of whatever bizarre lighting scheme the performers have cooked up for you.

At the end of the day, the lighting is a part of the concert experience, and your job is to capture that.

#7 – Lens Flares are Rad

lens flare musician performing - 11 Ideas for More Unique Concert Photos

Band: Epica

On the topic of lighting, lens flares can be very cool!

This is, of course, an aesthetic choice, but I personally find them to be quite fun. You can cause a flare in a similar fashion to photographing during sunset or golden hour. When the light hits the front glass element of your lens at a specific angle, a flare will appear.

#8 – Overexposing and Underexposing Can Work

moody concert lighting - 11 Ideas for More Unique Concert Photos

Band: The Misfits

To help accurately capture the emotion and feel of the show, it is alright to overexpose or underexpose your frame. This can also create a rather unique and uncommon type of photograph.

Use your best judgment and common sense here to determine when such exposures are appropriate.

#9 – Don’t Be Afraid to Get Close

close up of a band member on stage - 11 Ideas for More Unique Concert Photos

Band: Jyrki69

Guitarists don’t bite (not hard anyway)! Don’t be afraid to get close to the performers on the stage. Take a wide-angle lens, such as a 16-35mm lens, and get right up in there. The perspective distortion can make for a very cool shot.

However, that being said, be aware of your surroundings. I cannot reiterate this point enough. Absolutely be aware of your surroundings!

It is easy to get lost in the moment and fall into a creative bliss when shooting, but a live music event is not the place to lose yourself.

If you’re not growing eyes in the back of your head, you’ll most likely get clonked right in the temple by a crowd surfer, tangled in a microphone cord, or smacked by a flying guitar. This will help you avoid injury to yourself and others.

#10 – In-Between Moments Tell a Story

singer between songs - 11 Ideas for More Unique Concert Photos

Band: HIM

The band may have put their instruments down for a moment, but that doesn’t mean that the job of the photographer ends there.

Some in-between moments can become incredible iconic images through their powerful storytelling ability.

#11 – The Moment is More Important than Technical Accuracy

red concert lighting - 11 Ideas for More Unique Concert Photos

Band: IAMX

Let’s face the facts, we all pixel peep. I believe that over time, passionate photographers get a bit anxious about technical perfection in their images (I know I sure do sometimes). However, some niches such as event photography are not as fussed over technical mistakes as long as the moment captured is important.

There is be a fine balance between taking a good photograph by technique and taking a good photograph by design (aka a great and powerful moment). However, if you have to choose between capturing a fantastic story and ensuring equipment perfection, pick the story.

Many wonderful images are overlooked because the focus is too set on ensuring that an image is tack sharp rather than what the subject portrays.

Of course, this isn’t meant to be interpreted as disregarding technical proficiency. You should aim to take exceptional photographs, but don’t get lost in your pursuit and forget your purpose for photographing the event.

Your turn

Now that you have these tips in your photography toolbelt, go out there and take some wicked shots!

Band: Epica

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How to use Colored Gels to Create Unique and Creative Portraits

08 Aug

We’ve all seen the usual studio set up –  beautifully crisp white light, maybe some strobes, diffusers, and other things of the sort. However, what can you do beyond that to make your portraits stand out? Add some color! In this article, learn how to use colored gels to add some spice to your images.

musician portrait with pink background - How to use Colored Gels to Create Unique and Creative Lighting

Colored gels are filters that go on your light in order to change the output color. They are usually sold at photography stores and clamped onto your lights. They range in size, thickness, color cast, and most importantly, price. Be very mindful of how hot your lights are because we’ve had gels melt on the set before during long sessions (such as music videos). 

However, you can also make your own colored gels using cellophane and tape. Just take some really saturated cellophane from a local party or art store and wrap them around your softbox or LED light (so long as the LED runs cold and won’t melt the plastic paper) and fasten with tape.

