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Shallow Depth of Field: How to Get It in Your Photos (5 Easy Ways)

07 Oct

The post Shallow Depth of Field: How to Get It in Your Photos (5 Easy Ways) appeared first on Digital Photography School. It was authored by Darren Rowse.

What is shallow depth of field photography? And how can you create it for beautiful, pro-level effects?

In this article, I’ll share everything you need to know about shallow depth of field, including:

What shallow depth of field actually is
Why shallow depth of field is useful in photography
Five easy ways to create that gorgeous shallow depth of field effect

In fact, here’s my guarantee: By the time you leave, you’ll be a shallow DOF expert.

Sound good? Let’s dive right in, starting with a simple definition:

What is a shallow depth of field in photography?

A shallow depth of field refers to an effect where very little of the image is in focus.

For instance, an image might include an in-focus subject, but have a blurred-out background. This is common in portrait photography (and if you look through this article, you’ll notice that my shallow depth of field examples are all portraits for this very reason!).

A shallow depth of field contrasts with a deep depth of field, where the entire shot, from foreground to background, remains in focus. Deep depth of field effects are common in landscape photography, where detail is a key compositional element.

Why is a shallow depth of field effect important?

Plenty of photographers love shallow depth of field effects – for two big reasons:

A shallow depth of field separates the subject from the background, helping the subject stand out.
A shallow depth of field generally blurs the background, which looks really gorgeous (when done right, that is!).

Often, a shallow depth of field is a stylistic choice, one that certain photographers tend to prefer and other photographers like to avoid.

Here’s a list of genres that gravitate toward shallow DOF effects:

Portrait photography
Wildlife photography
Street photography (sometimes)
Fashion photography
Product photography (sometimes)

Of course, this list isn’t exhaustive, and regardless, don’t feel hemmed in. If you prefer shallow depth of field but you shoot landscapes, that’s okay – do what you like!

How to get a shallow depth of field effect: 5 techniques

Now let’s take a look at how you can create shallow depth of field effects in your photos:

1. Increase the subject-background distance

It’s one of the easiest ways to achieve a shallow depth of field effect:

Position your subject as far away from any background objects as possible.

If your subject is standing right in front of a wall, it’ll be in focus no matter what you do. But if they’re standing 100 meters in front of that same wall, it’s going to be a lot more blurry. Think of it as giving your background more room to blur.

Quick note: Technically, increasing the distance between the subject and the background doesn’t make the depth of field more shallow. The depth of field remains the same regardless (it depends on other factors that I discuss below).

But bringing your subject forward increases the appearance of a shallow depth of field and gives you a near-equivalent effect.

shallow depth of field photography woman smiling

2. Use your camera’s Portrait mode

These days, most beginner cameras include a little wheel on top with lots of little icons on it – the Mode dial.

And on certain beginner models, the Mode dial will feature Scene modes, such as Landscape, Night, Sports, etc.

Generally, one of these modes is Portrait. And if you’re uncomfortable using more advanced modes (such as Aperture Priority or Manual mode), Portrait mode is a good way to decrease the depth of field; it sets a large aperture (discussed in the next section!), which will make the depth of field smaller.

Now, Portrait mode doesn’t offer any control over your depth of field effect, so I only recommend you use it if you feel completely lost or have no intention of learning basic camera settings.

And if you do want to gain more control, check out the next method of creating shallow depth of field:

3. Widen your lens’s aperture

Every lens includes an aperture – essentially a hole – that widens or narrows depending on your camera’s aperture setting.

And the wider the aperture, the shallower the depth of field.

Portrait mode will automatically widen your aperture. But if you want a greater level of control, I’d recommend using either Aperture Priority mode or Manual mode, which allow you to dial in your preferred aperture (then watch as the background is blurred).

If you’ve never set the aperture before, know that small numbers, such as f/1.8 and f/2.8, correspond to a wide aperture (and hence a shallow depth of field). Large numbers, such as f/16 and f/22, correspond to a narrow aperture (and a deep depth of field).

For ultra-shallow depth of field effects, stick to f/2.8 and wider if possible, though your aperture capabilities will depend on your lens (because all lenses have an aperture maximum).

shallow depth of field photography man with camera

In fact, if you like the idea of adjusting the aperture to achieve the perfect depth of field effect, I highly recommend you put your camera on Aperture Priority mode, find a subject, and test out a handful of different apertures. Then review each photo carefully, paying attention to how the aperture setting affects the depth of field.

4. Use a long lens (and get close to your subject)

The closer you get to your subject, both optically – by using a long lens – and physically – by moving toward your subject – the shallower the depth of field and the better the background blur.

That’s why the best shallow depth of field portraits tend to be taken on an 85mm lens or a 70-200mm lens, not a 50mm or 35mm lens. The longer focal length makes it easier to get close, which in turn decreases the depth of field. Make sense?

However, if you only own a 35mm lens, don’t worry; you can still create a shallow DOF. You simply need to get close to your subject. Yes, it might be a bit uncomfortable if you’re photographing people – you’ll be shooting from right in front of their face! – but the results will be worth it.

By the way, longer lenses have another advantage over shorter lenses:

They compress the background. The actual effect is difficult to explain, but it leads to a smoother background blur and the appearance of a shallow depth of field.

So if possible, shoot your images from up close – and use a long lens, too. (Don’t get crazy with your focal length, though, especially if you’re photographing people; if you go over 200mm or so, you’ll be forced to back up ridiculously far, which can become unmanageable, plus you’ll lose a level of photographer-subject intimacy.)

5. Get a wide-aperture lens

Previously, I explained that a wide aperture leads to outstanding shallow depth of field effects. I also mentioned that some lenses feature a maximum aperture.

So if you’re serious about achieving a shallow depth of field, a lens with a wide aperture (known as a fast lens) is your friend.

Unfortunately, fast lenses tend to be expensive, but they can also be worth the investment. Plus, there are a few fast primes – such as a 50mm f/1.8 – that are optically impressive, capable of beautiful background blur, and are also quite cheap.

(Fast lenses also let you shoot in low light, which is a major bonus.)

By the way, some lenses offer better background blur than others. So before purchasing, I recommend reading reviews of possible lenses (or at least viewing sample images). Good reviewers will discuss background blur (also known as bokeh), and you can determine whether the lens is right for you.

woman on a subway platform portrait shallow DOF

Shallow depth of field: final words

Now that you’ve finished this article, you know all about shallow depth of field and how to create it.

So head out with your camera. See if you can get some beautiful depth of field effects. Try out the methods I’ve suggested.

And have fun!

Now over to you:

Which of these methods is your favorite? Do you have any tips that I missed? Share your thoughts in the comments below!

The post Shallow Depth of Field: How to Get It in Your Photos (5 Easy Ways) appeared first on Digital Photography School. It was authored by Darren Rowse.

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15 Ways to Find Photography Inspiration in 2021

20 Jan

The post 15 Ways to Find Photography Inspiration in 2021 appeared first on Digital Photography School. It was authored by Megan Kennedy.

Photography inspiration is easy to lose.

Fortunately, there are plenty of ways to ignite your creativity and get you excited about shooting again!

In this article, you’ll discover 15 ways to feed your photographic inspiration.

Let’s dive right in.

1. Make a list

Photography inspiration can manifest in mysterious ways. And while it may seem removed from the photographic process, list-making can actually help inspire new creative photography ideas.

Try compiling a list of photography goals to work through, or make a list of subjects to photograph. These lists can be as detailed as needed, so grab a pen and paper and brainstorm your next move.

flower abstract — Canon 5D Mark II | Canon EF 50mm f/1.8 II with extension tubes | 1/6400s | f/1.8 | ISO 100

2. Get some exercise

Researchers have found that mood and creativity can be improved by physical exercise.

So if you’re in the midst of a creative lull, lace up your shoes and head out the door for a quick walk around the block – you could even bring your camera!

3. Try a new medium

photography inspiration pastels — Canon 5D Mark II | Canon EF 50mm f/1.8 II with extension tubes | 1/80s | f/4.0 | ISO 100

Trying a new artistic medium can often provide surprising artistic perspectives that feed into photographic inspiration.

Activities like drawing or painting can open you up to fresh compositional insights that inspire intriguing creative possibilities.

4. Keep a journal

Maintaining a written journal is a great way to get down your important photographic processes on paper.

Journaling encourages introspection, which will help you nail down the effective aspects of your photography (and which you can reflect on later).

Ultimately, keeping a journal can give you a clear sense of creative direction, inspiring new photography ideas and approaches.

