Get creative and by photographing in your fridge. You can use macro, or wide shots. You can leave things in your fridge or take them out and photograph them in a different scenario. Whichever way you choose to go, be creative, and tell your story.
Check out some of the articles below that give you tips on this week’s challenge.
Tips for photographing IN THE FRIDGE
Stuck at Home? – Ways Still Life Photography Can Keep Your Skills Sharp
Simple Methods for Creating Better Still Life Images
Creative Macro Photography – A Guide to Freelensing
Five Ways to Take Your Macro Photography to the Next Level
Reverse Lens Macro: How to use it as a Great Learning Tool
6 Still Life Photography Mistakes and How to Avoid Them
Food Photography – When to Use Natural Light (and When Not To)
The dPS Ultimate Guide to Food Photography
Simply upload your shot into the comment field (look for the little camera icon in the Disqus comments section) and they’ll get embedded for us all to see or if you’d prefer, upload them to your favorite photo-sharing site and leave the link to them. Show me your best images in this week’s challenge.
Share in the dPS Facebook Group
You can also share your images in the dPS Facebook group as the challenge is posted there each week as well.
If you tag your photos on Flickr, Instagram, Twitter or other sites – tag them as #DPSintheFridge to help others find them. Linking back to this page might also help others know what you’re doing so that they can share in the fun.
The post Weekly Photography Challenge – In the Fridge appeared first on Digital Photography School. It was authored by Caz Nowaczyk.
The post Facebook Announces Secure Transfer of Photos/Videos from Facebook to Google Photos appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
If you need a way to quickly move all your media from Facebook to Google Photos, then you’re in luck.
As of this past Thursday, you can transfer photos and videos from Facebook straight over to Google Photos.
For those who are unfamiliar:
Google Photos is the default photo application on Android devices, but it’s also available for Apple users. It’s a great way to store photos of all types, including smartphone shots, personal snaps, portfolio images, and more.
In fact, the app features essentially unlimited storage capacity (though there are caps on file sizes). Since Google Photos uses cloud storage, you can view stored images from all of your devices, as well as on the web (at photos.google.com).
As for the Facebook integration:
In just a few clicks, you’ll be able to take photos you’ve uploaded to Facebook and copy them on over to Google Photos.
Why is this so useful?
For one, Google Photos packs an excellent search function. So you’ll be able to navigate through your photos more quickly on Google Photos versus Facebook.
Google Photos also includes advanced photo organization capabilities that Facebook lacks, so you can carefully catalog and curate thousands of images with ease.
Now, if you’re interested in using this transfer function, just follow a few simple steps.
(Note that the process is slightly different on desktop versus mobile, but the general path is the same.)
First, head over to your Facebook “Settings.”
On mobile, scroll down until you find “Transfer a Copy of Your Photos or Videos,” and select this option. On a desktop, you’ll need to click on “Your Facebook Information.”
Then select “Transfer a Copy of Your Photos or Videos.”
Facebook will prompt you to enter your password. Then you’ll be asked to select a destination for your photos; right now, Google Photos is the only choice, but Facebook has indicated an interest in adding additional options in the future.
You’ll also need to indicate whether you want to transfer your photos or your videos. Note that you can always start with photos but come back and transfer videos later.
Hit “Next.” You may be asked to enter your Google Photos password and, once done, you’ll need to confirm that you wish to transfer your media.
Finally, click “Confirm Transfer”, and you’re done!
So for anyone looking to add Facebook images to Google Photos, go ahead and try this function out!
But, as always, also read the fine print and see if there are any privacies or image rights you may be giving when integrating these options.
The post Facebook Announces Secure Transfer of Photos/Videos from Facebook to Google Photos appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
The post Sparkling Water Still Life – Put some Fizz in your Photos appeared first on Digital Photography School. It was authored by Rick Ohnsman.
Often the key to making a good photo is to show the commonplace in a whole new way. Bombarded by so many visual images each day, photo viewers need something that breaks the rules, that looks different to make them pause on your photo. This sparkling water still life technique will challenge your photo skills. It will teach you how to compose and light still life subjects, give you practice with editing tools and techniques, and help you create interesting images. Maybe best of all, you’ll have some fun.
Strongly backlit and filled with flash, these tulips were shot submerged in a vase of sparkling water. The image was flipped vertically in post-production. Canon 6D with Tamron 90mm f2.8macro lens – 1/20 sec. f/11 ISO 200
Perhaps another plus to this kind of photography (I write this holed up at home during isolation), is it can be done at home on the kitchen counter or wherever you like to work. You can then post your creation online, giving us all the enjoyment of viewing your image.
Shall we get started? Break out the bubbly!
Citrus slices make good subjects for this kind of photography as they look like they belong in sparkling water. Sliced thin, they are translucent, lending themselves to backlighting. Canon 6D with Tamron 90mm macro lens – Left – 1/4 sec. f/22 ISO 800 Right 1/30 sec. f/8 ISO 800This image was lit from below with an LED flashlight and from behind with a Lumecube Air.