This may not look like the most professional setup, but I suppose that matters little so long as the final outcome is fantastic!

spooky photo with double exposures - How to use Colored Gels to Create Unique and Creative Lighting

There are limitless possibilities with gels. In regard to color combinations, I suggest making sure all of your gels are saturated the same in order to match with one another (and not become a headache in the editing room later).

Here are some of my favorite gel lighting arrangements to create some new and unique imagery. As a personal preference, I use continuous light, but the same can be achieved with studio strobes or speedlights.

One Color Gel Setup

The simplest and most traditional gel lighting look. There isn’t any fancy setup for this look, you can photograph your model in any fashion and just replace the white light with a color. Make sure your colored gel is really vibrant or the image may fall flat. 

portrait of a girl with amber gel - How to use Colored Gels to Create Unique and Creative Lighting

Play with distance, shutter speed, and some light post-processing to see how far you can get the light to spread. That can add a unique and unexpected twist to your one-light setup!

A good use of the one color set up is backlighting! Take your light and place it behind the subject.

backlighting with gels - How to use Colored Gels to Create Unique and Creative Lighting

Double Colored Gel Setup

My personal favorite is the double colored gel setup. All this requires is two lights, each gelled with different colors. Set them to the side of your model and watch the magic happen!

The division can be very eye-catching and intriguing.

model with red and green lights - How to use Colored Gels to Create Unique and Creative Lighting

lighting diagram - How to use Colored Gels to Create Unique and Creative Lighting

Be mindful of your model’s physical structure. You want to make sure that the color division hits the proper place. Aim for the lighting to (generally) divide right at the center of the nose (split lighting).

Tri-Color Gel Setup

How to use Colored Gels to Create Unique and Creative Lighting

You can go as intense with colors as you like, but when I do three color looks, I like one of those colors to be white. The white softens the whole look and doesn’t make it overly exaggerated.

However, if you prefer a color, I suggest placing a lighter color in the center of your arrangement and the darker colors on the sides.

portrait with 3 colors of light - How to use Colored Gels to Create Unique and Creative Lighting

For three color looks, my favorite arrangement is the traditional triangle light setup. This includes one light in front of the subject and two lights at the sides.

Depending on the look you want to achieve, you can set up the two side lights behind the model and just turn them towards the model. That keeps the light from being too harsh. For a more intense look, place the lights directly at the model’s sides.

lighting diagram - How to use Colored Gels to Create Unique and Creative Lighting

Rim Light Colored Gel Setup

girl with rim lighting - How to use Colored Gels to Create Unique and Creative Lighting

Always a very dramatic and edgy look, using gels for rim lights can bring a bit of flair to your portraits. It does depend on your model’s structure as to where you place the lights. What I do is set up a white light in front of the model and two colored gels on lights to the side pointed forward.

The best colors I’ve found for the rim light look are purples, blues, reds, and greens – oranges tend to get a bit lost with the white light.

How to use Colored Gels to Create Unique and Creative Lighting

Background Light Gel Setup

How to use Colored Gels to Create Unique and Creative Lighting

The quickest way to liven up any location is to aim some lights with colored gels attached toward the background wall.

You can photograph your subject in any traditional studio light manner, and just shoot two gelled lights to the back wall. This allows your subject to be really well separated from the background (something we always strive for in studio photography).

How to use Colored Gels to Create Unique and Creative Lighting

Now go out there and play with colors!

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How to Take Unique Crystal Ball Portraits

23 Jan

The search is always on to try something new in photography. That process is often about taking a technique and applying it in a new way. A crystal ball is a great addition to any landscape photographer’s camera bag. In this article, you’ll see why this is also true for portrait photographers.

You’ll learn to take the perfect crystal ball portrait. There are some special characteristics of refraction photography to consider. You will learn the technical side of refraction photography, and how to use this for your portraits.

How to Take Perfect Crystal Ball Portraits

In this photo, the model is seated, with her legs near her body. This made it easier to “eclipse” her behind the ball.