5. Make time for photography

It’s easy to get wrapped up in the day-to-day. But actively setting aside dedicated photography time feeds photographic inspiration and facilitates creative growth.

Regularly making time for photography will help exercise your creative muscles – even if it’s only an hour a week.

6. Try new equipment

photography inspiration extension tubes flowers — Canon 5D Mark II | Canon EF 50mm f/1.8 II with extension tubes | 1/250s | f/2.8 | ISO 100

Trying new equipment can broaden photographic possibilities considerably.

Simple and cost-effective accessories like extension tubes, prisms, and filters are economical ways to inspire new methods of photography.

7. Make a mood board or a visual diary

Mood boards and visual diaries are used by artists to keep creative information in one place. By creating an accessible source of inspiration, artists can more easily expand on their own processes and ideas.

Traditionally, visual diaries were kept on paper. Today, websites like Pinterest and Tumblr allow you to maintain a visual diary or mood board online.

No matter which method you use, mood boards and visual diaries are a tried-and-true source of valuable photographic inspiration.

8. Catch up on art history

Art has a rich and varied history dating back millennia. Familiarizing yourself with art history contextualizes, informs, and expands creative output.

In fact, a good knowledge of art history can help you identify the subjects and approaches that have inspired creatives over the centuries, which you can then use in your own photography!

9. Revisit old photographs

black and white deer — Canon 5D Mark II | Canon EF 24-105mm f/4L IS USM | 1/160s | f/5.0 | ISO 100

The depths of a photographic library can be a great source of inspiration. When sifting through old photographs, opportunities to revisit past subjects and locations may reveal themselves, inspiring new photography ideas.

Looking through old photographs can also reveal consistent errors to fix in future photoshoots. And it can draw attention to how far you’ve developed over a period of time, encouraging a positive sense of creative growth.

10. Check out art establishments

Art establishments, such as galleries, are full of inspirational material.

And since the beginning of the COVID-19 pandemic, plenty of galleries have added online tours and online events that allow you to experience art from the comfort of your own home.

11. Read photography books and magazines

photographer index — Canon 5D Mark II | Canon EF 50mm f/1.8 II with extension tubes | 1/1000s | f/2.5 | ISO 100

These days, most visual art material comes from a digital screen. But reading photography books and magazines can inspire a greater appreciation for printed photography, which can feed new creative possibilities.

12. Find photography inspiration by learning from past mistakes

From forgetting gear to technical or practical mishaps, photography, like any art form, is full of easy mistakes.

But when mistakes happen, don’t get discouraged. Instead, make a note of what went wrong – and be inspired to do better next time.

13. Reach out to fellow photographers

Photography often seems like a single-person endeavor, but reaching out to other creatives is an important way to generate and share inspiration.

From Instagram to in-person photography meetups, there are plenty of ways to connect with fellow creatives; ultimately, you can encourage growth and creativity in yourself and other photographers.

14. Photograph a favorite subject

aircraft photography — Canon 5D Mark II | Canon EF 100-400mm f/4.5-5.6L IS II USM | 1/400s | f/16 | ISO 100

Photographing a favorite subject can help you remember the reason you took up photography in the first place.

While it isn’t always easy, prioritizing a session of photography simply for the sake of reconnecting with a favorite subject is an effective way to boost photography inspiration.

15. Challenge yourself

Photographing challenging subjects supports creative growth. Sure, photographing tricky subject matter can be intimidating. But getting outside your comfort zone is a surefire way to generate photography inspiration.

If you like landscape photography, give portraiture a try. Or if you’re into abstract photography, why not focus on wildlife for a change?

In short, take the opportunity to branch out. This will broaden your photographic experience and help you develop a more versatile approach to capturing images.

Ways to find photography inspiration: Conclusion

From photographing a favorite subject to maintaining a journal, there are many simple ways to get out of a creative rut.

And while it’s true that photography inspiration can be elusive, making these changes to your creative habits is a great way to build your skills and develop new approaches!

Do you have any additional tips for finding photographic inspiration? Share them in the comments below!

The post 15 Ways to Find Photography Inspiration in 2021 appeared first on Digital Photography School. It was authored by Megan Kennedy.

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10 Ways to Take Stunning Portraits

05 Dec

The post 10 Ways to Take Stunning Portraits appeared first on Digital Photography School. It was authored by Darren Rowse.

How do you take portraits that have the wow factor?

Today, I want to talk about taking portraits that are a little out of the box. You see, it’s all well and good to have a portrait that follows all the rules – but it recently hit me that often the most striking portraits are those that break the rules.

I want to look at some ways to break out of the mold and take striking portraits by breaking (or at least bending) the rules and by adding a little randomness to your portrait photography.

1. Alter your perspective

Most portraits are taken with the camera at (or around) the eye level of the subject. While this is good common sense, completely changing the angle that you shoot from can give your portraits a real wow factor.

Get up high and shoot down on your subject, or get as close to the ground as you can and shoot up. Either way, you’ll be seeing your subject from an angle that is bound to create interest.

stunning portrait shooting from low down

2. Play with eye contact

It is amazing how much the direction of your subject’s eyes can impact an image. Most portraits have the subject looking down the lens – something that can create a real sense of connection between a subject and those viewing the image.

But there are a couple of other things to try:

A. Looking off-camera. Have your subject focus their attention on something outside the field of view of your camera. This can create a feeling of candidness and also create a little intrigue and interest as the viewer of the shot wonders what the subject is looking at. This intrigue is particularly strong when the subject is showing some kind of emotion (i.e., “What’s making them laugh?” or “What is making them look surprised?”). Just be aware that, when you have a subject looking out of the frame, you can also draw the eye of the viewer to the edge of the image, and this will take them away from the point of interest in your shot: the subject.

B. Looking within the frame. Alternatively, you could have your subject looking at something (or someone) within the frame. A child looking at a ball, a woman looking at her new baby, or a man looking hungrily at a big plate of pasta – it can all work. You see, when you give your subject something to look at that is inside the frame, you create a second point of interest and a relationship between it and your primary subject. It also helps create a story within the image.

woman looking at child stunning portrait

3. Break the rules of composition

There are a lot of “rules” out there when it comes to composition, and I’ve always had a love-hate relationship with them. My theory is that, while composition rules are useful to know and employ, they are also useful to know so you can purposely break them – as this can lead to eye-catching results.

The rule of thirds is one rule that can be effective to break. You see, placing your subject dead-center can sometimes create a powerful image. And creative placement with your subject right on the edge of a shot can sometimes create interesting images.

Another “rule” that we often talk about in portrait photography is to give your subject room to look into. This can work really well – but again, sometimes rules are made to be broken.

4. Experiment with lighting

Another element of randomness you can introduce in your portraits is the way you light them. There are almost unlimited possibilities when it comes to using light in portrait photography.

Sidelighting can create mood, while backlighting and silhouetting your subject to hide their features can be powerful.

Also, using techniques like slow sync flash (as well as long exposures combined with light painting) can create impressive images.

5. Move your subject out of their comfort zone

I was chatting with a photographer recently who told me about a corporate portrait shoot that he had done with a businessman at his home. They’d taken a lot of head and shoulder shots, shots at the desk, shots in front of framed degrees, and other “corporate” type images. The photos had all turned out fairly standard – but there was nothing that really stood out from the crowd.

The photographer and the subject agreed that there were plenty of usable shots, but they wanted to create something special and out-of-the-box. The photographer suggested they try some “jumping” shots. The subject was a little hesitant at first, but stepped out of his comfort zone – and then, dressed in his suit and tie, started jumping!

The shots were amazing, surprising, and quite funny. The shoot culminated with the subject jumping into his pool for one last image!

While this might all sound a little silly, the shots ended up being featured in a magazine spread about the subject. It was the series of out-of-the-box images that convinced the magazine the subject was someone they’d want to feature.

6. Shoot candidly

Sometimes, posed shots can look somewhat…posed. Some people don’t look good in a posed environment, and so switching to a candid-type approach can work well.

Photograph your subject at work, with family, or doing something that they love. This will put them more at ease, and you can end up getting some special shots with your subject reacting naturally to the situation they are in. You might even want to grab a longer zoom lens to give your subject space and get really “paparazzi” with them.

I find that this can work particularly well when photographing children.

7. Introduce a prop

Add a prop of some kind, and you create another point of interest that can enhance your shot.

