Category: Photography

How to Create Beautiful, Artistic Photos Using a Book
The post How to Create Beautiful, Artistic Photos Using a Book appeared first on Digital Photography School. It was authored by Ramakant Sharda.

Photography is an art, and every photographer is an artist who uses his or her imagination to create a beautiful work of art. A real artist can take anything and convert it into breathtaking artwork. In this tutorial, we are going to do the same thing. We’ll create beautiful, artistic photos using a book and an LED light.

What you need to create beautiful, artistic photos using a book:

To create beautiful, artistic photos using a book, you need a camera. Any camera, including your mobile camera, will work. A tripod is a “must” to hold the camera. A shutter release cable is also required. You’ll also need an LED torch. Again, the LED light of your mobile will work perfectly for this shoot. You may also use a torch, a bulb, or any other light source – even flash.

Of course, you also need a book. It should be big and have thick, glossy pages so that it will reflect the light well. I used Guinness World Records; if you have this book, you can do the same.

You need a dark room, so it’s better to do this shoot at nighttime.

Setup:

This shoot doesn’t require a complicated setup. Simply open your book from the center and fold over 10 pages, like in the following picture.

To find the center, divide the total number of pages by 2; whatever figure comes up, open to that page number.

Now place the book at the edge of a table. Put a light behind the book at a lower angle so that it won’t show in the photo.

You can put a black glass below the book to show the book’s reflection.

Camera settings:

To create beautiful, artistic photos using a book, set your camera on Aperture Priority mode. Set your ISO to 100 and aperture to f/11 or f/16. With these settings and a mobile LED light, you’ll get a shutter speed of between one and two seconds. Because our subject is still, you won’t have any problems.

Fix your camera on the tripod. Set the frame, focus manually, and leave it. Your aperture is too narrow, so you’ll get a deeper depth of field, and the entire book will be in focus.

Don’t forget to switch your camera to manual focus mode.

Workflow:

Now you need to throw light from the back and take the shot.

Play with different angles of light to get different shots, but remember that the light will always be at a lower angle.

Once you get enough shots, change the camera position. Set it a bit lower or higher to get different results.

Method two

We have created pictures using LED light. Now we are going to create some different kinds of shots.

For this, you need a big monitor or TV and some abstract images. This method is quite simple. Display abstract images on your monitor or TV and place the book in front of it. There should be some distance between the book and the abstract images so that the abstract images become blurred in the picture.

You’ll need to widen the aperture, so set it to f/4 or f/5.6.

Method three – multicolor book

This method is a little hard and requires some post-processing work, but it’ll give you wonderful results. You should have a basic knowledge of Photoshop and an idea about layer masks.

It requires the same LED light setup.

You are going to take a series of pictures with different-colored lights and merge them in post-processing. You’ll need to use gels or colored gelatin paper to get colorful light.

Take five shots with different-colored lights like white, orange, red, blue, and green. Make sure that you don’t move your camera in between the shot.

Now you’ll use these photos to create a multicolor picture.

Putting it together in Photoshop
- Open all five photos in Photoshop and stack them into layers.
- Now select one layer.
- Press ‘Alt’ and add a layer mask. This will add a black layer mask and hide everything. Do the same with all five layers.
- Now take a soft brush and make sure that the foreground color is white. Set both brush opacity and flow to 50%.
- Paint on the layer masks randomly. Change the brush size randomly. Increase and decrease the brush opacity randomly. You can also use special-effect brushes to get different results.
After some time and practice, you’ll get a photo like this.

So, postpone all the programs for tonight and create these artistic photos using a book to get some masterpieces. Then, share them here. If you have any problems, just comment on this post, and I’ll help you solve them.

The post How to Create Beautiful, Artistic Photos Using a Book appeared first on Digital Photography School. It was authored by Ramakant Sharda.

Digital Photography School
February 11, 2020
News: Fujifilm X100V Promotional Video Disturbs Fans, Gets Deleted

The post News: Fujifilm X100V Promotional Video Disturbs Fans, Gets Deleted appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Last week Fujifilm launched its X100V, an update to the popular X100 compact camera lineup. It includes a 23mm f/2 lens, a 26.1 BSI sensor, and fast autofocus for professional-quality images.

It also includes both an electronic viewfinder and an optical viewfinder, which you can toggle between by way of a switch on the camera body. You’re also free to view both the EVF and OVF at once, by working with an electronic viewfinder that appears as part of the optical viewfinder display.

With the X100V launch came a series of promotional videos, including one that featured the work of Tatsuo Suzuki, a street photographer who uses…unusual methods.

The promotional video shows Suzuki approaching people while out in public, then shoving his X100V in their faces in order to capture a photo.

Nearly all of Suzuki’s subjects look uncomfortable with the encounter, with many of them holding up their hands or ducking to the side to avoid his camera.