What is refraction photography?

Refractions is an effect that is produced when the light is bent upon passing through an object of denser mass. In the case of a crystal ball, this has the effect of inverting the background image inside the ball. This can be great to use for photography, as the ball becomes an external optic for your camera. You can read more about refraction photography in one of my previous articles.

This effect is mostly used for photographing landscapes, as it creates a super wide-angle scene within the glass ball. However, there are occasions you’d use a wide angle lens for portrait work, and the same is true with the crystal ball.

As with all crystal ball photos, try to ensure your subject is well lit, this will enhance the image coming through the ball. If you try to use strobes for this you need to position yourself carefully, the ball will pick up the light from the flash as a reflection very easily. The best advice I can offer is to position the strobes in a parallel line with the glass ball.

How to Take Perfect Crystal Ball Portraits

In this, photo the model is silhouetted against the dawn sky. The distance from the model to the crystal ball is quite far, so the person appears small in the ball.

How to create your crystal ball portrait

Now you know what refraction photography is and how to do it, the next step is to apply this to a portrait.

There are three main types of crystal ball portraits you can make, each uses the ball in a slightly different way. The three types of photo are shooting close to the ball, photographing the ball in the scene, and using the ball as a prop. Let’s take a look at each one.

1 – Fill the frame with the crystal ball

This composition type has the crystal ball fill the entire frame, or become the dominant part of the frame. In this photo, your model will be the main subject inside the glass ball, which means they’ll need to be quite close to the ball itself. To succeed with this type of photo look at the following points, and apply them to your portraits.

How to Take Perfect Crystal Ball Portraits

You can avoid distortion by placing the model in the center of the ball.

Center the model

  • The model needs to be in the center of the ball so that you avoid ugly distortion of the face on the edges of the ball. To do this consider the following steps.
  • Don’t have your model standing up strait, a sitting position where there body is more compressed will fit better inside the ball.
  • Take the portrait from the chest up, and center the composition on the eyes.

Compress your scene

Use a long focal length to hide the model behind the glass ball, essentially eclipsing the model. The larger the glass ball the easier this will be.

Position the ball

The ball should be level, or a little higher than the model. This will avoid distortions on the edge of the ball, and by having the ball higher than the model, it will focus the viewer’s eye more on the face.

Avoid bad bokeh

The background in a crystal ball photograph can make or break your image. With your model close to the ball, the background is likely to contain some bokeh. Use an appropriate aperture to blur them out, or consider using post-processing to remove them.

How to Take Perfect Crystal Ball Portraits

You can enhance your crystal ball portrait by using good light on the model.

A photo of this type is best achieved with a macro lens, or a long telephoto lens. Both these lenses will allow you to fill the frame with the crystal ball, and then it’s simply about avoiding a bad background.

2 – Use the crystal ball as part of the overall picture

The next option for incorporating the crystal ball into your portrait shoot is to include much more of the background, and make the ball a smaller part of the frame. In this type of photo the focus will be on the ball, but the background bokeh will be equally important in telling the story.

How to Take Perfect Crystal Ball Portraits

Use the bokeh in the image to create your crystal ball portrait.

  • The ball is smaller – The ball will be more of an accent within the overall frame. It’s likely the ball will be placed on the ground, or perhaps on a wall and will take up between 10-25% of the frame.
  • The background will be bolder – The shape of your model is important, so have them strike an interesting pose. As the focus is on the ball, the focus on the model will be soft.
  • Use the correct aperture – Adjust the aperture to a suitable level, so defined shapes can be seen in the background. The background should be neither to blurred nor too sharp. An aperture of around f/4 is a good place to start.
  • Wider focal length – Now that you are including a large amount of the background a wider lens will be needed to achieve this.

3 – Use it as a prop in your crystal ball portrait

You can also use the ball in the more traditional way, as a prop for your model. In this type of crystal ball portrait your model will be directly interacting with the ball. This will mean that the refraction effect inside the ball may or may not be seen, depending on the way you arrange your photo.