Yes, you might run the risk of taking too much focus away from your main subject. But you can also really add a sense of story and place to the image that takes it in a new direction, and gives the person you’re photographing an extra layer of depth that they wouldn’t have had without the prop.

8. Focus on one body part (and get close up!)

Use a lens with a long focal length, or get up close so that you can just photograph a part of your subject. Photographing a person’s hands, eyes, mouth, or even just their lower body can leave a lot to the imagination of the viewer.

Sometimes, it’s what is left out of an image that says more than what is included.

9. Obscure part of your subject

A variation on the idea of zooming in on one part of the body is to obscure parts of your portrait subject’s face or body. You can do this with clothing, objects, your subject’s hands, or just by framing part of them out of the image.

Doing this means that you leave a little to the imagination of the viewer. And you also focus the viewer’s attention on the parts of your subject that you want focused on.

10. Take a series of shots

Switch your camera into burst mode (also known as continuous shooting mode) and fire off several shots.

In doing this, you create a series of images that could be presented together, instead of just one static image.

This technique can work very well when you’re photographing children – or really when you’re photographing any active subject that is changing their position or pose in quick succession, like the runners below:

10 ways to take great portraits: conclusion

Capturing stunning portraits is easy – as long as you remember a few of these simple tips!

And if you’re interested in improving your portrait photography even further, make sure you’re subscribed to the Digital Photography School newsletter, where we share lots of photography tips and techniques every single week.

Also, make sure you check out the second half of this series here: 10 More Tips for Stunning Portrait Photography, as well as our Portraits: Making the Shot eBook!

And start taking some great portraits, today!

The post 10 Ways to Take Stunning Portraits appeared first on Digital Photography School. It was authored by Darren Rowse.

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11 Ways to Overcome Creative Blocks as a Photographer

27 Nov

The post 11 Ways to Overcome Creative Blocks as a Photographer appeared first on Digital Photography School. It was authored by Megan Kennedy.

Creative blocks can happen to everyone, including us photographers.

Fortunately, there are numerous ways to combat that dreaded phenomenon.

So here are 11 ways to overcome creative blocks as a photographer!

What is a creative block?

The term creative block describes a condition that ranges from having difficulty coming up with new ideas to being completely unable to produce useable creative work.

Some common triggers for creative blocks include timing, stress, boredom, fatigue, fear, and anxiety.

However, there are many simple methods that can help tackle this beast head-on.

1. Get some rest

The creative process (and daily life in general) can take both a mental and physical toll, and one of the key factors that can trigger a creative block is fatigue.

Making time to recuperate is not only good for the creative process, but for mental health overall.

2. Write

The written word is a powerful tool, and one of the many ways to overcome creative blocks. Actively maintaining a notebook full of creative ideas can come in handy in the event of a creative lull. Keeping a journal, blogging consistently, or even doing creative writing can help remove a creative barrier.

Brainstorming is another written exercise that prompts creative thinking. Select an aspect of photography and write down as many associated ideas and phrases as possible within a short amount of time. Often the results can deliver unique new creative perspectives.

3. Listen to music

It’s been scientifically proven that music can help calm activity in the brain, reducing anxiety and restoring emotional balance.

So whether it’s listening while at work, rest, or play, music can aid in restoring creative flow.

ways to overcome creative blocks music — Canon 5D Mark II | Canon EF 50mm f/1.8 II with extension tubes | 1/40s | f/4.5 | ISO 320

4. Sketch your surroundings

Grab a drawing medium and a sheet of paper (or a tablet, touchscreen computer, etc.) and quickly sketch as much of the surrounding detail as possible for five minutes.

Furniture, cameras, people, shadows, animals, trees, plants, textures…draw anything that makes up the immediate area.

While it may seem simple, making rough sketches encourages mindfulness, utilizes creativity without the pressure of perfection, and reveals the creative possibilities of your surroundings.

5. Have a change of scenery

Even a simple walk in the park has been proven to combat creative block.

After all, new places inspire new thought patterns. A change of scenery is a simple way to get into a more creative mindset.

6. Gear up

One of the ways to overcome creative blocks is to seek out new equipment.

Trying out new gear sounds expensive, but economical accessories like extension tubes, prisms, and filters can have a significant creative influence on photographic practice.

Even old cameras and lenses sourced from thrift stores can present new challenges and opportunities to engage with photography and therefore reinvigorate creativity.

ways to overcome creative blocks as a photographer macro flower — Extension tubes are an economical way to get into macro photography. Canon 5D Mark II | Canon EF 50mm f/1.8 II with extension tubes | 1/125s | f/4.0 | ISO 100

7. Be distracted

Embracing distraction seems a little counterproductive, but putting an uncooperative artistic undertaking to one side for a while can be one of the best ways to combat a creative block.

Taking a break to reset and relax is conducive to a more fluid state of mind. Going for a walk, having a shower, and doing some tidying are all good ways to overcome creative blocks.

8. Seek inspiration

Creative minds feed on inspiration. Reading photography books and magazines, listening to podcasts, and researching artists can all chip away at a stubborn creative block.

Plus, due to the current shutdown, many galleries are creating virtual tours of art spaces online – which is a great opportunity to explore art establishments without leaving the comfort of your own home.

9. Photograph something new

It can be easy to get stuck photographing the same thing all the time. And while there is nothing wrong with specializing, adopting a new subject or technique can help get rid of a creative rut.

Photographing something entirely new not only serves as a refresher but can also build on the skills and habits you’ve previously established. For example, a portrait photographer experimenting with landscape photography can uncover new ways to combine the two in environmental portraiture.

While it can be difficult to take on a new project during a creative rut, doing photography outside your comfort zone can lead to significant artistic breakthroughs. By embracing a new format, photographers can expand their creativity and shift a stubborn creative block.

10. Photograph your favorites

It may seem like this point contradicts item nine above. Nevertheless, we often forget to photograph the very subjects that made us love photography in the first place.

A lull is a great opportunity to return to photographing a neglected favorite subject, rekindling that passion for creative image-making.

11. Make a visual diary

In a creative lull, a good source of accessible inspirational material is invaluable. Visual diaries are collections of visual materials compiled in a comprehensive journal. Consisting of images, notes, samples, scribbles, diagrams, photographs, etc., visual diaries are a manifestation of a photographer’s creative thought processes.

One of the most popular visual diary formats is a simple spiral-bound art book (usually A4 or A5 in size). However, there are other ways that artists can maintain a visual record of artistic processes.

For instance, Pinterest, Instagram, and other online venues are great ways to keep track of inspirational artistic material. In the event of a creative lull, visual diaries are a great resource to look back on, and they can help plan your next creative step.

Ways to overcome creative blocks: Conclusion

While frustrating, creative blocks can represent a good opportunity to expand on creative practice.

From resting to listening to music to trying a new technique, there are many ways to overcome creative blocks – while building on personal creative processes at the same time.

Now over to you:

Do you have any tips for getting rid of creative blocks? Share them in the comments!

The post 11 Ways to Overcome Creative Blocks as a Photographer appeared first on Digital Photography School. It was authored by Megan Kennedy.

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3 Simple Ways to Create Stunning Eyes in Your Portrait Photography

21 Nov

The post 3 Simple Ways to Create Stunning Eyes in Your Portrait Photography appeared first on Digital Photography School. It was authored by Gina Milicia.

portrait photography with beautiful eyes — Image model credits, clockwise from top left: Chris Milligan/Fremantle Media, Rachael Lever, Danny Spannerz/East Brunswick Tattoos, Tiffany Diaz

“Here’s looking at you, kid.”

Reclusive Hollywood legend Marlon Brando would always close his eyes when paparazzi tried to take his photo. He knew that without his eyes open the image wasn’t worth publishing.

The eyes are the single most important feature of any portrait. Beautiful eyes can make even the dullest portrait mesmerizing. Poorly lit, out of focus eyes, or eyes that lack connection, will weaken the impact of a portrait.

Here are my three favorite techniques to make eyes really stand out in your portrait photography.

1. Light

“Light makes photography. Embrace light. Admire it. Love it. But above all, know light. Know it for all you are worth, and you will know the key to photography.” – George Eastman

Eyes look best when they are lit well, with beautiful catch lights. Catch lights are the reflection of a light source in the eyes. The size, shape, and brightness of your catch lights depend on the light source you use.

An eye lit by windows — Two large, frosted windows from my studio create beautiful catch lights. Model: Bryana Karanikos

Naked Flash on camera — Diffused on-camera flash creates a slightly softer, rectangular catch light.