View this post on Instagram

Tokyo

A post shared by Tatsuo Suzuki / ?? ?? (@tatsuo_suzuki_001) on Feb 3, 2020 at 6:21am PST

View this post on Instagram

Tokyo

A post shared by Tatsuo Suzuki / ?? ?? (@tatsuo_suzuki_001) on Jan 27, 2020 at 6:04am PST

After this promo video dropped, many viewers became disturbed and angry, which culminated in Fujifilm deleting the video from their YouTube channel.

Note that Fujifilm seems to have done more than just delete the video. Recent reports suggest that the company has removed Suzuki as an ambassador, presumably as a response to protests.

But while some have expressed deep offense at Suzuki’s methods, others find his work impressive or even inspiring.

Many have compared Suzuki to the celebrated American street photographer, Bruce Gilden, who is known for his forceful approach; Gilden’s shooting style involves marching straight up to a subject and shoving a camera, as well as an off-camera flash, in their face.

Which begs the question:

Are Suzuki’s methods acceptable?

On the one hand, Suzuki’s photos are undeniably powerful. His style is intimate and unique.

On the other hand, if Suzuki is causing such discomfort, are the shots really worth the cost? Do the ends justify the means?

There are also other costs to consider. For instance, the more unpleasant experiences the public has with street photographers, the less likely they are to engage with street photographers in the future, potentially ruining opportunities for the rest of the community.

In truth, I find it curious that Fujifilm didn’t recognize this problem with their footage from the beginning. Even if the company doesn’t have a problem with Suzuki’s style of shooting, it was inevitable that not all viewers would appreciate his approach.

What do you think? Do you have an issue with Suzuki’s methods? And should Fujifilm have dropped him as an ambassador?

Share your thoughts in the comments!

The post News: Fujifilm X100V Promotional Video Disturbs Fans, Gets Deleted appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Digital Photography School

February 11, 2020
Godox TT685 Thinklite TTL Flash Real-World Review
The post Godox TT685 Thinklite TTL Flash Real-World Review appeared first on Digital Photography School. It was authored by Matt Murray.

One of the only things I missed when I moved from Nikon to Fujifilm a few years ago was the quality of speedlights available for X-Series cameras. I never truly appreciated how good the Nikon Creative Lighting System was until I couldn’t use it anymore!

This is no longer a problem though: in the last couple of years, we’ve seen feature-packed speedlights introduced by manufacturers such as Godox.

In this review, I test out the Godox TT685F speedlight flash on my Fujifilm X-Series gear. If you’re not a Fujifilm shooter, keep reading anyway, as Godox makes a version of the TT685 for every camera system.

Many Fujifilm shooters are happy that there’s finally a third-party flash with both TTL and HSS (high-speed sync). Fujifilm X-T3 with XF 56mm f1.2 R lens with Godox TT685F on-camera. 1/300s at f/2.2 ISO 200.

Why Godox?

There’s a wide range of third-party flashes available for different camera systems on the market today. Ten years ago, I would only ever buy a flash made by my camera manufacturer and would generally avoid any third-party flash made in China.

How times have changed – the quality and range of features on third-party flashes these days are outstanding, and prices have fallen significantly.

I first heard about Godox flashes through word of mouth in Fujifilm Facebook groups. Godox is based in Shenzen, China, and has been around since 1993. They make photographic lighting products under their own Godox brand, and also under other names such as Flashpoint.

Introducing the Godox TT685

The Godox TT685F

The Godox TT685 is a powerful, feature-packed speedlight at a very attractive price point, around $ 110USD.

It’s available for all major systems. If you’re looking at buying one, make sure you grab the right one for your camera. The last letter in the model number gives it away: TT685F is for Fujiilm, TT685C is for Canon, TT685S is for Sony, TT685O is for Olympus/Panasonic, and TT685N is for Nikon.

What’s in the box

The flash comes attractively packed in a sturdy cardboard box with key details of its specifications. Inside the box, you’ll find the flash, a small black mini stand for attaching the flash to light stands, a black protective case, and an instruction manual in Chinese and English. The manual is also available on the Godox website.

Unboxing the contents of TT5685F

TT685 specs

The specifications of the Godox TT685 are truly impressive. Here’s a summary:
- Runs on 4 x AA batteries. Each set will give you about 230 flashes.
- Recycle time varies between 0.1 and 2.6 seconds.
- It can be used as an on-camera flash, as an on-camera master to trigger other off-camera flashes, and as a slave flash off-camera.
- The flash head tilts between -7 degrees (slightly backward) to a 90-degree angle.
- The flash head rotates 360 degrees.
- Allows high-speed sync up to 1/1800 second.
- Full TTL (through the lens) mode for Fujifilm X-Series cameras.
- Manual flash can be adjusted from 1/1 to 1/256 power in third-stop increments.
- Runs on a 2.4Ghz radio connection – very impressive given more expensive flashes in the market run on optical line-of-sight only.
- Capable of firmware updates via a USB port.
Build quality

The build quality of the Godox TT685 is very good. It looks and feels a lot like my old Nikon speedlights, especially the slightly larger SB-900. With batteries in, it weighs around 500g, a little on the heavy side on a mirrorless camera, but not too bad.