How to Take Perfect Crystal Ball Portraits

Have your model hold the ball, and interact with it.

  • Tell the story – As a prop, the ball will be a focal point for your photo. You can use the crystal ball to show tropes like fortunetelling and magic. Use these ideas when composing your photo.
  • Do you refract? –  When using the ball as a prop you don’t have to show it producing refraction; however, it will add more interest if you do so.
  • Using strobes – A glass ball is a very reflective surface. When using strobes you need to decide if you want your strobe light reflecting on the surface of the ball. Moving your strobe to a side light position will eliminate most of the reflection on the ball, so this is a solution.
How to Take Perfect Crystal Ball Portraits

Using more than one ball gives you more storytelling potential.

Go out and create your magical crystal ball portrait!

Have you ever tried using a crystal ball in portrait work? Let’s see your results if you have. What difficulties did you encounter when you tried this style?

If you bought the ball primarily for landscape photography, how about trying your hand at a portrait?  Give it a go and let us know how it turns out.

How to Take Perfect Crystal Ball Portraits

The ball can help you make some unusual portraits.

How to Take Perfect Crystal Ball Portraits

Experiment with your crystal ball portrait, how about using other techniques like light painting?

How to Take Perfect Crystal Ball Portraits

When your model looks into a crystal ball, there is a story to that photo.

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Stacked: Cleverly Designed Chinese Hotel Gives Everyone a Unique View

04 May

[ By SA Rogers in Boutique & Art Hotels & Travel. ]

Despite sharing a tiny footprint of land with other guests at this Chinese hotel, you can practically forget anyone else exists altogether thanks to a clever stacked arrangement that points each level in a different direction. Step out onto your private balcony – located on the roof of the room below – and look out onto the peaceful forest of rural Huang Shan, Anhui Province, China. Designed by Shanghai-based architecture firm Bengo Studio, the Qinyushan Tree House is a beautiful use of space.

A spiral staircase runs up through the center of the hotel, which includes two guest rooms, two bathrooms, one living room, and a ‘landscape room’ located at the top of the building. Each room has its own roof access with a glass railing to avoid interrupting views of the trees.

Elevated off the forest floor, the hotel features curvy volumes fanning out in different directions from the central core, capped on each cantilevered end by floor-to-ceiling windows. Guests ascend an enclosed glass hallway to either walk down into the lowest bedroom and bathroom, or ascend to the upper levels.

Its vertical wooden cladding helps it blend into its natural environment, and the minimalist design is an interesting take on modern treehouse-inspired structures.

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[ By SA Rogers in Boutique & Art Hotels & Travel. ]

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How to Create a Kaleidoscope and Make Unique Abstract Images

22 Apr

Struggling to remain creative

I’ve recently been struggling to shoot creative images and found myself in a rut battling to see things with fresh eyes. As I needed to come up with a topic for my next article (this one!), I decided to take this as an opportunity to experiment and come up with some new ways to shoot abstract images.

How to Create a Kaleidoscope and Make Unique Abstract Images

Here’s one of the images I took using the kaleidoscope I made. I processed this image in Analog Efex.

Inspiration can come from anywhere

I decided to focus on abstract images since they seem to be speaking to me lately. The challenge became to create unique abstracts and have fun at the same time. Well, I happened to come across this video on the web. I was looking for a craft to create with my son, and the idea sprang from there.

The Construction Details

How to Create a Kaleidoscope and Make Unique Abstract Images

Here’s the finished Kaleidoscope. It’s a pretty simple design.

I decided to adapt this idea and create something I could use with my DSLR. I went to my local home renovation store purchased a mirror and had them cut it into three sections. My mirrors are 16cm wide by 31cm long. I chose this size so that my wide angle lens could fit inside the kaleidoscope opening. I didn’t want any of the outer edge included in my images.