Eyes lit by a medium softbox off camera — A medium softbox, off-camera and positioned at 2 o’clock, gives a soft, natural catch light.

Badly lit eyes — Poorly-lit eyes without catch lights look cold and a bit creepy.

2. Expression

“You are what you think. All that you are arises from your thoughts. With your thoughts, you make your world.” – Anon.

Comparison of portrait photography with bad and good eyes — Model: Tiffany Dias

In the image on the left (above), Tiffany’s eyes are cold, and she looks nervous. After I gave Tiffany a visualization exercise, her eyes became warm, confident, and connected (see the right image above).

How you communicate, connect with, and direct your model is key to capturing a great expression in the eyes. If your model’s smile isn’t genuine, his or her eyes will appear cold and dull-looking. If your model is nervous or distracted, this too will be reflected in his or her eyes.

One technique I use to create a great expression is visualization. I ask my model:

If you could be anywhere right now, doing anything, where would that be? Tell me about that moment. Who is there? What does it feel like?

Once your model is in the moment of their visualization, their body language and expression changes.

3. Post-production

“Be willing to give that extra effort that separates the winner from the one in second place.” — H. Jackson Brown, Jr.

Post-production can lift your portrait photography from good to great – when it’s done well. The key to great post-production is to avoid overdoing it. It’s easy to get excited with all the tricks and enhancements that post-production software offers. It’s addictive, and much like opening a jar of Nutella, it’s very difficult to control yourself once you’ve begun.

I try and use the overnight rule when it comes to retouching. Once I’ve worked on an image, I won’t look at it again for at least a day. I find that my eyes constantly adjust to the modifications I’m making, so it’s more difficult to see when I’ve gone too far (which is also what happened when I dressed in the ’80s).

Here’s a step-by-step technique to enhance eyes using Adobe Lightroom:

Before and after images of eyes — Before and after: I’ve used Lightroom to make the eyes sharper and brighter and to enhance their color.

Step 1: Import your image into Lightroom and use the Basic panel in the Develop module to edit your shot. In this case, I’ve used one of my own beauty presets.

eye adjustments in Lightroom — Here are the basic adjustments I’ve used for this image.

Step 2: Zoom in on the eyes (“B” in the image below) and select the Adjustment Brush tool (“A” in the image below). You can also select the Adjustment Brush using the keyboard shortcut “K.”

Adjusting the eyes in portrait photography

Step 3: Next, you should adjust the eye color with the Adjustment Brush:

Increase the Temperature slider (A) to make the eyes appear warmer in tone.
Increase the Exposure slider (B) to brighten the iris.
Increase the Shadow slider (C) to bring more detail into the shadow area.
Increase the Sharpness slider (D) to make the eyes appear more detailed.

Adjust only the colored part (the iris) of your subject’s eye (highlighted in red in the image above) and set the brush to have a slight feather and a low flow so you can build up your adjustments slowly.

Step 4: Next, select a new Adjustment Brush (A, below), increase the Sharpness slider (B, below) by +22, and paint over the colored part of the eyes, eyelashes, and eyebrows. This will really make the eyes stand out.

Step 5: Finally, select a new Adjustment Brush. Set the Exposure slider to -29, and increase the Clarity to +10. Paint around the edge of the iris. This will darken the area slightly and give the eye more definition.

Here, the final portrait was imported into Adobe Photoshop, where I did a basic skin retouching to remove a few small blemishes.

And that’s it!

I’d love to hear about your techniques for enhancing eyes in portrait photography, and it’d be great to see some examples. So share them in the comments!

Gina is the author of several dPS eBooks, including Portraits: Making the Shot.

The post 3 Simple Ways to Create Stunning Eyes in Your Portrait Photography appeared first on Digital Photography School. It was authored by Gina Milicia.

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6 Ways of Using Reflector to Take Better Portraits

07 Nov

The post 6 Ways of Using Reflector to Take Better Portraits appeared first on Digital Photography School. It was authored by Dennis Drenner.

I’ve been making my living as a photographer for over 20 years, and I have accumulated thousands of dollars of gear in the process. I have the latest Canon DSLRs, a full complement of lenses, strobes, light stands, gels, filters, softboxes, tripods, and even some video and audio gear.

But the one thing that often makes the biggest difference in the quality of my portraits is a simple $ 20 reflector. I never leave home without one, and neither should you.

When shooting outdoor portraits, the first thing many photographers think about is the background – but first and foremost, the pros consider the quality of the light. They know, for example, that a portrait with nasty overhead lighting is not going to work, no matter how cool the background.

A reflector can help you salvage bad light, and turn okay light into something magical. You can use your reflector from below to fill in shadows, or from above to block distracting light. You can bounce the sun from a silver reflector to create a main light, or you can use a reflector with a black side to create deeper shadows. You can even sit on your reflector to keep your pants clean when shooting outside, or pop it open dramatically to dazzle young children.

Most of the photos in this article were shot with a 5-in-1 reflector you can buy for less than $ 20 USD. 5-in-1 refers to the fact that the reflector and cover can combine to give you five different options: white, silver, gold, and black sides, as well as a diffuser.

Here are six tips to help you use a reflector to transform your photos.

1. Use a reflector for fill light

The most traditional use of a reflector is to simply reflect light into the shadows. I took my wife, Karen, out into our local park to demonstrate this.

In the photo on the left (above), Karen is photographed in nice soft light, but there are still pretty deep shadows under her eyes and chin. In the photo on the right, however, she is holding a reflector at her waist. The shadows on her face are noticeably lighter and there is a subtle catchlight (a reflection of the reflector) in her eyes. If she were an older person with more textured skin, the contrast would be even more dramatic.

Of course, you may not always want to fill in the shadows in this way, but if you are trying to flatter someone it almost always helps.

You don’t even need an official photo reflector. Anything that reflects light will work. In a pinch, I’ve used everything from old newspapers to a nearby person wearing a white shirt.

2. Use a reflector as the main light source

This is one of my go-to reflector moves, and it’s an easy way to wow your friends and family.

You position your subject with the light hitting them from behind, then use a reflector to bounce the light back into their face. You will get nice soft light on your subject’s face, with a dramatic rim light on the back of their head. The only trick is positioning yourself so the light doesn’t go straight into your lens and create lens flare (unless you like that look, of course).

In the photo above, the sun is hitting the left side of my subject’s face and arm. The light from a reflector is bouncing some of the sun back to light up her face.

You may also notice the shallow depth of field in the photo above. If you are lighting with a reflector, you can jack up your shutter speed as much as you like to allow for a wide aperture (this photo was shot at 1/1250s at f/2.0 with a 50mm lens). If you were using flash to create this same effect, you would have to lower your shutter speed (to 1/250s or whatever matches your camera’s sync speed) to sync with the flash, requiring a narrow aperture and a greater depth of field (which will kill the whole look).

Yes, yes, some of you are no doubt thinking, “What about high-speed sync?” Well, yes, that could give you the same effect if you had the right equipment (and know how to pull it off). Or, you know, you could just use an old newspaper as a reflector.

For the example above, I positioned Karen against a tree and had her cousin, Claudia, reflect a spot of sunlight on her from about 10 feet away. At this distance, the light from the reflector looks more like it is coming from a grid spot or snoot (hard light) – in other words, it’s a focused and dramatic beam (notice the fall-off of light on her legs). It’s a cool look that you can recreate with a reflector, a few feet of aluminum foil, or your bathroom mirror. Your friends will be wowed and ask what fancy gear you used for the shot (and your family will ask what happened to the bathroom mirror).

For a slight variation on this technique, we moved the reflector slightly behind the subject (relative to the camera) to create a dramatic rim light on the face in a profile shot (see below).

3. Use a reflector to block light

Sometimes you’ll find yourself in beautiful, shady light under a tree, except for that pesky sunbeam that finds its way through the leaves to light up your subject’s left ear. When this happens, turn your reflector into a light blocker (sometimes called a flag or gobo).

A few years ago, I was doing a maternity portrait in a local park when a newspaper photographer snapped my picture while I was using my reflector as a gobo (shown in the image below). If you look at the reflector, you can see the bright spots of sunlight that it’s blocking (imagine how those spots would have ruined the final image if we didn’t block them!).

4. Use a black reflector to create more dramatic shadows

Sometimes, you actually want to deepen the shadows. I use this technique all the time in my headshot studio. Below is a photo of me with a white background. In the first shot, I have a silver reflector opposite the main light, sending light back towards my left cheek. In the second shot, the reflector has a black cover on it, gobbling up reflected light to leave a dark shadow on the cheek.