What you’ll need
Sparkling water
You can use various kinds of carbonated waters or sodas (perhaps champagne if you’re feeling decadent). What you’re after are the bubbles. There are no rules here and so use what suits your vision.
For the images here, I found seltzer water well-suited to the purpose. It is crystal-clear, has good carbonation, and with no sugar added doesn’t leave a sticky mess when it comes time for cleanup.
The colored pencils were taped together, clamped to the rectangular vase, and lit from below with an LED flashlight.
Glass container
What you use will depend on the image you’re trying to create. I found a rectangular glass vase with flat sides well-suited for the purpose. A small aquarium could work well.
Of course, if the subject and the theme you seek are different, wine or champagne glasses could work too. The only consideration here is to think about how the glass may distort anything placed inside it.
Essentially the same shot, but substituting different color backgrounds for different looks. Canon 6D with Tamron 90mm macro lens – 1/10 sec. f/11 ISO 800
Subjects
There is no end to the items you might choose to submerge for a sparkling water still life photograph. I found that things that seem consistent with the theme to be good choices. The kinds of things one might find in a watery-bubbly environment.
Fruits and flowers can be good choices. You’ll also see I used shells and other aquatic items. Of course, other items with good color and interest become even more interesting covered with bubbles.
A quick dip into some science behind all of this – items with rougher surfaces, those with more nucleation sites where bubbles can form, can be more interesting. The flowers in my shots demonstrate this concept. Bubbles won’t form as easily on smoother, non-porous surfaces.
The surfaces of the roses and stem have many “nucleation sites” where the CO2 bubbles in the seltzer water can form. Canon 6D with Tamron 90mm macro lens – 1/30 sec. f/8 ISO 800
Cleanliness
Most often, you will be shooting close-up, very possibly with a macro lens, for this kind of photography. The smallest of items, scratches, and dirt on the glass container, dirt and other material suspended in the water and such, will all show up and perhaps even become places where bubbles might form.
You should scrupulously clean the container you will be using before you get started. Doing so will save you lots of time later trying to remove unwanted specks from your photo digitally.
These shots illustrate some difficulties you might have. The image on the left is straight out of camera. The slow shutter speed of 1/10th second was insufficient to freeze the motion of the bubbles leaving streaks. The starfish was buoyant and floated in the container which wasn’t large enough to allow it to fit fully in frame. The image at right is edited to remove some distractions, but this wasn’t going to be a keeper. Canon 6D with Tamron 90mm macro lens – 1/10 sec. f/22 ISO 800
Setup
Using your cleaned container, place the subject(s) you want inside before adding any liquid. Consider whether the subjects will float. Even if they are just slightly buoyant, once they are covered with bubbles, they are apt to get some extra lift. Be ready with some clamps, wire, tape, or other means of keeping them submerged and where you want them.
Compose and frame your shot. Depending on the subject size and how close you need to be, you may find a macro lens is needed. Other alternatives could be extension tubes, close-up filters, or a reversed-lens.
If you don’t need to be as close, you might put your camera further away and zoom into the shot.
NOTE: Do all of this before adding the water to the container. The bubbles will dissipate with time and you don’t want that happening while you’re still setting up.
Different containers will change the look of your subject, but the curved glass of this glass does distort the image the liquid in the submerged portion of the rose magnifies it making it seem larger than the above-water portion of the flower and the curve of the glass adds other distortions. Canon 6D with Tamron 90mm macro lens – 1/2 sec. f/20 ISO 800
Lighting considerations
This image shows lighting from below with a LED flashlight and from the front with a Lumecube Air.
This is a great opportunity to experiment with lighting sources and techniques.
Working in a glass container gives you the opportunity to light from almost any direction; top, bottom, front, back, left, right, or a combination of these. Whether you use flash, continuous lights, natural lighting, whatever you can come up with – it’s all up to you.
Definitely use this exercise as an opportunity to play and explore. Digital film is cheap. This shouldn’t be a one-and-done kind of shoot. Make lots of shots, exploring lighting placement, various apertures and shutter speeds, light modifiers, whatever you like.
Same subject, front-lit on the left, back-lit on the right. Canon 6D with Tamron 90mm macro lens – 1/13 sec. f/22 ISO 800Same image, different backgrounds. Experiment with different things! Canon 6D with Tamron 90mm macro lens – 1/10 sec. f/11 ISO 800
Backgrounds
The addition of bubbles to your subject will cause it to become a “busier” composition. Having a patterned background is apt to distract or overly complicate the image.
I find solid backgrounds, and often plain white or black to work best. (I’ll get into the advantages of those simple white or black backgrounds in a minute.) Again, this will depend on the look you are trying to achieve, but do give consideration to not only your subject but the background.
Canon 6D with Tamron 90mm macro lens – 1/13 sec. f/16 ISO 800
Editing and cleanup
I can almost guarantee your image will need some work in editing after the shoot. Simplifying and cleaning up things you don’t want will be necessary.
Adjusting highlights, shadows, white and black levels, and cloning out distractions will all improve your photo. Whatever your editing tools of choice might be, use this exercise as a means of teaching yourself more about what you can do and how to do it.