The TT685 has a familiar dot matrix LCD screen on the back, which displays all the settings and information you’ll need when using the flash. As well as the on/off switch, there’s a middle dial, which is useful in manual mode to dial settings up and down. It also has a number of buttons, including one for changing the flash mode, one for putting the flash into slave mode, and another that lights up red. This serves as both the test flash button and also an indicator that the flash is ready to fire.

The red button on the bottom left shows the TT685 is ready to fire.

Near the flash head, there’s the standard catch light panel and wide-angle diffuser panel.

Catchlight panel (top) and wide-angle diffuser panel (over flash head)

Ease of use

Setting the Godox TT685 up is easy. Pop the batteries in and attach it to your camera by sliding it on the hot shoe with the dot matrix panel facing you. Rotate the circular lock ring on the base of the flash until it locks up. You’re ready to go!

It’s easy to move the flash up and down from an upright position to facing your subject head-on, but I found it a lot more difficult to rotate the flash 360 degrees. It’s not hard to do; it was just a bit stiff and felt like it wasn’t meant to rotate at first. I had to check that it did rotate in the camera manual as I didn’t want to break it.

Using the flash in all modes is pretty easy. It turns off after 90 seconds of idle use, but pressing your camera shutter halfway or pressing any of the buttons on the flash wakes it up.

It was quite dark here, but I’m really happy with the way this image came out. Fujifilm X-T3 with XF 56mm f1.2 R lens with Godox TT685F on-camera. 1/600s at f/4 ISO 200.

Three modes

The Godox TT685 has three modes: TTL, Manual and Multi. You can easily cycle through these by pressing the mode button on the flash.

Having a third-party flash that supports TTL on Fujifilm is wonderful; many other third party speedlights in the past did not.

TTL stands for “through the lens.” This is a way that the flash can work with the camera to determine the best flash output for any given scene and, therefore, the best exposure.

The TT685F mounted on the Fujifilm X-T3.

You can adjust this with the flash exposure compensation feature. This is similar to how you may shoot in full auto mode or aperture priority mode in your camera (allowing it to make exposure decisions) but then adding exposure compensation to suit the scene.

The TT685 range of speedlights also supports high-speed sync (HSS) up to 1/8000s, which is the fastest mechanical shutter speed on many X-Series cameras, including the X-T3.

HSS can be very useful in bright conditions outside, especially if you want to shoot shallow depth of field. Many flashes don’t support HSS, so their sync speed is typically only 1/200 or 1/250 second, which can be limiting.

In TTL mode, you can also select second curtain sync, where the flash fires at the end during longer exposures instead of at the start. This can be useful in night scenes to expose traffic trails or lights in the background while the flash lights up your subject in the foreground right at the end.

The Godox TT685F was fired by the X1T-F wireless trigger for some off-camera flash. It was positioned on a lighting stand, firing backward into an umbrella with a softbox attached. Fujifilm X-T3, XF 56mm f1.2 R lens, 1/120s, f/4, ISO 200.

In manual flash mode, you are selecting how powerful the flash fires, from 1/1 full power to 1/128 power. You can use the dial to move up and down in 1/3 stop increments. This mode is very useful when you want more precise control over your lighting. It was also the way flashes were used for years before TTL.

You can also use stroboscopic flash in Multi mode. Use it to illuminate a moving subject against a dark background: each time the flash fires in rapid succession, the subject is shown moving across the frame.

Although I didn’t test this feature of the TT685, I’m looking forward to trying it out one day.

Using the flash in slave mode for off-camera flash

Off-camera flash (OCF) is something that beginning to intermediate photographers often want to learn. The good news is that it’s never been so easy.

The TT685 in slave mode- note the color of the LCD panel has changed to orange.

Putting a flash in slave mode used to be a nightmare.

I remember being on a Nikon training course in London in 2006 with my brand new D200 camera and SB800 speedlight. At the first break, the trainer asked if we had any general Nikon questions. Before he could finish the sentence, three or four people asked if he could teach us how to set our speedlight up in slave mode!

The Godox TT685 in slave mode shown with my Fujifilm X-T3 with the XT1-F wireless trigger attached.

We all wanted to trigger our flashes off-camera by the built-in pop-up flash, but the interface of the flash and user manual left us all scratching our heads. As he explained the process, we wrote detailed notes so we wouldn’t forget. It was a question I was then asked by a number of photographers over the next couple of years, as it was not easy to work out.

What a contrast we have to the Godox speedlights!

To trigger the TT685 off-camera, you’ll need to use another Godox flash or the Godox X1T wireless trigger.

My son illuminated by natural light, backlit by the Godox TT685F in manual mode (1/64 power) mounted on a lighting stand. Fujifilm X-T3 with XF 50-140mm f2.8 R LM OIS WR lens. 1/150s at f/4 ISO 200.