Except for the small change of literally flipping the reflector from one side to the other, the lighting setup is identical, but the effect is pretty dramatic. (For you studio lighting enthusiasts out there, my key light here is a large softbox, and there are two bare heads pointing at the background to make sure it is a nice, bright white).

This is the same technique used in the famous Steve Jobs portrait where he has his hand on his chin. In addition to creating a little drama, you can also use this technique to give someone a photographic face-lift by trimming pounds from the dark side of their face and under their chin.

5. Who holds the reflector?

You may be saying to yourself, “But I don’t have an assistant! Who’s going to hold the reflector for me?” I usually don’t have an assistant, either, but there is often someone nearby who is more than happy to help, be it a family member, passerby, intern, wedding guest, etc. Sometimes, you can even have the subject of the photo hold the reflector themselves. Of course, if you’re in the studio, or outside on a day without too much wind, you can just pop your reflector onto a light stand (like in the studio shots of me above).

In the photo below, I was shooting wedding portraits on a beach in the Florida Keys. My reflector assistant that day was one of the bridesmaids, who truly enjoyed helping her friends out with their portraits.

6. Reflectors in the environment

Once you get the hang of reflectors, you’ll probably start noticing reflected light everywhere. Ever see a white building getting blasted by the sun? Well, that’s nothing but a giant reflector! Depending on what’s around it, you may have found yourself a giant studio with no rental fee.

Mind you, anything that reflects enough light can work as a reflector. A brick building, a large truck, or a flock of seagulls flying by at just the right moment – it all works!

Using a reflector: final notes

Although they may not be as sexy as strobe kits, reflectors can often yield similar or superior results for your portraits and are cheaper and easier to use. I will leave you with a few more example photos, shot using nothing more than a reflector.

In the child portraits below, note that there is light behind the kids in both cases, but there is still beautiful light on their faces. Same goes for the athlete portraits.

As a final image, I leave you with a group of wedding guests who were so enamored of my reflector that they wanted a picture with it. Hopefully, you will soon have similar feelings toward your own reflector!

Do you have any additional reflector tips to add? Please share them in the comments below!

The post 6 Ways of Using Reflector to Take Better Portraits appeared first on Digital Photography School. It was authored by Dennis Drenner.

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Ways Creativity Can Help in Times of Uncertainty

08 Oct

The post Ways Creativity Can Help in Times of Uncertainty appeared first on Digital Photography School. It was authored by Anthony Epes.

When times are challenging for us, either individually or collectively, I find that my photography plays an important role in helping me get through intense life experiences like those we are all experiencing right now. So today I want to share some valuable ideas on ways creativity can help in times of uncertainty.

Life feels so strange when you are tootling along, maybe a bit bored or lethargic, and then something deeply unsettling happens, seemingly out of the blue.

And you are confronted with the big life questions: how to survive when you are faced with pandemics, mortality, aging, illness, financial problems, etc.

Often, when things get tough, we stop doing the things that make us relax and make us happy. We contract with fear or worry; we start focusing on the uncertainty, the pain, and the problems.

But what I would love to share with you today is that, instead of contracting when things get rocky, instead of making our lives less joyful and fun, we can actually use photography, and our love of being creative, to help us cope in tough times.

Using our creativity can help us to explore the world. It can help to take our minds away from obsessive worrying, to look beyond our challenges, to find beauty in unexpected places, and to connect with others.

There are so many opportunities to weave in moments of immense joy from this incredible medium of photography that we all love so much.

So here are my ideas on how creativity can help you in times of uncertainty.

The simple joy of making

One of my favorite writers, Neil Gaiman, is extraordinary when discussing the benefits of being creative. But a very simple idea of his is perhaps the most powerful here:

“The world always seems brighter when you’ve just made something that wasn’t there before.” –Neil Gaiman

I never, ever regret spending time shooting.

Even if I don’t get any shots I love, making the effort to explore and take photos makes my day better.

Of course, this is especially true when I hit those amazing moments when I capture something perfectly.

If I find some incredible light, a beautiful vista, or an interesting face, I feel fantastic when looking at those photos afterward.

Even if I get zero good shots, I know that every single time I make the effort to shoot, I am feeding my ideas, my imagination, and my creativity.

Even if I get things wrong, make something boring, or miss a shot, the effort of shooting, as well as the experience of shooting, always feels worthwhile to me.

It is a pretty basic but powerful idea to think that we humans just love to make things.

It’s part of what makes us human: to have ideas, to experience the world not just as a way to get our needs met, but as a way to add something to what is already here.

And, of course, I always regret not shooting.

Creativity can expand our vision beyond the here and now

When we are so wrapped up in our lives or the challenges we are facing, it can feel like our struggles are the only things we can think about.

This is especially true when we are fearful and worried. We see everything through the filter of our worries.

And so it is good, in fact, essential, to take our minds away into realms of other possibilities and see the world beyond what is freaking us out.

It’s important to contemplate and see the worlds other people are living, to explore the wilderness, to look at the stars and imagine their eternal timelessness.

To bring the focus of our lives away from the minutiae and worries and toward the vast incredible planet that we live in.

To remember that this is just a moment in time.

We know that life goes on. Every day is new. Challenges are overcome, eventually. Things continue to change. We can rely on that.

The photographer Diane Arbus said that being a photographer gives you a license to talk to people you wouldn’t usually approach. And this is the amazing thing that applies to all of photography, I believe.

Having a camera in hand is an incredible license (permission, even) to try and look at the world in a new way.

So use it.

Use photography to go beyond whatever is concerning you right now. Use photography to see things afresh, to look at new places, or to try and look at the same things in new ways.

Use limitation to stretch your creativity and imagination

During lockdown, I took some of the best photos I had in years. Because I didn’t have the chance to just go out and explore, I was confined to my apartment and had to squeeze my inspiration and imagination to come up with something awesome in this confining situation.

I had to dig deep and think beyond what was ordinarily possible; I had to look at the limited opportunities that I had and make the very best of them.

And I did! My creativity, because I used it daily, because I valued it and fed it, gave me some amazing ideas for great shots.

(It’s important to remember what the wonderful writer Maya Angelou said: “You can’t use up creativity. The more you use, the more you have.”)

It’s amazing what the imagination can do when given very tight restrictions!

Creativity can help us share and connect with others in challenging times

We all face challenges. Life has times of darkness for us all.

It is not unique to hit a point in life that you believe will shatter your spirit or break you from worry.

And yet so often we hide these experiences and feelings from each other because they are strange and oddly embarrassing to share.

But we can use our craft and our creativity to bring light and to share our experiences with others. To show people that we are all human, facing many similar challenges.

This quote from the writer James Baldwin sums up the power that creative people have:

“The precise role of the artist, then, is to illuminate that darkness, blaze roads through that vast forest, so that we will not, in all our doing, lose sight of its purpose, which is, after all, to make the world a more human dwelling place.” –James Baldwin

Bringing calm to our minds and bodies

There are many studies that show being creative is good for our emotional health.

Being creative is often compared to meditation. This is because we get lost in creative tasks, and getting lost in something has a calming effect on our nervous systems.

It’s soothing to be focused on something that is concerned with something beyond the practical, which is about creating something beautiful or interesting or fun.

And, as I mentioned before, anything that moves us away from our worries, that brings us ideas and inspiration, is so valuable during times when it feels like life is sitting on quicksand.

Creativity is a way to work things out

I want to live for more than just getting by. I want to live in a way that is exciting and interesting and electrifying. And yet there is so much that brings us away from the joy.

It’s very easy as humans to get so embedded in our habits, both in how we live our lives and how we think, that it often feels like we are running on autopilot.

This can be especially true in times of uncertainty. We go over and over and over the things that are concerning us. We think of ways to help, what to change, and how to fix things. We talk about our concerns a lot and get lost in endless articles. We discuss, rationalize, and disagree.

But maybe there is no fix, and you can only live with whatever is on your path. The obsessive thinking and worrying is not going to help you at all.

I love this quote from Edward de Bono because, to me, it shows that we can use creativity to break out of old patterns and habits, and to go beyond how we see the world at the moment:

“Creativity involves breaking out of expected patterns in order to look at things in a different way.” –Edward de Bono

Creativity brings you into the present moment

This is ultimately all that we have: this present moment. We cannot escape back to the past nor rely on the future. This is what we have now. And to always be sucked into doing or planning or thinking is to miss the only real life that we have:

What is here, right now.