Clear packing tape was used to attach the mirrors forming a triangle. I then taped three pieces of cardboard around the outside of the mirrors. This was done to protect my hands from the sharp edges of the glass.

How to Create a Kaleidoscope and Make Unique Abstract Images

Here’s a top view. You can see that it was a pretty rough tape job.

You could certainly choose to attach more mirrors together if you want. The important thing to remember is that you always want to use an uneven number of mirrors so that the shape is more conducive to creating abstracts. The look of the image you shoot will change with the size and number the mirrors you use. Have fun and experiment.

How to Create a Kaleidoscope and Make Unique Abstract Images

I used both my Canon 5D with a wide angle lens and my phone. Note that this technique doesn’t work with a telephoto lens.

Now it’s time to have fun and play

After constructing my kaleidoscope, it was time to start experimenting. I immediately thought of trying to photograph some flowers. My idea was to place a bright bloom on a black background. I was curious about what types of images I could create.

Unfortunately, Mother Nature wouldn’t cooperate. We had a massive snowstorm, and I was stuck in my house with no chance to purchase some flowers. So it was time to experiment with other items. I found some square pieces of felt sitting around my house and decided to try using them. Here are the results.

How to Create a Kaleidoscope and Make Unique Abstract Images

Here you can see how I set up the kaleidoscope with some pieces of felt underneath it.

How to Create a Kaleidoscope and Make Unique Abstract Images

I again took this image into Analog Efex for editing.

As you can see, my kaleidoscope created some rather interesting designs and shapes. It was a lot of fun to see what types of designs could be created. I used several different items in front of the mirrors. I tried fabric, tinfoil, camera lenses and even Lego toys.

People photos

After experimenting with so many different materials, it was time to try it with people. My son was willing to have his photo taken. Here are the results. He spent a few minutes giggling at the images. It would be interesting to see what a larger kaleidoscope and mirrors might do to portraits like this.

How to Create a Kaleidoscope and Make Unique Abstract Images

It’s an interesting effect. My son loved messing around with it.

I then experimented with photos of a good friend. These images were shot through the kaleidoscope from images projected on my computer screen. They were taken from different Facebook photos. It was a lot of fun, and he was certainly entertained by the results as much as I was. I truly appreciate him allowing me to post the results here on the web. Thanks, Ali.

How to Create a Kaleidoscope and Make Unique Abstract Images

He was hesitant at first to let me post this but we had a lot of fun messing around with the image. There’s a little bit of banding from the computer screen but oh well we were just having fun.

Drawbacks of the experiment

One of the things I noticed as I shot was the very fuzzy and slightly darker reflections. That bothers me. Parts of the image that contained the original piece of fabric were much brighter and sharper than the reflections. I found the effect to be quite displeasing. So, I need to experiment more with the kaleidoscope to try and alleviate that.

Perhaps a light shining from above might change this effect, it is something I will consider for the future. As you can see from this experiment, I used a very rough and simple set up. It was put together quite quickly. In the future, it would be beneficial to try several different methods for positioning the kaleidoscope and my camera. You will note that I used both my DSLR and my cell phone for these shots. I used the Lightroom mobile App as it allowed me to use some pretty specific manual controls.

How to Create a Kaleidoscope and Make Unique Abstract Images

I used my phone for several of the shots.

Things learned from this experiment

This whole activity was very insightful. It was well worth the afternoon I spent creating and shooting. It has sparked my curiosity. As a result, I created a list of questions that can be used to further the project and inspire more creative shooting.

  1. What types of objects look best when shot with a kaleidoscope?
  2. How can post-processing change the look and feel of these abstract images?
  3. What would be the effect of a larger kaleidoscope?
  4. What would happen if I added much smaller sections of mirrors to a kaleidoscope?