My tools of choice are Adobe Lightroom Classic and Photoshop.
Having a white or black background can help a lot in that with adjustments, the adjustment brush, the histogram highlight and shadow clipping tools, and the spot healing tool, I can often do whatever I need in Lightroom alone.
For tougher cloning or healing operations, I may escalate the edit into Photoshop.
Images with color backgrounds are apt to be more challenging. Again, use this exercise as a means of learning tools and techniques you might not have previously explored.
When editing an image in Lightroom with a black or white background, you may purposely want to have the background go totally black or white. Turning on the highlight/shadow clipping tools will show 100% black (0,0,0) areas in a blue highlight, totally white (255,255,255) areas in red. The “J” key is the shortcut to toggle this off and on. You can then use the adjustment brush, automask, and other LR to “paint out” distracting elements.
Flip it
Often while making a sparkling water still life, your subject will be down in the liquid. Don’t overlook the simple ability to flip your image vertically during editing to put it in a more natural viewing position.
Have fun!
Maybe the biggest reason for this table-top photo exercise is it is fun. You will be amazed at how you can make otherwise simple subjects much more visually exciting with the addition of some bubbles and creative lighting when you make sparkling water still life photos.
So, if you have to stay home, why not find ways to creatively use your time to expand your photo skills and make some nice images?
Give it a try, post your creations in the comments section of this article and be well my friends.
The post Sparkling Water Still Life – Put some Fizz in your Photos appeared first on Digital Photography School. It was authored by Rick Ohnsman.
The post How to Create Mandalas in Photoshop Using Stack Modes appeared first on Digital Photography School. It was authored by Megan Kennedy.
There are so many facets to Photoshop that even regular users can sometimes be surprised by new ways to use particular features. Stack Modes is one of the tools in the Photoshop repertoire that I’ve only just started really playing with recently. And, it turns out, the function is great for generating intricate patterns and even mandala-like designs. In this tutorial, I’ll guide you through the steps to create mandalas in Photoshop with Stack Modes.
Can I use Stack Modes?
First things first – unfortunately, Stack Modes aren’t available in all versions of Photoshop. For this tutorial, I’m going to be using Photoshop CS6 Extended. Doing a little research, it looks like Extended and CC versions of Photoshop have the stack mode function. However, if you don’t have the Stack Modes tool required for this tutorial, you can try creating something a little similar here.
What are Stack Modes?
So what exactly are Stack Modes?
The Stack Modes function works by combining a group of image layers with similar content into the one image. For example, astrophotographers may use Stack Modes to combine hundreds of shots into one frame.
Stack Modes can also be used to reduce noise and remove people and objects from photos. It’s a pretty nifty function!
What are mandalas?
Throughout history, mandalas have seen numerous incarnations and applications. Meaning circle in Sanskrit, mandalas are a geometric array of symbols and designs made for spiritual, meditative and artistic purposes.
In modern terminology, mandala is a phrase sometimes used to describe other circular visual arrangements like spirographs and scientific diagrams. The term mandala may also be used to describe the meditative or visual quality of an artwork.
How to create mandalas in Photoshop with Stack Modes
Setting up
To create mandalas in Photoshop, the first step is to pick a single photograph to work with. Something with a few colors and small details is a good bet. I’m going with the flower seen below:
Open your image in Photoshop and right-click on the image layer in the Layers Panel. Select Duplicate Layer… and click OK at the prompt.
Select the Background layer in the Layers Panel (not Background copy) and hit Delete.
Next, click on Image on the top toolbar. Select Canvas Size… and (roughly) double the height and width of your canvas so we have room to expand the design.
Click OK.
Adjusting layers
Drag your image to the top of the canvas. Right-click on your image layer in the Layers Panel and select Duplicate Layer… hit OK at the prompt.
With the Move Tool selected, click on the image on the canvas to select it (one layer will be behind the other).
Hold the Shift key on your keyboard down and drag the selected image by the top-middle transform control icon towards the bottom of the canvas, flipping the image to mirror the remaining photograph so it looks like this:
Select both layers by depressing the Shift key and clicking on each layer in the Layers Panel.
Right-click on either layer icon and select Merge Layers. The two layers will merge into one. Drag the merged image to the left edge of the canvas.
Right-click on the layer in the layers panel and hit Duplicate Layer… and Click OK at the prompt. Hold down the Shift key and click the left-most transform icon and drag the duplicated layer towards the right edge of the canvas, flipping the second layer to mirror the first. Like in the example below:
Making room
We have a pretty cool image now, but we aren’t finished yet!
To create mandalas in Photoshop, we need to extend the canvas further to accommodate the rest of the layers we will be making.
Click on Image->Canvas Size… and add an extra hundred-or-so cm’s to the height and width of the image. Don’t worry if the canvas looks too large, we can always crop it back down once the mandala is finished.
Back to layers
Okay. In the expanded canvas, select our two layers by holding Shift and clicking on both layers in the Layers Panel. Right-click and select Merge Layers.