It is so easy to get lost in the moment. But somehow, when we are challenged with any of the things that are hard in life (grief, loss, or pain), the challenge can serve as an opportunity to wake us up.

It slams our attention into focus, and it can be a time when we break. But it can also be a time when we suddenly say: I am going to stop getting lost in the busyness of life. I am going to pay attention to what is actually here.

And by facing the feeling of uncertainty, by acknowledging that it can overtake our thoughts, can seep into our bodies, can overwhelm us, we can start to do something to transcend it.

We can use these times of uncertainty to allow all that is unnecessary and distracting to simply fall away.

And creativity can help us with the whole process. It can help us see what we aren’t seeing. It can open our eyes to all that is fascinating and meaningful and true for us.

Being creative isn’t something to save only for retirement or when you’ve got time. It isn’t to be saved for when your kids are older or for when you’ve completed all your tasks (tasks are never-ending, aren’t they?).

Creativity can help us move through dark times with more grace and understanding. It can comfort us at times when we struggle. It pays attention to that part of ourselves that is so uniquely human, that weirdly, magically, strangely, unnecessary, completely impractical side of who we are.

If we are to enjoy our lives, isn’t it because we are not just doing what is necessary, but reveling in the pleasures and beauty and joy of it all?

Otherwise, what is the point of all of our hard efforts, all of the work, all of the struggles and challenges we face?

What is the point if there isn’t a little bit of stardust to delight our spirits at least once every day?

I hope these ideas have been helpful to you and have ignited your imagination. I hope these ideas have shown you how creativity can help in these times of uncertainty. I would love to know if they have, so please share your thoughts in a comment below.

The post Ways Creativity Can Help in Times of Uncertainty appeared first on Digital Photography School. It was authored by Anthony Epes.

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4 Ways to Shoot Portraits in the Middle of the Day

19 Sep

The post 4 Ways to Shoot Portraits in the Middle of the Day appeared first on Digital Photography School. It was authored by John McIntire.

One of the first things you learn when starting out in portrait photography is that the midday sun does not provide great lighting conditions.

As with all things in photography, there are plenty of exceptions. But, for the most part, this is sound advice. Because of the harsh, contrasty light, and the deep shadows that such light produces, shooting portraits in the middle of the day can be a real challenge.

Getting better portraits in the middle of the day can be as simple as getting used to a few techniques. — Creating portraits on location in the middle of the day can prove a real challenge, thanks to unflattering light from the high sun. Fortunately, there are loads of ways to get around this and take back all those wasted shooting hours.

Canon 5D Mark III | Canon EF 50mm f/2.5 Macro | 50mm | 1/800 sec | f/5.6 | ISO 200

Of course, you can always go and find a bit of open shade for more flattering light, but what do you do when isn’t an option? And what do you do when you have a location that you love, but the light isn’t perfect at the moment?

You could always wait. But with portraits, you can’t necessarily count on another person’s enthusiasm for waiting around for the right light. Fortunately, there are a lot of tools that will help you modify the midday sun so that the light is more flattering for portraiture.

Overcast conditions are great for shooting portraits in the middle of the day. — By far, the easiest way to shoot in the middle of the day is to do so on an overcast day with heavy cloud cover. Of course, just like waiting around for the golden hour, you can’t always wait around for clouds.

Canon 5D Mark III | Canon EF 85mm f/1.8 | 85mm | 1/2000 sec | f/2.8 | ISO 200

This article will give you an overview, along with the basics, of four techniques for manipulating, or completely altering, the light from the midday sun to help you get better portraits.

1) Reflector as key

The first of these techniques only requires a reflector. Either white or silver will do, but if you opt for a 5-in-1 reflector, you will have both at your beck and call.

In strong sunlight, the white reflector should work most of the time. If the light is a bit dimmer, you may need to opt for the silver reflector.

Harsh shadows and fast shadow-to-highlight transitions make it hard when shooting portraits in the middle of the day. — In direct sunlight, the shadows are heavy and unflattering. An easy and cheap method of countering this is through the use of a silver reflector.

Canon 5D Mark III | Canon EF 85mm f/1.8 | 85mm | 1/1600 sec | f/4.5 | ISO 400

To get started with using a reflector as your key light, place your subject so that the sun is behind (or at least to the side of) them.

Now, raise the reflector up and point it back towards your subject. It should be placed opposite the sun. You should be able to see and watch what the light bouncing off the reflector is doing. Adjust the reflector’s position until you are getting the effect that you are after.

Using a silver reflector as a key light is a great method for shooting portraits in the middle of the day. — When using a reflector like this, make sure it’s above and pointed at your subject. You will be able to watch what the light is doing.

While using a reflector in this way, there are a few things to keep in mind. Because the reflector is your main light source (or key light), it is usually best to make sure that it is above your subject. Lighting from above in this way will help to ensure more natural and flattering results. Lighting from below will result in unnatural-looking shadows that won’t be flattering to your subject.

portraits in the middle of the day — The silver reflector has killed most of the shadows from the sun and brought up the exposure of the subject’s eyes for a much more flattering light.

Canon 5D Mark III | Canon EF 85mm f/1.8 | 85mm | 1/800 sec | f/4.5 | ISO 400

Another thing to keep an eye on is your exposure. Because you are working with natural light, you will be able to rely on your camera’s meter. Where you might find a problem is when the light reflecting off of the reflector isn’t as strong as any sunlight in the scene.

To ensure a good exposure on your subject, meter from their skin. An easy way to do this is to use your camera’s spot metering mode and meter a place on your subject’s skin that is being lit by the reflector.

Just remember that your camera’s meter is measuring for 18% grey and a lot of skin tones do not fall anywhere near that range. Subjects with lighter skin may require a bit of overexposure, while subjects with darker skin will need you to compensate with underexposure. In most cases, 1/3 to 2/3 of a stop will be good enough.

2) Diffusion

Direct sunlight is a major deterrent for making portraits in the middle of the day. — You might not be surprised to see that direct overhead sunlight doesn’t make for a very good portrait.

Canon 5D Mark III | Canon EF 50mm f/2.5 Macro | 50mm | 1/3200 sec | f/5.6 | ISO 400

A diffusion panel is a great option for manipulating the harsh midday sun and achieving better portraits in the middle of the day.

Diffusion panels are sheets of material that you place between the light source and the subject. The material spreads out the light, making it softer and more suitable to portraiture. If you have a 5-in-1 reflector, you probably already have one of these.

Alternatively, there are a lot of options on the market, including massive diffusion panels that cover a large area.

To use a diffusion panel for these purposes, simply place it between the sun and your subject. Because we are talking about the middle of the day, depending on where you are in the world, the sun should be pretty close to straight above your subject. In this case, the diffusion panel would go above your subject. This will have the effect of softening the light; once you’ve done this, you should be able to meter and start taking images.

A diffusion panel will help you make better portraits in the middle of the day. — All that you have to do is place the diffusion panel between your subject and the sun. Because this diffuser cuts out two stops of light, you can clearly see how much darker the area in shade is compared to the rest of the scene.

There are a few things to watch out for while using a diffuser. A lot of diffusion panels are made to reduce the exposure of the light in your scene by a certain number of stops. This is important to take into account because the diffuser will only be altering the exposure of the light falling within its area of effect. If your subject is a fair distance from the background, the background will appear two stops brighter than it did in any shots you may have taken without the diffuser.

This may result in overexposed backgrounds. To minimise this, you can make sure that the diffuser is covering everything in your frame by choosing a background closer to your subject, or by using a background that’s very dark in the first place.

Also, large diffusion panels like the one I have used in this example are very light. If there’s even a slight breeze, they pretty much act like a sail. You may need a dedicated stand or extra bodies to hold them in place.

3) Flash as fill

Flash can help to alleviate unflattering light when shooting portraits in the middle of the day. — More direct sunlight, more unflattering light. Using flash to fill in the shadows is another useful technique for portraits in the middle of the day.

Canon 5D Mark III | Canon EF 50mm f/2.5 Macro | 50mm | 1/1600 sec | f/5.6 | ISO 400

If you have the equipment, using off-camera flash as fill light to the sun’s key light is a great way to help you take portraits in the middle of the day. The job of the fill light is to bring up the exposure of the shadows created by your key light (the sun, in this case). This will reduce the contrast in your scene and even out the exposure.

Using flash for portraits in the middle of the day is a great way to deal with contrast. — Here, you can see that the shadows from the sun still exist, but they are much brighter. This reduction in contrast makes for a much more suitable portrait.