There’s so much more that I can learn from this exercise. It feels like just the surface has been scratched. The use of mirrors for creating interesting abstracts is now on my list of projects. If you’ve experimented with different techniques, tell us about it. Share your experiments good or bad. There’s so much to learn. There’s also a lot of fun to be had during that experimentation. Perhaps as I perfect this technique, I will produce a further article that will contain my lessons learned. But for now, I hope my afternoon of tinkering will inspire you to try new ways of creating images.

How to Create a Kaleidoscope and Make Unique Abstract Images

This is a shot taken from my computer screen through the kaleidoscope.

How to Create a Kaleidoscope and Make Unique Abstract Images

I used black velvet and an old lens from my film camera for this shot. I think this one is my favorite images.

There’s so much to learn. There’s also a lot of fun to be had during the experimentation phase. Perhaps as I perfect this technique, I will produce a further article that will contain my lessons learned. But for now, I hope my afternoon of tinkering will inspire you to try new ways of creating images.

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How to Take Unique Double Exposures Without Using Photoshop

20 Feb

For over a hundred years, double exposures have captivated photographers and art enthusiasts alike. Discovered by pure chance, a double exposure is a trick where a single frame of film is exposed twice or more in order to achieve multiple images in a single shot. This results in a photograph that comes out as a combination of the two images that were shot, one superimposed on top of the other.

From the technique’s boom in the 1860s, this inspired accident created an avant-garde trend that could only be described as one of the most creative uses of photography. Today, you don’t need to shoot on film to be able to create wonderful double exposures. Digital cameras are all capable of performing this unique trick!

Double Exposures Made Simple

There are five key steps to creating a basic double exposure on a digital camera. Let’s look at them one at a time.

1. Conceptualize

Although spontaneity and experimentation in photography are excellent (and very important learning processes in becoming a good photographer), more difficult techniques require further planning and forethought. It is far easier to produce a successful and satisfying double exposure when you conceptualize the image(s) beforehand, than fumbling around for hours producing work that may leave you feeling frustrated! To begin your plan, ask yourself a few simple questions:

  • What is my subject?
  • What is my background?
  • What is this image’s purpose?
  • What resources do I have available to me?

After you have answered these, you should have a much better idea of what your finished photograph will look like. As such, bringing your vision to life will now be a breeze!.

Double Exposures Made Simple

2. Multiple exposures settings

For film, you would simply shoot on the same frame multiple times by re-rolling (or not advancing it) the film. Since digital is not a roll, you will have to dig into your camera’s settings (check your user manual if need by) and do a couple of tweaks. Most digital cameras, such as Canons and Nikons, have a multiple exposure setting to allow you to generate these distinctive images.

Often found in the menu, the multiple exposure setting will more than likely host an array of options.

One of the main selections presented is choosing how many images you would like to overlay. Most cameras range from two to ten. For the purpose of this simple tutorial, we will only be using two images. At the bottom of this article, I will mention how to use far more than two photographs for advanced techniques.

Another important option will be Multi-Exposure Control (or blend mode). This tells the camera how you want your images composited together. The options are typically Additive, Average, Dark, and Light.

Blend mode options

Additive means that your images will simply be overlaid one over the other without any special considerations (see below).

Double Exposures Made Simple

Average (which is similar to Additive) means that the camera will automatically adjust the exposure in any overlapping areas to prevent overexposure, based on the number of exposures you combine. Any non-overlapping areas will be rendered with a normal exposure.

Double Exposures Made Simple 8

Bright means that exposure priority will be given to bright objects so that they will retain their exposure even when combined with a dark background.

Double Exposures Made Simple 6

Dark means that exposure priority will be given to dark objects so that they will retain their exposure even when combined with a light background.

Double Exposures Made Simple

The final main setting should revolve around the actual physical camera controls. On Canon and Nikon cameras, you will most likely be presented with two options: Func/Ctrl (which allows you to pick your base image before shooting) and ContShtng (which means that you just photograph images one after the other and they will be composited).

Every camera is different, so remember to please reference your user manual for more detailed information.