Next, right-click on the merged layer and click Duplicate Layer… Click OK at the prompt. Hold down the Shift Key and rotate this newly created layer to form a cross-like structure.
Duplicate one of the layers again and rotate it so that it looks like mine below:
Duplicate the layer again and rotate it so that your image looks like this:
You can continue adding layers with the duplicate/rotate process until you are happy with the look of your image, or you can leave it as is.
When you are ready, select all the layers in the Layers Panel by holding Shift and clicking on the first and then the last layer in the Layers panel. Right-click on the selection and select Convert to Smart Object. This will combine your layers into a single Smart Object.
Making the mandala happen
With all this duplicating and rotating, the final step to creating mandalas in Photoshop is pretty straight forward. With your Smart Object layer selected, click Layer (in the top tool bar) then click on Smart Objects->Stack Modes. A range of options like Entropy and Kurtosis will become available.
You can look up the exact mathematics behind each setting here, but basically, each option is an algorithm that blends the layers together a different way. Select one and see how it looks…and if you don’t like it, simply undo it and try a different mode.
Here’s my result using the Maximum Stack Mode:
The result from using the Maximum Stack Mode
Final touches
Now you have your mandala, the rest is up to you! You can adjust the colors of your creation or increase/decrease the contrast…you can even invert the colors via the Curves Adjustment Layer and see what that looks like.
You can create mandalas in Photoshop forever – the possibilities are endless! It’s a great opportunity to experiment and explore.
If you’ve created a mandala with this method, go ahead and share below!
The post How to Create Mandalas in Photoshop Using Stack Modes appeared first on Digital Photography School. It was authored by Megan Kennedy.
The post 5 Tips for Doing Photography While Social Distancing appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
Are you having a hard time doing photography while social distancing?
Do you need some help determining what and how to photograph during these difficult times?
90mm | f/2.8 | 1/320s | ISO 320
You’ve come to the right place.
Because as hard as it is to deal with the current situation, there are still photographic opportunities everywhere.
You just have to know how to see them!
So if you’re looking to capture some great images, even now…
…read on.
1. Go on walks and photograph the scenery
Plenty of countries are currently in full lockdown, which means that you can only leave your home for exercise.
But while you’re out walking, why not take some pictures?
Obviously, don’t approach people on the street or linger too long in one place.
But there are plenty of gorgeous parks out there where you can capture some stunning landscapes as you walk along.
An image taken on a recent walk. Canon EF 24-70mm f4L lens|70mm| f/8.0| 1/20s| ISO 200
And if you don’t live near a park, just go for a walk around your neighborhood! Take some photos of trees waving in the sunlight, of flowers starting to bloom in gardens, and more.
The opportunities are endless. The key is to be open to more unusual, spontaneous images.
By the way, I’d recommend using a telephoto lens for this, such as a 70-200mm zoom; that way, you can stay on paths and avoid approaching houses and other people.
I’d also recommend going out at sunrise or sunset, when the light is warm and golden. That way, you can capture gorgeous skies, gorgeous clouds, and just take in the beautiful world.
2. Capture gorgeous macro photos in the garden
It’s now officially spring in the Northern Hemisphere.
With spring comes flowers, and with flowers comes the potential for beautiful macro shots.
Get your closest-focusing lens, or a dedicated macro lens if you have one, and go out into your garden.
You can easily photograph flowers like these in the garden! Nikon 60mm f2.8 lens | 60mm| f/5.0| 1/200| ISO 320
Look for flowers, and try to capture some beautiful colors, textures, and even more abstract flora shots.
I recommend doing macro photography on cloudy days, because the diffused light will help bring out flower colors.
I also recommend getting down low, on a level with your subject, so you can portray the world from a more intimate perspective.
By the way, if you don’t have any flowers, that’s okay!
You can still photograph plants, trees, buds, or even weeds. The beauty of macro photography is that there are subjects everywhere.
3. Spend time creating a studio in your home
If you’re like me, you’ve always wanted to create a photography studio in your home.
But you just haven’t had the time.
Imagine what you could do with a studio (after all the social distancing is over, that is!).
You could do portrait photoshoots.
You could do pet photoshoots.
You could create all sorts of still life setups.
You could do high-speed photos of balloons popping, or of colored water, or of products, or of food…
Really, you can do tons with a proper studio.
A home studio is great for capturing photos of pets! 55mm| f/6.3| 1/160s | ISO 250
So why not set it up now, while you’re stuck at home?
Here’s what you need:
First, some sort of backdrop. A black tablecloth will work just fine for many purposes, but you can also use a large, white slab of cardboard, a proper photography backdrop (these can be purchased online), or even an interesting wall.
Next, you’ll want at least one light source. You can use natural light, in which case you should simply position your studio near a window (ideally with the window light coming from slightly in front of your setup, so you have light falling on your subject from the front and side).
You can also use artificial light, which is what I’d recommend; this gives you more options and limits you less in terms of shooting on poorly-lit days and at night.