The X1T is a small, light, wireless trigger made from plastic that sits on the hotshoe of your camera, triggering Godox flashes set up in slave mode. Like the flashes, there’s a different version for each camera system, denoted by a letter at the end of each model.

It’s so easy to use the X1T-F wireless transmitter. The first time I ever tried it with a smaller Godox flash, the TT350F, I spent about one minute reading the manual, and within another 30 seconds, I had the flash set up in slave mode. Voila!

The wireless trigger is excellent – you can fire Godox flashes from up to 100 meters away, which is quite amazing. In my test, I fired it from 50 meters away with no problems.

In this shot, I’m about 50 meters away from my son with my Fujifilm X-T3 and the XF50-140mm f2.8 R LM OIS WR lens (zoomed all the way in). The flash fired with no problems!

Usability

Using the flash for basic on-camera/off-camera TTL and manual mode firing is all pretty straightforward. You can easily cycle between modes, vary the intensity of the flash in manual mode, change groups and channels without having to work too much out.

For some of the more advanced functionality of the flash, you’ll definitely need to read the manual. I’ve played around with it by randomly pressing some of the other buttons, and I got lost a couple of times.

Quality

I’m very happy with the quality of the images I’ve taken with the Godox TT685. It certainly feels like it could compete with the best flashes on the market quite comfortably. I’m not sure it has the best recycle time on the market, but other features, such as its use of wireless technology, make up for it.

Value for money

Around $ 110 USD, the TT685 is excellent value for money. The range of features you get with this speedlight, notably high-speed sync, the ability to use it as an off-camera flash, and the fact it runs on a wireless signal, are all winners in my book.

Alternatives

Godox makes a range of flashes to suit different needs and budgets. Two alternatives to the TT685 are the TT350 and the V860II.

The TT350 is a smaller, lighter flash that runs on two AA batteries. This was the first Godox flash I bought, and at first, I was impressed by the small size and good price point. However, over time, it proved not to be as powerful as bigger flashes, and the recycle times between flashes seemed quite poor.

In this shot, I used the Fujifilm X100F with the Godox X1T-F wireless trigger to fire an off-camera Godox TT350F speedlight.

The V860II is practically identical, except it runs on a rechargeable lithium ION battery, allowing faster recycle times. I chose the TT685 due to the cheaper cost, but also because I prefer using multiple sets of rechargeable AA batteries.

Conclusion

The Godox TT685 is a must-have piece of kit for photographers wishing to use a flash on-camera or experiment with off-camera flash. It has an excellent range of features, good build quality, and has a competitive price point.

Usability is good too, only with more complex operations will you need to read the user manual. Turning the TT685 into a slave for off-camera use is straightforward and done with a press of a button.

The TT685F mounted on a lighting stand.

Using wireless technology, Godox flashes all talk to each other seamlessly, and you can trigger flashes in slave mode up to 100 meters away. This is vastly superior to much more expensive speedlights that rely on line-of-sight transmission.

If you’ve never used a flash or a speedlight in your photography, there’s probably never been a better time to throw yourself in the deep end. I highly recommend the Godox TT685F.

Have you tried out the Godox TT685F flash? If so, share with us your thoughts in the comments.

The post Godox TT685 Thinklite TTL Flash Real-World Review appeared first on Digital Photography School. It was authored by Matt Murray.

Digital Photography School
February 10, 2020
Street Portraits vs Street Photography: What is the Difference?
The post Street Portraits vs Street Photography: What is the Difference? appeared first on Digital Photography School. It was authored by Simon Bond.

One of the most popular and accessible forms of photography you can practice is street photography. In this article, you’ll learn about one of the key questions that get asked in this area of photography. That is when do you ask a person’s permission to take their photo? The answer to that question divides street portraits vs street photography.

Read on to find out about both areas of street photography, and how they relate to each other.

What is street photography?

This can be a difficult area of photography to define because street portraits can easily be mistaken for street photography.

It’s also true that it’s possible to practice street photography and still have permission from your subjects.

So what sets this area of photography apart?

Well, the simple answer is that street photos should be natural and not staged. So what does it take to get a good street photo?

YOu can even use a fisheye lens for street photography. People’s faces aren’t really shown here, yet there is a story.

The equipment

The camera body you use here is important for street photography that occurs in low light situations, where you’ll want to use a higher ISO.

The choice between DSLRs or mirrorless cameras is a personal one. However, the smaller size of mirrorless cameras is an advantage.

You really want to keep to one lens, so you can keep things lightweight while you’re on the move. There is an understandable desire to use different focal lengths, though, so consider returning to the same location twice, and with different lenses.

So which is the ideal lens for street photography?