3. Photograph the silhouette

A silhouette is the shape that will be filled by your background of choice. The key to this is making sure that your silhouette subject is photographed on a plain background. Don’t worry too much about properly exposing the details on your subject, all of that will be covered up by your background. Focus on making sure that the area around your subject is clear of objects.

Double Exposures Made Simple

The first thought that may pop into your head is using a studio, but that isn’t necessary. You don’t have to be in a studio to photograph your subject on a clean background. You can photograph your subject on a plainly colored wall or better yet, you can go outside and use the beautiful open sky above you.

To photograph your subject in front of the sky, shoot from a slightly lower angle to make sure that no additional clutter ends up disrupting your clear sky. Depending on your geographical position, the easiest time of day to photograph your subject is about an hour before sunset. The right exposure will ensure that no flare ends up in your photograph.

4. Photograph the background

This is the texture or image that will fill the silhouette you just captured. Good options for this image are well exposed trees, landscapes, flowers, mountains, or patterns. Make sure that your background is well lit, as to not lose any details. If the background is over or underexposed, the resulting image may be hard to read.

When picking your background, consider color, complementary shapes, and how these factors all correlate with one another to produce a great double exposure. If your silhouette is a soft, female form, think about using flowers with complimentary delicate shapes. If your silhouette is a rugged form, think about using some strong-featured trees to accent the silhouette’s configuration.

Double Exposures Made Simple

5. Watch the images line up

On some cameras, you need to remember the positioning of the two images. On others, you can use the Live View feature to actually see how the images line up before taking the last photograph. In either case, watch the photographs come together, and look in awe at your masterpiece.

The aforementioned steps are just the foundation for creating a simple version of these painterly images. The double exposure technique can be utilized for a variety of purposes, styles, and effects. Instead of just using two photographs, utilize three or more to create entirely new types of imagery. Here are some advanced techniques to really push the limits of double exposures:

Using double exposures for movement

Double exposures are a fantastic way to express artistic movement in an image and have the viewer move their eyes around the frame. Set your number of frames to three or more, and have your subject move differently in each shot. When the images are composited together, you will generate an image that showcases a lot of movement.

Double Exposures Made Simple

Using double exposures for sequences

You can use double exposures to create a step-by-step sequence in a single image. When Continuous Shooting (ContShtng) is selected in the settings, put the camera on a tripod, and fire away at your subject without panning (following the subject with your camera). Make sure that your focus settings are set to AI Servo for Canon or Continuous-Servo AF (AF-C) for Nikon (which means that the camera will lock focus on your subject and hold that focus no matter where the subject moves.

You want to keep the camera as still as possible so that the not-moving parts of your photographs do not have any overlap distortion. Your finished composite will feature every step in the sequence.

Super-imposing without photo editing software

Upon its discovery in the 1800s, a significant use of double exposures was to super-impose without needing to physically combine or paint photographs in the dark room. Today, although we have access to incredible post-processing and retouching programs, editing can be quite time consuming. A good way to combine images without the need of Photoshop is by utilizing this infamous technique.

Instead of silhouetting your subject and picking a background, you will now be placing subjects together. Similar to what was done with sequencing above, put the camera on a tripod to make sure that the frame does not move (as to not have any distortion on still objects.

Using double exposures for sequences

Ghosting

Back when double exposures were first discovered, many photographers of that time loved to create ghostly images. The concept of ghosts were quite prevalent because of the world’s tumultuous history. Photographers and artists alike were captivated with this eerie subject matter, and fascinated with the audience’s response to that kind of image.

To create your own ghostly photograph, set your camera on a tripod. Photograph the background location. Then for the next image, set your shutter speed quite low to create some motion blur. Finally, have someone slowly walk through the frame and take a picture. The composite will feature a ghostly presence.

Now that you’ve finished this guide, go out there and take some phenomenal double exposures. Please share your images and comments below.

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