If you do go with artificial light, you’re going to want several speedlights at the very least. I recommend two for beginners, though three is also a good number, and one is adequate if you’d like to keep costs down. These speedlights will need to be held up with light stands, so you’ll want a couple of those.
You’ll also need light modifiers. Options here include umbrellas, softboxes, diffusers, snoots, and more. Though I’d recommend going with a couple of basic umbrellas because these are great for softening the light and easy for beginners to get the hang of.
Last, if you’re doing any sort of product or still life photography, you’re going to want a table. A simple wooden option works well, and it doesn’t have to look new. A bit of texture can make your product shots and still lifes even more interesting!
And speaking of still life photography:
4. Level up your still life photography skills
If you’ve ever considered pursuing still life photography, now is a great time.
You can do still lifes with a studio setup, as discussed above.
Or you can do still lifes without much of anything, except a few subjects, some window light, a table, and a wall.
The latter method is practically free, and it can result in stunning shots. So it’s a great way to get started with still life work over the next few months.
For basic still life subjects, fruit is a great choice (I’m partial to pears and apples, but you can use basically anything).
Flowers, including cut flowers you can grab when checking out at the grocery store, are an excellent option, as well.
In fact, you can do all sorts of cool photography with flowers or fruit. While it’s possible to do classic still lifes, you can also do more abstract shots, like this:
This type of black background, illuminated flower setup is something you can work on when doing still life photography. Canon EF 100mm f2.8L Macro | 100mm | f/2.8 | 1/100s | ISO 200
Given the current situation, I don’t recommend taking trips to the store just to buy still life subjects.
But if you’re already at the store, there’s not much harm in grabbing a couple of extra apples or a bouquet of flowers.
And, by the way:
You can also do still life photography using objects you find in your home.
Objects such as bowls, plates, silverware, vases, jugs, antiques, and much more.
So don’t feel like you have to go out into the world to get subjects. Some of the best subjects are right in the house with you!
5. Get to know your camera while stuck inside
Cameras are complicated.
Which means that there are probably things you don’t know about them, but should be familiar with if you want to capture the best possible photos.
So, whenever you get the chance, I recommend you turn on your camera and explore.
Start with all the external buttons. Do you know what they can all do?
Then dig into the menu items. Scan over every single option.
While getting to know my camera, I snap a lot of random pictures to test out functions. This is one of my most recent ones! Canon EOS R | Canon 24-70 f4 lens | 70mm| f/4.0 | 1/160s | ISO 3200
And as soon as you hit something you’re not sure about, or you’re not completely familiar with…
…look it up.
(You can use your camera manual, or you can just do a quick Google search.)
If it’s an especially useful feature, then make a note. And ensure that, the next time you get a chance to do some photography, you try it out.
Make sense?
And by the way, every camera is different. So if you have multiple cameras, I recommend you follow this tip for each and every one of them.
That way, when things are better, you’ll feel much more at home with your camera.
Conclusion
Hopefully, these tips will help you continue to improve your photography while social distancing.
Because while things are tough, it really is possible to keep up your photography!
So good luck, and stay safe! And, as always, share your photos with us in the comments section!
The post 5 Tips for Doing Photography While Social Distancing appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
Its hard to imagine a time without photography. With access to small but powerful cameras that will fit in your pocket a normal occurrence in the world today, not being able to capture a moment seems like such an alien concept. There are over 95 million photos and videos shared on Instagram every single day but not too long ago Continue Reading
The post When Was Photography Invented? appeared first on Photodoto.
The post 9 Solutions for Common Camera Mistakes Beginners Make appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.
One of the most common camera mistakes beginner photographers make is to not learn to use their new camera well. Photography is about the only art-form you don’t need to practice to get a half-decent result.
You can pop a battery in your brand new camera, turn it on and set it to one of the scene modes and take a picture. Most often, the photo will be reasonably well exposed – not too light or too dark. You might be pretty happy with the results and initially think you don’t need to learn much to be able to take photos.
Buying your first musical instrument or learning to paint will be much more challenging. Most people can’t pick up a guitar and play a tune without having some understanding of music theory. Most people certainly couldn’t play a recognizable tune without practicing. To learn to use your camera well, you must also practice with it.
1. Out of focus
One of the most common camera mistakes is poor focusing. Out-of-focus photos can’t be fixed during post-production. The only solution is to make sure you get your main subject sharp when you are taking your photos. Check that your auto-focus indicator is precisely where you want it to be before you press your shutter button.
I prefer to use single-point focus rather than multi-point focus. This allows me to choose exactly what part of my composition will be the sharpest. This is particularly important when you use very wide aperture settings, as the depth of field is so shallow.
Underexposed and overexposed photographs are disappointing. Pay careful attention to your exposure as you are setting your camera up to take a photo. Make sure your main subject is being well exposed. This can be challenging in certain lighting conditions.
Backlighting your subject can often mean the camera will underexpose it. You need to adjust your exposure settings so your main subject looks the way you want it to. This may be different than how the camera’s exposure meter determines it to look.
Getting the wrong white balance means your photos will have an unnatural-looking color cast to them. The most practical fix for this is to use the auto white balance setting on your camera. This is the only auto setting I use most of the time because it’s most often correct.