Canon 5D Mark III | Canon EF 85mm f/1.8 | 85mm | 1/640 sec | f/4 | ISO 100

There are a lot of ways to do this, but I’ll go over a basic method that requires the least amount of extra equipment.

It doesn’t matter if you are using a speedlight or a full-powered strobe; the principles remain the same.

The first thing you need to do is obtain an exposure for the ambient light. Do this by using your camera’s meter and taking a test shot as if you weren’t going to be using flash at all. The one exception here is that you need to ensure that your final shutter speed is slower than the max sync speed on your camera. This is often around 1/250 seconds, but do check your manual just in case. Once you’ve ensured that all of the highlight tones are present in your frame and not overexposed, you should have your working settings.

Note: If the sunlight is very bright and you cannot get the shutter speed to go slower than your max sync speed, you may want to consider using High-Speed Sync.

Now, turn on (and connect) your flash. While you are getting started with fill, I suggest placing your flash in an on-axis position. This means the flash is on the same line as the lens of the camera from the subject’s position. Although if you are using a speedlight on top of the camera, I recommend getting it off for more flattering results.

You can use Manual mode of E-TTL mode on your flash. Either will work fine, but E-TTL might help to get you closer to the desired exposure in less time.

Once your flash is set up, take a test shot. Look at the shadows in your image. Are they too bright? Turn down the power on your flash and take another test shot. Repeat this until the shadows appear how you want them. Do your shadows seem unchanged, or are they still too dark? In the latter case, turn up the power.

One thing that I suggest you take into account immediately is modifiers. For fill lighting, you will generally want as soft a light source as possible. The light from a bare speedlight will never be soft. A modifier like a translucent umbrella is dirt cheap and as portable as an actual umbrella, and they work well with both small and large flashes.

Another thing to look out for with fill lighting is how much you are filling in the shadows. Remember, the goal in using a fill light is to bring up the shadows so that they aren’t as dark in high contrast situations. You want to avoid having the exposure of your fill light as bright as the exposure from your key light. Try to aim for at least one stop between the exposure for your key and fill, but don’t be afraid to extend it more. Oftentimes two, three or even four stops of difference is the right choice.

4) Flash as key

Another way to use flash for portraits in the middle of the day is to use your flash as the key light. This will require a fairly powerful flash, as you will need it to appear brighter than the sun in your exposure, as you will now effectively be using the sun as a fill light. There are two main ways to go about this. These are using your flash in Manual mode and using your flash in E-TTL mode with High-Speed Sync (HSS).

Because it is fairly easy to get started with your flash in E-TTL mode with HSS (provided that you have the right equipment), that is what this article will discuss.

Using HSS to balance your exposure will help you when creating portraits in the middle of the day. — Using High-Speed Sync on a high-powered strobe allows you to overpower the sun and light the scene with your flash. The sunlight will still be present, but it will be a few stops darker than your key light.

Canon 5D Mark III | Canon EF 50mm f/2.5 Macro | 50mm | 1/800 sec | f/5.6 | ISO 200

High-Speed Sync allows you to use flash at shutter speeds far faster than your maximum sync speed. Since shutter speed is what governs the exposure of ambient light while using flash, this means that you can use a shutter speed that underexposes the light from the sun.

Adding the flash as key at this point will shape the main light on your subject with whatever modifier you are using, while the shadow areas will be filled in by the ambient light. This is a great technique that works in a huge variety of situations, but it does require a bit of specialist equipment.

Most speedlights have HSS functionality and more and more full-sized strobes are coming to market that have it, as well.

To get started using this technique for portraits in the middle of the day, select the aperture that you want to work with. Using the meter in your camera, meter the scene and underexpose it by the desired amount. You can evaluate the histogram to decide whether it is dark enough, or too dark.

Now, set up your flash with your chosen modifier for the lighting pattern of your choice. Rembrandt and Butterfly are two basic patterns that work great most of the time. Now, connect your flash to the camera and turn it on, making sure that it is set to both E-TTL mode and HSS mode.

Take a test shot.

Adjust the exposure compensation of your flash as required to get a good exposure of your subject. Referring to the histogram will help you figure out how much exposure compensation you need to use at a glance. If your image is too bright, dial in -1/3 to -2/3 of a stop at a time until you have the desired effect. The same applies for too dark images. Just dial in +1/3 to +2/3 of a stop instead.

Once you have a decent exposure, you should find that you have a nicely-lit portrait with all of the shadow and highlight details present in your image.

This is a very basic overview of High-Speed Sync and doesn’t even come close to covering what’s possible with the technique, but it should get you started with the basics.

Outro

Balancing flash with midday sun is another great technique when shooting portraits in the middle of the day. — Learning how to use just one of these techniques can open up hours worth of time that you would normally avoid shooting portraits in.

Canon 5D Mark III | Canon EF 50mm f/2.5 Macro | 50mm | 1/640 sec | f/4 | ISO 100

While there are plenty more methods for shooting portraits in the middle of the day, the ones listed here should go a long way to get you started.

There is no reason that you should feel limited by the time of day (and the lighting it brings) when you are photographing people.

Even with a few basic tools and techniques, you can stop being at the mercy of the light and, instead, take control of it and manipulate it to your needs. If nothing else, doing so will open up countless hours in the day that you can use for your portrait photography that you would normally be advised to avoid.

The post 4 Ways to Shoot Portraits in the Middle of the Day appeared first on Digital Photography School. It was authored by John McIntire.

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5 Ways to Diversify Your Photography Business

20 Aug

The post 5 Ways to Diversify Your Photography Business appeared first on Digital Photography School. It was authored by Karthika Gupta.

Photography is an incredible art form that really gets your creative juices flowing. There are so many elements to making a great image, and the beauty of it is that so much of photography is really subjective.

Sure, there are some technical requirements that you might need to pay attention to. But these days, even those are somewhat relaxed in the name of art.

That said, there are a lot of things that you need to consider and pay attention to if you want to make photography your full-time career, or even make a living out of creating images. It is hard to start out and get consistent work in a sea of photographers. The fact that there is really a low barrier to entry in terms of starter gear results in a lot of competition. Plus, much of photography education online is free (or almost free), so there is nothing you cannot learn about photography on your own, right?

Diversify Your Photo Business Karthika Gupta

Being able to call yourself a full-time photographer and being able to make a living out of photography is not that easy. Markets are constantly changing; customer tastes are evolving and prices for good photography are also shifting. Unfortunately, you will always find someone who is willing to do a job for less money. That is a reality, not only for photography, but for almost any business out there.

Luckily, it is not all doom and gloom when it comes to making a living from your photography. The smart thing to do is to diversify your photography business and create multiple streams of income; that way, when one area is slow, the others more than compensate in terms of monetary benefits you can derive from this art form.

Here are five ways you can diversify your photography business:

1. Shoot different genres

I know that many photographers promote picking one genre and sticking to it. There definitely is an advantage in honing your skills and perfecting them. But I have never been one to follow that rule. I tend to get bored easily and, when I was just starting out, I did not know what I wanted to specialize in.

I tried to photograph everything I could as a way to practice using my camera as well as a way of figuring out what I wanted to do long term. When I first started my photography business, I photographed children and families. Then I moved into photographing weddings. That quickly changed to more travel and lifestyle photography and, somewhere along the way, small business branding came into play.

Now I focus on travel, lifestyle, and business editorial visual content creation. While you might think this is a crazy trajectory, I try to focus on all the soft skills I picked up during each of these phases: dealing with different types of clients, working with different kinds of lighting, and even creating different types of visual content. And I found that this really helped when it came time to diversify my photography business.

2. Teach or mentor other photographers

Once you have been around the block a few times, you realize that you have learned a lot from all your experiences. This holds true for life as well as photography, doesn’t it? If you find yourself constantly in the position of talking to other photographers who are asking for advice on how to do certain things or how to manage a photography business, perhaps it is time to officially start teaching and mentoring newer photographers.

But I have to warn you: This has to come from a place of genuinely wanting to help and teach others. Don’t just use this privilege as a way to make money. We photographers know when we are being taken for a ride, right? Being someone’s mentor or teacher is a huge responsibility, and you need to be willing to give more than you take.

3. Write photography-related articles

This is, by far, one of my favorite ways to diversify my photography business. I started writing articles for Digital Photography School in 2013, and I’ve really enjoyed the opportunity this community has given me to connect, share, and be a part of an awesome group of people who all have a common love for this art form. This has also led to more writing work, as well as more clients, so I see this as a win-win from all sides.