A lens of 135mm means you need to stand quite far away to include the context in your scene.
- 50mm – This is many street photographers’ lens of choice. That’s because it has a similar field of view to a person’s eye. That field of view is also wide enough to give your scene context, and you have a large enough aperture with a prime lens to photograph in low light. Keep in mind the crop factor for DSLR cameras that have a crop sensor, as it will change the effective focal distance of your 50mm lens.
- Wide-angle – Then there are those photographers who like to have even more stories in their scene and will look to use even wider lenses. That might even mean a wide-angle zoom lens. You’ll now be getting very close to the people you photograph, making it harder to avoid them noticing you.
- Telephoto – On the other end of the spectrum are those who prefer to photograph from a distance. This allows you to photograph the scene without the chance of people posing, as they’re much less likely to see you. On the other hand, you’ll compress the scene. If you don’t stand even further back, you won’t show very much context in your photo.
Market’s make great locations for street photography. They are even better at night, when there is more atmosphere.

The location

Street photography is the exploration of your urban environment, so it needs to happen in this setting. The photo might happen away from the street itself, for instance, in an indoor market, but this would still be considered street photography.

The best place to practice this will be a place that allows for plenty of moments of capture. With that in mind, locations like markets, train stations, or high streets would work.

The subject

Now you know the location for street photography, the next thing to think about is the subject. There are plenty of photos you can take from the location suggested above that aren’t street photos.

A photo that shows only fruit is more of a food detail photo than a street photo. That said, does every street photo need to include a person’s face? The answer to that is, no, it doesn’t. But there does need to be a narrative element to it.

A photo that just shows people’s feet can certainly still contain a story. However, in most cases, you’ll want to see a person going about their daily life, and that means including their face.

A street portrait will see your subject fully engaging with the camera.

What is a street portrait?

A street portrait is one that shows the person’s face. It’s almost certainly posed, and it will be taken on the street. There is an authentic element to it. You’re not taking a model out with you, and you never know if the person you ask will give you permission to take their photo.

Once granted permission, you’ll be able to control many elements of the photo. You might be able to ask your subject to stand in front of an interesting background, turn their face towards a light source, or control their facial expression.

The equipment

This type of photo, once again, will be taken with a good quality mirrorless or DSLR camera. The lens should be a prime lens with a large aperture to give you the choice of blurring the background. However, you don’t have to use bokeh when you can control where your subject stands.

The type of lens you could use would be the same ones portrait photographers use with a model. So a 50mm, 85mm, or 135mm prime lens is ideal.

You might even consider using off-camera flash to have further control over your photo – this is, after all, a posed photo now.

The location

This will be a location where people congregate and go about their daily lives. It’s likely you’ll take a mixture of street portraits and street photos in the same location. With that in mind, refer to the advice given above for locations for street photography, since this is broadly the same for street portraits.

In this photo I asked the man to move to a better position for the light.

The subject

Now you’re looking for people who have personality in their appearance. Look for people who really tell the story of the place they are in. Do this through the clothes they’re wearing, the imperfections on their face, and the backgrounds you can find to place behind them.

One crucial aspect of this type of photo is gaining permission.

You’ll need to decide which types of personality are most likely to give you a positive response. You’ll also need to adapt the way you approach people, as different people may respond differently to varying ways you could break the ice. However you do this, always remain professional, and courteous. Perhaps bring a portfolio of your work and a business card with you to give yourself added weight.

Model releases

It’s worth mentioning model releases when it comes to photographing people. While it’s true that in many countries you’re allowed to photograph people in public places, you can then only use those photos for editorial and personal use. There may come a time you wish to use your photos more commercially.

If that’s the case, then you’ll need a model release. Even if you don’t use the photos for commercial reasons, getting a model release is always good practice.

In the case of street portraits, this should be easier to do since you’ll already be in conversation with the person in question.

You can use the background for a street portrait, so it adds context to the rest of the photo.

Street portraits vs street photography, time to decide.

Now you know your street portraits vs street photography.

Which form of photography do you prefer, both as a photographer and a viewer? How often do you ask people on the street for their permission before taking the photo?

Do you have a favorite set of equipment for either of these photography genres?

Here at digital photography school, we like hearing your opinions, so please share them in the comments.

Likewise, please share your photos that show street photography or street portraits in the comments section.

The post Street Portraits vs Street Photography: What is the Difference? appeared first on Digital Photography School. It was authored by Simon Bond.

Digital Photography School
February 10, 2020
How to Create a Portfolio Template in Photoshop and Profit from Layer Types

The post How to Create a Portfolio Template in Photoshop and Profit from Layer Types appeared first on Digital Photography School. It was authored by Ana Mireles.

Your portfolio is your presentation card. It should always be current with your latest works, coherent with your style and accessible to your clients. Perhaps there’s one on your website, another one printed, and one for pitch presentations. All of them need to be up to date. So, how do you keep up with that? Create a portfolio template that is easy to update that you can scale to different formats.

Keep reading to learn how to create a portfolio template in Photoshop.