Using manual white balance it’s very easy to forget to alter it. Even when you do, the setting you choose may not be the best when the light changes slightly. Using auto white balance can help you overcome one of the most common camera mistakes.
Using a faster shutter speed is the solution to unwanted motion blur in your photos.
Learning what shutter speed to use when photographing moving subjects is important. A person walking will not require such a fast shutter speed as a person running fast will.
Be aware of the relationship between your shutter speed and the speed of movement you want to capture. This will help you alleviate this problem.
Some people can handhold a camera at slower shutter speeds than others. Once the shutter speed is so slow you are experiencing blurring in your images, you need to make some choices. Either adjust your exposure controls so your shutter speed is faster, or use a tripod.
One of the other common camera mistakes I see people making is using an ISO setting that is too high. Using a very high ISO, you will see digital noise, lack of contrast, and flatter colors in your photos.
The solution is to keep your ISO as low as possible. This will mean you get the best technical quality photos with the best color, contrast, and the least noise.
7. Dead battery
Always make sure you charge your batteries before you head out with your camera. Carrying fully-charged camera batteries is always a good idea. You never know when you might come across some fabulous event or happening that you want to photograph. Save yourself the disappointment of a dead battery by having some extra ones in your camera bag.
Being busy taking photos and all of a sudden not being able to is very frustrating. This is what can happen when your card is full. Make sure to off-load images on your card and format it after each photo session. This will mean you always have the maximum amount of space on your card.
Having some extra cards with you is a good backup strategy too. Finding your card full half-way through the day is so disappointing when you don’t have a spare.
You can always start deleting photos from your card. This is slow and you might make a mistake and delete a good image. Doing this in-camera, the process is irreversible and your images will be lost.
Always having your camera on one of the auto or scene settings is another of the most common camera mistakes I come across.
Most people who take our photography workshops come with their cameras on Aperture Priority because it’s easy. This is not a good reason to use this setting, and they are not happy with their photos. They know they are not getting the most from their camera.
The solution I encourage them to use is switching to manual mode and sticking with it. There’s no point in using manual mode only occasionally. If you do, you are unlikely to ever master it. If you commit to it, you will pick it up in no time. You will also begin to think differently about your photography in regards to light, exposure, and composition.
Not all common camera mistakes result in ruined photos, but they can. Being aware of how you are setting your camera and the choices you make will help you overcome these problems.
Slow down and be mindful of what you are doing. Plan your photo session, and make sure you are well prepared for anything that might come up. Know your camera well, like a best friend.
The post 9 Solutions for Common Camera Mistakes Beginners Make appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.
Live your passion. That’s what you’d like to do, right? Spend your days doing what you enjoy? Unfortunately, you gotta eat and do adulting things like paying bills. For that, you need money and your passion might not be good enough. Or is it? There are many ways to turn your passion for photography into an income stream. None of Continue Reading
The post How to Make Money With Photography and How Much Can You Expect appeared first on Photodoto.
The post Flash Softbox Diffuser Review appeared first on Digital Photography School. It was authored by Jackie Lamas.
In this article, we’re reviewing this budget-friendly flash softbox diffuser that fits over your external flash so that you too can have a great tool to add to your camera bag.
The softbox diffuser only works for flashes with a larger head. The smaller Polaroid flash wasn’t compatible.
About the flash softbox diffuser
While the diffuser that comes with most external flashes gets the job done, this attachable softbox will work much better to spread light more evenly and create a softer light source for your portraits or other types of photography.
The softbox has no poles to assemble or extra equipment that might get lost in transport or by using it. It folds out, and you can straighten it into shape by simply using your hands. This is a plus when it comes to setting up and tearing down, which saves you much time and not having to worry about fiddling with assembly parts.
The flash softbox diffuser attaches to your flash and you can use it on a stand or on your camera. 1/80 of a second, f4.5, ISo 400
The flash diffuser softbox comes with a case and holding strap. This allows you to attach it to your bag without any extra attachments or worrying about bending it while using it.
The flash softbox diffuser comes with a handy bag. 1/100 of second, f/4.5, ISO 400
At Although the material the softbox is made out of is a clear indicator that it won’t stand up to longterm wear and tear, the softbox, measuring at 30cm length and 20 cm wide, it does what it’s supposed to diffuse and spread evenly the light of your external flash.
On camera, it adds nothing to the weight of your camera. It stays in place by using an elastic band that wraps around the flash head and is secured by a strip of Velcro.
The flash softbox diffuser has a simple and easy opening for the flash head to place the flash head in. 1/125 of a second, f/4.5, ISO 400
On the inside, the flash diffuser softbox has a silver lining to help bounce light back out. It also has an added diffuser that crosses the front of the flash that is secured by Velcro. This can be useful in situations where you need softer light.
There is an added diffuser inside the softbox too. 1/125 of a second, f/4.5, ISO 400
The universal size makes it perfect for one-light portraits, tabletop and product photography, and using it on or off your camera.