Now, just to set the record straight:

When you first exploring writing photography articles, be prepared to maybe do some pro-bono work. As more and more photographers are getting into writing and teaching, there is a lot of supply. Consider this exercise very similar to your initial portfolio-building experience.

4. Shoot and sell stock

I admit that this was not on my mind at first. But the more I started speaking to my friends about how they are maintaining their photography business, the more intrigued I became by stock photography.

I started shooting images for stock and found that it was a lot of work. So instead, I started adding stock imagery as one of the line items in each of my shoots (client and personal). I was creating work for my clients, anyway; why not spend some time after the shoot creating some images that can be added to my stock portfolio?

I also shoot scenarios specifically for some of my stock clients if and when I am assigned that job.

5. Sell physical products

I started doing this when I was actively photographing weddings and families. I resisted the temptation to simply copy all images onto a disk or add to an online gallery and give my clients all the images. I found that most of the clients I served were overwhelmed with 50+ images from a session.

Instead, I started an in-person-sales process, where clients would get to see their images and choose images/prints and products. This increased my average sales per shoot and added more revenue to my bottom line.

Conclusion

I have been a professional photographer for the past 10 years and, if I have learned anything this last decade, it is that we have to be nimble and flexible in how we navigate the small business entrepreneur path. What worked five years ago is definitely not going to work today.

For that matter, what worked last year may not work this year. So take it in your stride and actively work on diversifying your photography business.

Not all of these options might be appropriate for you. But if you can even take one of these suggestions and make it your own, you might be less stressed when the slow season comes along and your bills keep piling up.

The post 5 Ways to Diversify Your Photography Business appeared first on Digital Photography School. It was authored by Karthika Gupta.

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4 Ways of Creating Effective Catchlights in Portraiture

31 Jul

The post 4 Ways of Creating Effective Catchlights in Portraiture appeared first on Digital Photography School. It was authored by John McIntire.

Catchlights in portraiture example — Canon 5D Mark III | Canon EF 50mm f/2.5 Macro | 50mm | 1/80 sec | f/5.6 | ISO 100

It is arguable that the most important part of a portrait is your subject’s eyes. While there is a case or two in which this might not be true, for the most part, the eyes are the focal point of portraits. This is because, when we interact with people on a one-to-one basis, it’s the eyes that we use to interact with one another.

As a photographer, it’s vital that you are able to present your subject’s eyes as the focal point in your images. One key way to do this is through the deliberate use and manipulation of catchlights. Catchlights in portraiture are the reflection(s) of your light source(s) that appear in the eyes.

This article will discuss why catchlights are important, how to make use of them, and how to manipulate them to your benefit. It will also discuss several ways to help you to include catchlights in your portraiture.

What are catchlights?

catchlights in portraiture types of catchlights — Catchlights are the reflection of the light source in your subject’s eyes.

As mentioned above, catchlights are the reflections of your light source as they appear in your subject’s eyes. It doesn’t matter if you are using natural light or flash; if there is light going directly into your subject’s eyes, there will be a catchlight.

In terms of photography, this is important because the presence of a catchlight in portraiture means that the detail in your subject’s eye will be revealed in the final images. If there is no detail in the eyes, it will be that much more difficult for your viewers to engage with the subject. You’ve probably heard of the term dead-eyes before. That’s what this is referring to.

Ensuring you have a catchlight

catchlights in portraiture — Making sure that your catchlights are a prominent feature in your subject’s eyes can help you to create more evocative portraits. Canon 5D Mark III | Canon EF 50mm f/2.5 Macro | 50mm | 1/125 sec | f/5 | ISO 100

If your goal is to create a catchlight in your portraits, the easiest way to do it is to ensure that your key light is pointed directly into your subject’s eyes. Because your key light will be the brightest light source in your frame, this will help to ensure that the catchlight is as bright as possible, making sure that it stands out.

If you are using natural light, or studio lighting with a modeling light, you will be able to see the catchlights in your subject’s eyes before you take the picture. All you have to do to ensure a catchlight is direct your subject’s pose until you can see the catchlight. If you are using a light source without a modeling light, you will have to be more careful. Take a test shot and review it on the back of your camera to see what’s going on, then guide your subject from there.

Placement

To help ensure more natural results, it can help for you to light your subject from above. This has a few effects. The first of these is that it places the catchlight at the top of your subject’s eye, just as it would be if they were outdoors and being lit by the sun. Also, having the catchlight at the top of the eye helps to have more of the eye visible in the frame.

If you are using more than one catchlight, the position of the other ones doesn’t matter too much, but putting the main catchlight at the top of the eye is still a good idea.

Big vs small

catchlights in portraiture size of catchlight — The size of your catchlight is going to depend on your chosen light source and how far away that light source is from your subject.

The size of the catchlights in your subject’s eye is entirely dependent on the light sources you are using. If you are shooting in the middle of a clear day, the light source will be the naked sun, and it will appear as a small pinprick of a catchlight in your subject’s eye.

If you are shooting on an overcast day, the entire sky becomes your light source. It is not uncommon for the catchlight to appear massive, as a reflection of everything that appears above the horizon. And if you are in a studio using a large octabox close to your subject, your catchlight will be enormous and take up a large portion of the eye.

How big you want your catchlights is entirely up to you. Personally, I prefer them to be somewhere in the middle. Too small and they barely show up in anything wider than a close-up portrait. Too big and they take up far too much of the eye, dominating one of the most important parts of your image.

On occasion, you might hear people saying that catchlights should only ever be small. This is not a rule. Use whatever size catchlight you want.

Bright vs dim

Another aspect of catchlights in portraiture that is dictated by the size of the light source is how bright the catchlights appear. Catchlights made by smaller light sources (such as the sun or small studio modifiers) will appear brighter than those made by large light sources (such as an overcast sky or large studio modifiers).

Again, how you use this is entirely up to you. In a close-up portrait where the eyes take up a large portion of the frame, the brightness of the catchlights won’t matter as much. However, in a three-quarter length or full-length shot where the eyes are a much smaller part of the image, you may need catchlights to be brighter so that they stand out more.

Of course, you always have the option of brightening up your catchlights with a bit of dodging and burning afterward, but making the choice at the time of capture can help to save you a lot of time behind the computer.

Doing more with catchlights in portraiture

Beyond the basics of simply placing a catchlight in your subject’s eye, looking out for new and intriguing ways to use catchlights in portraiture can be a fun and rewarding pursuit. There are a lot of different things you can do to try and make your catchlights more exciting and visually interesting. This section will outline a few of these.

1) Add more lights

Simply adding an extra light or two is possibly the easiest way to make your catchlights a little more interesting. Any secondary lighting that you use that is in your subject’s line of sight will usually appear as a second catchlight in their eye.

The thing to look out for here is that you don’t go overboard. Having your subject’s entire eye consumed by multiple large catchlights will probably look more disconcerting to your viewer than clever. By all means, experiment, but don’t be afraid to dial it back a notch if you go too far.

2) Use a reflector

Adding a simple white reflector as fill can help to lift your subject’s eyes with a catchlight of its own. This will usually result in a subtler effect, but it can lead to much brighter and more vivid eyes in your images.

3) Try different lighting patterns

Using lighting patterns that require multiple light sources can provide interesting catchlights as well. Cross lighting and clamshell lighting are two patterns in particular that can create interesting effects. Both of these patterns only require two lights as well.

catchlights in portraiture clamshell lighting catchlight example — Here you can see the effect that clamshell lighting has on the subject’s eyes.

4) Use novelty light sources

There are fair few interesting lighting options on the market that provide unique catchlights. The most prominent of these is the ring light. Ring lights provide on-axis lighting for your subject as you put your camera through the aperture of the ring. The catchlight appears as a ring in your subject’s eyes.

These lights, and other lights like them, are fun to use and can help you achieve interesting lighting in your portraits.

One caveat for these novelty light sources: While a lot of people really love the effect they produce, a lot of people really hate it, and are very vocal about how much they hate it. Depending on the purpose and the audience of your images, novelty light sources may not be the right choice.

The end

Taking control of your catchlights can be a great way to help you get the most out of your portrait photography. Hopefully, you see how easy and impactful this can be. It’s also a lot of fun.

Chasing catchlights in portraiture can lead you to a lot of interesting scenarios and lighting setups that you may not find, or come up with, by other means.

The post 4 Ways of Creating Effective Catchlights in Portraiture appeared first on Digital Photography School. It was authored by John McIntire.

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