While Photoshop is a fantastic photo editing software, it does have some tools that are useful for graphics work too. This will relieve you of the task of having to learn another program like Illustrator. One of the best things for creating a portfolio template is profiting from the characteristics that each type of layer can offer. You can use Vector Layers for your design and logos, Text Layers for all the information, and Smart Objects for your images.

Let’s go through it step by step.

The fundamentals

First of all, what is a Layer?

When you open a new project, whether this is a blank canvas or a photograph, it opens as an image layer by default. This is the base that you build upon. You can then add as many layers as you need.

Imagine that the Layers are paper sheets that you can stack. Each one will then modify, add or block the content of the ones below. The properties of each layer depend on the type of layer it is.

Layers are one of the most versatile and useful tools in Photoshop.

There are many types of layers, some are stand-alone layers like images or vectors. Others work only in combination, as Adjustment Layers.

The important thing to understand is that each one has different characteristics that can be used to simplify your life. Here I’ll discuss the ones I find most useful to create a portfolio template.

The template

Designing your template

The first thing you’ll need is to draw the design of the template. Here, you can decide the elements and colors you want to use. Because this is a template, it should be able to fit most images and situations. So, you might want to keep it simple, but this is up to you.

In any case, every element that you design is best drawn with the Shape tool. Doing this creates a vector layer by default. To make sure of this, check that the menu in the options bar is set to Shape.

This is important because, unlike images, vectors are independent of resolution. This gives you the advantage of modifying the elements without losing quality, as you would do with pixels. This is why most graphic programs, like Illustrator, work with vectors. Shapes and vector layers are also great for creating your logo.

Adding a logo

If your logo consists of many shapes, select all of them and turn them into a Smart Object by right-clicking on top and then choosing Convert to Smart Object from the menu.

This is a different type of layer, not only can you scale it as many times as you want – just like the vectors – but you also retain the source data so that you can work non-destructively.

Because of this, every time you open your Smart Object, you’ll still find all the original shape layers to work on them independently.

Another cool feature from smart objects is the possibility to link one or more copies.

This means that every time you modify your logo, it will automatically apply the changes to all the copies. This is useful if your design includes more than one logo. To do this, create a copy of the layer by dragging it to the Duplicate Layer button at the bottom of the panel.

If you want to keep your copies working independently from each other, you can create a copy of the smart object that it’s not linked. Do this by using New Smart Object via Copy. You can find it in the menu that pops up when you right-click on the layer.

Adding text

This is as straightforward as it sounds. When you use the Text tool, it creates a Text Layer. Keep in mind that because it’s a different kind of layer, not all the tools are available for use. For example, you can’t use the filters.

If you want to use them, you will get a prompt asking you to “rasterize the layer.” This will turn it into an image (a pixel layer). You shouldn’t do this if you want to be able to edit the text in the future. If you do want to rasterize your layer, make a copy of it first and turn off the original by clicking on the “eye” next to the layer in the Layers panel.

Another useful tip when designing your template is to confine the space for your text, so it doesn’t ruin your design if you change or add content later.

Instead of just clicking and typing, click and drag a rectangle text box where you want the text to be. That way, whatever you type adjusts to that space. I usually put one next to the image to add all the information like title, technique, and project. Then I can update it for every image.

Adding images

The photos are the stars of your project, so you want to make sure to work non-destructively on them. The best choice for this is the Smart Object.

To add your photo as a Smart Object layer, you have to go to Menu->File->Place. Because in my design, I added a rectangle to serve as a frame for my images, I can now add a Layer Mask to fit it inside without losing any information.

You can do this by placing the smart object directly on top of the rectangle shape designed at the beginning. Now create a Clipping Mask by pressing Cmd+Alt+g (Ctrl+Alt+g on PC). The Mask will reveal the image through the frame without cutting it or changing any of it.

To update the images, you can open the Smart Object and place the new one there so that you don’t change the Layers or Masks of the template.

Save and close

Because you used Vectors, Texts, and Smart Objects, you can change the resolution from web to printing as many times as you want while keeping the quality of it. Just be sure to save each page of the portfolio separately, so you don’t overwrite your template.

Conclusion

I hope that you have found How to Create a Portfolio Template in Photoshop and Profit from Layer Types useful for creating your own portfolio templates.

Remember, save each template as a PSD file so that you can go back and utilize them again when you want to update your photos or text. Saving as a PSD file retains all of your layers so that you can access them and change them easily. If you save it as a JPG or another lossy format that flattens the layers, you will no longer have the ability to edit them.

If you have any other tips for creating a portfolio template, please share them with us in the comments below.

The post How to Create a Portfolio Template in Photoshop and Profit from Layer Types appeared first on Digital Photography School. It was authored by Ana Mireles.