1/160 of a second, f/7.1, ISO 400
Main features
The size and weight make it easy to set up and use.
No additional hardware or accessories needed with the Velcro closure.
It’s universal and fits most models of external flashes.
Additional diffuser inside of the softbox.
You can use it on-camera or off-camera.
Budget-friendly costing no more than US$ 10 dollars.
Ease of use
The soft box is really simple to use. It comes in its own zippered pouch ready to use right away as it easily unfolds. With a little pull, it shapes into the flash softbox diffuser you see in the photos.
1/200 of a second, f/5.6, ISO 100 Flash at 1/8 power.
It has no wires, poles, or additional hardware making it really easy to set up and use on the go, in a studio, or anywhere your flash goes.
Does it really work?
The first image has the flash pointed directly at the subject. The second photo is with the flash softbox diffuser. The third image is with the additional diffuser inside of the softbox. Taken at 1/60 of a second at f/5.6 with an ISO of 400.
Using the flash softbox diffuser for your flash is really easy, given that it simply pops out and attaches quickly.
You can notice how the light gets softer just by adding the softbox to your flash. It goes further in softening the light with the additional white diffuser strip that is inside of the softbox.
In the catchlights, you can see where the softbox is positioned. 1/125 of a second, f/5.6, ISO 125 with flash at 1/8th power angled down at the subject.
In the images above and below, I angled the flash down at my model in a small bathroom. Using the flash softbox diffuser allowed me to be in a small space and use directional light on the subject without it being too harsh or creating undesired shadows.
1/125 of a second, f/5.6, ISO 125 with flash at 1/8th power angled down at the subject.
In the following images, I placed the subject in harsh sunlight to see how the softbox would fill in shadows or otherwise light the subject.
Without the diffuser, with the softbox, with the extra diffuser inside the softbox. 1/100 of a second, f/8.0, ISO 100
For these photos, I directed the flash straight onto the doll without the diffuser. The middle image is with the softbox diffuser on, and the third image is with the softbox diffuser and the added diffuser inside.
1/100 of a second, f/8.0, ISO 100 with flash at 1/8 power with softbox diffuser on flash off-camera.
You can see a big difference in how the light from the flash got softer. These are not retouched and straight out of the camera.
Flash power at 1/16th power with the flash softbox diffuser. 1/200th, f/7.1 ISO 400.
Here I used the flash at 1/16th power to fill in the shadows on the child. I also got really nice catchlights in his eyes that make the portraits pop a little bit more. The flash softens the catchlights making them appear more natural like a big window.
Using the flash in darker lighting situations also proves effective. I photographed the toy in a dark room and used the flash off-camera and on-camera.
1/200 of a second, f/8.0, ISO 160 flash was set to ETTL.
Pros
Easy to set up and to use. The softbox works, does its job well, and has an added diffuser inside to help soften the light more if needed.
It’s really affordable, lightweight, and convenient to transport and use on-location.
It does the job of softening the light. Most of the control is either in the flash or in the camera settings.
Fits most flash systems due to the universal build.
Folds flat and comes with a pouch.
Cons
The material on the outside is a little cheap.
The size means it’s not going to give you a large light source so you’ll get some fall off if you’re photographing larger groups.
Who is this flash softbox diffuser for?
This flash softbox diffuser is perfect for someone who is just getting into flash photography and learning about how to control and modify light. It is for someone who perhaps doesn’t have a lot of space to set up a full studio with bigger strobes or flash systems.
1/200 of a second, f/5.6, ISO 100
Being that the diffuser is lightweight and can be taken outdoors, it is also perfect for the photographer who shoots outside a lot. For example, on the beach, macro photography to get close to the subjects, or someone who shoots tabletop and still life.
It’s perfect for the photographer who likes to keep their equipment simple and light when shooting or traveling.
The flash softbox diffuser would also be a perfect addition for a tabletop and product photographer who shoots in small spaces or travels for shoots.
Final verdict
The flash softbox diffuser works as is expected and does soften the harsh light the external flashes sometimes gives.
While the material the flash softbox is made from isn’t too convincing of its longevity, it is a great starter light modifier to help photographers control and soften lights for portraits.
It is rather small in terms of size, which is a good thing and a bad thing. If you’re looking for something lightweight and portable, this is a good buy. However, the size limits the spread of light, then again perhaps with more flashes it could give a better effect.
1/150 of a second at f/2.2, ISO 125, flash output power at 1/16 power.
For the price, at less than $ 10, it is an interesting purchase to play with and experiment without making a major investment.
The softbox diffuser would be more ideal for tabletop and product photography given the size.
1/160 of a second, f/7.1, ISO 400 with flash a 1/16 power.
Either way, it’s a fun accessory to add to your bag in the event you are starting to experiment with flash and light modifiers. And you can’t beat the price!
The post Flash Softbox Diffuser Review appeared first on Digital Photography School. It was authored by Jackie Lamas.
The post Removing Reflections and Other Unwanted Elements in Photoshop appeared first on Digital Photography School. It was authored by Darina Kopcok.