Digital Photography School

February 10, 2020
7 Mistakes Beginner Photographers Make The Camera Can’t Be Blamed For
The post 7 Mistakes Beginner Photographers Make The Camera Can’t Be Blamed For appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

There are many mistakes beginner photographers make. It’s healthy to make mistakes so long as you learn from them. Be willing to understand why your photos are not turning out how you wanted them to. Don’t be quick to blame circumstances or your camera gear when you mess up.

Here are some common beginner photographer mistakes you can’t blame the camera for.

1. Poor composition

Poor composition is one of the main mistakes beginner photographers make. Not getting close enough to your subject, results in having too much unnecessary space in your pictures.

Sometimes being too close can ruin a composition too. Are you cutting off your subject’s feet?

Be mindful of what’s inside your frame. Ask yourself if everything you see is relevant to the picture you are taking? If it’s not, fix the mistake. Move closer, zoom or change your position.

Leaving excessive space above a person’s head is the most common compositional mistake I see beginner photographers make. Often what’s above a person’s head is not relevant to the photograph. Get closer or tilt your camera angle down to minimize this space.

© Kevin Landwer-Johan

2. Rushing your photography

Take your time, and you will take better photos. Being impatient will never make you a fabulous photographer. Whatever style of photography you engage in, being patient will benefit you.

Grabbed moments don’t often capture the best photographs. Of course, there are exceptions, but typically it pays to prepare yourself and anticipate action before it happens. Doing this, you can set your camera and line up your composition.

Using manual mode will help you slow down. You will visualize that you are photographing differently. This is because you are forced to think more about every aspect of taking your pictures.

During our photography workshops, I love to teach people how to slow down by using manual mode. Most people I teach develop their skills quickly. Their photos are well exposed and composed because they are working more slowly.

© Kevin Landwer-Johan

3. Distracting backgrounds

Having distracting backgrounds is another mistake beginner photographers make. It’s easy to concentrate on your main subject and not see what’s behind them until you look at your photos later.

When you do see that you have a distracting background, there are several options to avoid this.
- Use a longer focal length lens.
- Move your subject somewhere else.
- Change your camera angle or location.
- Use a wide aperture to blur the background.
A longer focal length lens will reduce the amount of background you see. Move back from your subject and use a longer focal length. You will see the background differently than using a wider lens.

Moving your subject or your camera location will change what’s behind your subject. Sometimes you will not be able to move your subject. When you can’t, you’ll have to move. This sometimes means you need to compromise with the lighting or composition.

Blurring a background can sometimes be the best way to avoid distractions. You’ll need to open your aperture wide to achieve this, except when you are using a long lens or focusing very close to your subject.

© Kevin Landwer-Johan

4. Not looking for alternative angles

Taking a picture from the first angle you think of, is not always going to make the best photo. This is another common mistake beginner photographers make.

Move around – even a little. Shift your camera from side to side. Tilt it higher or lower. Pay attention to the relationships of elements in your composition as you do this. At times, even a very slight alteration of your camera angle will result in a more striking photograph.

Always consider taking both a vertical and a horizontal perspective with your camera. When you can’t make everything fit the way you want, use a Dutch Tilt. Turning your camera to an off-kilter angle to accommodate your subject can work very well.

When you find something interesting enough to photograph, take more than one or two frames. Looking at a subject from different angles will help you visualize it in fresh ways. I think one of the advantages of using prime lenses is that you are more likely to move about to change your composition. You cannot stand in the same spot and zoom, so you will be more inclined to seek out different points of view.

© Kevin Landwer-Johan

5. Not giving people enough direction

How often do you avoid giving directions to the people and have them pose awkwardly? These are common mistakes beginner photographers often make.

Communicate well with the people you photograph. Talk to them about what you are doing and how you want them to look in the photo. Start with some easy, relaxed poses so they’ll be more confident with you.

If you leave them to come up with poses on their own, they may not be very interesting.

People will feel better when you give them direction, particularly if you do so with relaxed confidence. Be clear about what you want them to do and speak to them politely.

© Kevin Landwer-Johan

6. Failing to relate to your subject, whatever you are photographing

When photographing people, it’s important to develop a rapport with them. Give them instructions so you can get the photos you want. Moreover, connecting with these people.

If you spend your time looking down fiddling with your camera settings, your subject will most likely feel awkward. You might want to adjust your camera settings, so they are technically perfect. But when you fail to relate to your subject, you will not capture the most interesting photo.

This is most important when you’re photographing people, but not exclusive. Whatever your subject, you’ll make more appealing photos when you include feeling.

Think about why you are photographing something.

What attracted you to take these pictures? How can you incorporate this feeling into the photos you take?

Many beginner photographers will find this challenging. However, as long as you are aware of how you relate to your subject and seek to develop this, you will become more skilled at it.

© Kevin Landwer-Johan

7. Being fearful to take photos

Many beginner photographers will hesitate to go after the pictures they want because they are fearful.

If you want to photograph something dangerous, where there’s a high degree of risk, being fearful is natural and healthy. For example, it wouldn’t be wise to get close to a bear cub or a poisonous snake in the wild. These situations require fear to motivate us to keep our distance.