Photoshop gives you a lot more options for retouching than Lightroom because it’s a pixel editor. This means you can manipulate the individual pixels in your image file to refine your images. It allows you to make complex adjustments, such as removing reflections and other unwanted elements in your photo.
You can do one thing in multiple different ways in Photoshop. For the scope of this article, we will focus on two tools: the Content-Aware Fill and the Clone Stamp tool.
Shot at f/7.1 at 65mm IS0 200 Shutter Speed 1/160
How to approach retouching
Before you get started with any retouching, it’s important to assess your image and your end goal for it. Every image is different, and therefore requires a unique approach.
How complex is the adjustment you want to make? Is there a lot of pattern or other detail in the area you wish to retouch? How much contrast is there, and how will that influence your decisions? Will one technique be enough, or will you need to layer various techniques or tools to get the end result you are seeking?
Retouching is a process of problem-solving. It’s important to know where you want to get to before you get started.
Shot at f/8 100mm macro lens at 100 IS0 Shutter Speed 1/160
Content-Aware Fill
Content-Aware Fill is an incredibly useful tool in retouching your photography. It works by analyzing the content in your image to provide a seamless blend in the elements or objects you wish to alter. It allows you to remove unwanted objects or move them to other areas of the image.
To use Content-Aware Fill, you must duplicate your layer to access the information contained within the image. It’s also important to work in a way that is non-destructive, so you can simply delete any mistakes or unfavorable results and start again.
I first created a layer called “Clean” to clean up any dust or small blemishes from the image and then went on to remove the seeds.
To duplicate your layer, hit the shortcut Cmd/Ctrl+J.
For simple edits, like removing small objects from your composition, you can do a quick Content-Aware Fill by using a selection tool to select the object, then hit Shift+Delete.
For example, in the pomegranate image below, I wanted to remove some seeds from the surface, as I felt there were too many causing distraction.
Before Content-Aware Fill
I used the Lasso tool to select the seeds I wanted to remove from my image, then hit Shift+Delete. This can often give you great results, but you might have to blend edges with the Clone Stamp tool.
After Content-Aware Fill
The other way to use Content-Aware Fill is a method that allows you to bring up a Preview window so you can see how your adjustment will look before committing to any changes. This is a good way to work on larger objects or areas.
For the image of the raspberries below, I wanted to remove a couple of the raspberries so the client could add text to it.
Shot at f/3.5 with 100mm macro lens at 1S0 100 Shutter Speed 1/160
To use this method, use the appropriate tool to make a selection of the area you wish to adjust.
Use the Lasso tool to make a selection.
Go to Edit->Content-Aware Fill.
This will bring up the Preview window.
The area in green shows you where Photoshop intends to sample from. However, you may not want it to include all of those areas. So use the brush found in the tool panel in the Preview window to brush out any area you don’t want it to sample from.
Be sure to brush out shadows that may cause your final adjustments to look uneven.
Set the desired Opacity.
Keep in mind that when you’re selecting areas for Content-Aware Fill, that you need to account for depth-of-field throughout your frame, or your image can end up looking fake.
Once you are satisfied with the look of your image, choose New Layer to keep the file size small, or Duplicate Layer for a larger file size. I usually choose the latter.
If your final result is good but not perfect, you might want to use the Clone Stamp tool to finesse it further.
The Clone Stamp Tool
With the Clone Stamp Tool, you’re copying pixels to a new location. This is one of the most utilized tools in Photoshop because it’s a great way to touch up the various elements in your image, especially when your object has a defined edge.
The Clone Stamp tool is perfect for removing reflections in Photoshop.
The shortcut for the Clone Stamp tool is Cmd/Ctrl+S.
Use the softest brush in Normal Mode.
10% to 20% Opacity at 100% Flow is generally a good place to start, but see what works for your individual image.
In the image of the chocolate cake below, I used the Clone Stamp tool to remove the hard reflection on the knife at 20% Opacity.
Before and After of reflection on knife Shot at f/5.6 on 100mm macro at 100 ISO Shutter Speed 1/160
When using the Clone Stamp tool, you can flip it if your pattern looks too repetitious.
It’s also great when you want to mirror a reflection to make it look more realistic. This feature is one of the key reasons the Clone Stamp tool is the best tool to remove reflections in Photoshop.
To flip your brush, go to the Toggle Clone Stamp icon.
You can also use “T” to transform the clone stamp collection, to adjust its size and placement.
Flips the clone source
Conclusion
To sum up, use the Content-Aware Fill tool when you want to remove unwanted objects or elements by using the surrounding areas.
Use the Clone Stamp tool to copy and paste pixels to areas with more defined edges.
Keep in mind when you want to remove reflection in Photoshop, that you want to keep some of the reflection. Our eyes are used to seeing reflections in glass and similarly shiny objects, so removing all of the reflection tends to look fake.
Try this method for removing reflections in photoshop out, and show us your before and after results in the comments section!
The post Removing Reflections and Other Unwanted Elements in Photoshop appeared first on Digital Photography School. It was authored by Darina Kopcok.