Not photographing people because you are fearful that you might impose is entirely different. You can’t know how someone will respond until you ask if you can take their photo. It’s taken me years to learn this, and still, at times, I hesitate.

Tame the negative, fearful thoughts in your head. When you see something you want to photograph, consider the reason why and how you can. Don’t be consumed by thoughts and excuses of why not and how not.

Being committed to the ideas you have about the photos you want to capture will help you develop your personal photography style.

© Kevin Landwer-Johan

Conclusion

Mistakes beginner photographers make can be very frustrating. When you take your time and review the photos you take, you’ll see how to improve and not keep making the same mistakes.

Moreover, look over the photos you take each time you load them to your computer. This is most helpful when you have not deleted the ‘duds’ off your cards before uploading.

When you see your best and worst photos side by side, this can help you grow as a photographer.

© Kevin Landwer-Johan

Are there any other mistakes that you have made as a beginner photographer that you’d like to help others learn from? If so, please share them with us in the comments section.

The post 7 Mistakes Beginner Photographers Make The Camera Can’t Be Blamed For appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

Digital Photography School
February 10, 2020
9 Great Tips to Photograph Waterfalls (video)
The post 9 Great Tips to Photograph Waterfalls (video) appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

In this new video from Mads Peter Iversen, he gives you 9 great tips to photograph waterfalls. With some great tips and beautiful scenery, this video will have you taking better photos of waterfall landscapes in no time.

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You’ll learn about camera settings, shutter speeds, composition (including moving around to get the most from your image), and other practical tips such as filters and tripods.

Shot in the beautiful Lofoten in Norway, which is not known for its waterfalls, Iversen has to work a little harder to capture these images.

Do you have any other tips for photographing waterfalls that you would like to share with us? Are there things you agree or disagree with in this video? Please share your thoughts with us in the comments below.

If you want to improve your landscape photography, try our Landscape & Nature Photography Course.

You may also like:
- How to Shoot and Process Better Waterfall Photos
- 6 Tips for How to Photograph Waterfalls
- 3 Tips for Waterfall Photography Beyond Just Using a Long Exposure
- Shooting Better Waterfalls: Five Tips for Improving Your Waterfall Photography
- 9 Top Tips for Shooting Waterfalls, Creeks and Streams
- Beginner’s Guide to Waterfall Photography
- The dPS Top Landscape Photography Tips of 2019
- 6 Vital Things to Look for When Photographing Landscapes
- How to Plan the Perfect Landscape Photo
The post 9 Great Tips to Photograph Waterfalls (video) appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

Digital Photography School
February 8, 2020
RAW vs DNG: What’s the Difference and Why Does it Matter?

The post RAW vs DNG: What’s the Difference and Why Does it Matter? appeared first on Digital Photography School. It was authored by Simon Ringsmuth.

As a photographer, you have no doubt heard people talk about file formats, specifically RAW and JPG. Some people shoot only in RAW, others like JPG, and many photographers use both. Each format has benefits and drawbacks, but if you want the most amount of control over your pictures, you probably shoot in RAW. However, there is a third option you might not even know about: Digital Negative, or DNG. With this other format in the mix, the issue isn’t so much RAW vs JPG, but RAW vs DNG.

DNGs can speed up your Lightroom workflow, but there are some tradeoffs to be aware of.

Understanding RAW

RAW files, unlike JPG files, store all of the light and color data used to capture an image. That means you can recapture blown-out highlights, make better white balance corrections, and have a great deal of editing freedom you don’t get with JPG.

Nikon, Canon, Sony, and others all let photographers shoot in RAW, but each of their RAW files is different. For example, the file extension for a Nikon RAW file is NEF, Canon is CRW, and Sony uses ARW.

As a result of this, cameras from these manufacturers process and store RAW data a little differently. Third-party editing software has to interpolate and reverse-engineer the method used to create the RAW files.

This is great for camera makers because they can tweak their hardware and software to work really well with their own RAW formats. However, it’s not always the best for photographers and editors.

RAW and DNG files give you plenty of editing room that JPG does not offer. Nikon D500, 85mm, f/1.8, 1/4000 second, ISO 100

Digital Negative

Adobe developed the Digital Negative (DNG) format in 2004 as an open-source alternative to the proprietary RAW formats that most camera manufacturers used.

What Adobe did was essentially level the playing field by giving everyone access to the same format for working with RAW files.

DNG is open-source, which means anyone can use it without paying licensing fees. A few manufacturers like Pentax and Leica support DNG natively. However, for everyone else, there are easy ways to convert RAW files to DNG and get all the benefits of the latter without the hassles of the former.

DNG is particularly useful if you use Adobe products, like Lightroom and Photoshop, but other editing software support it too.

The photo information in each file is identical, but there might be some reasons to choose one over the other.

When looking at the RAW vs DNG issue, there are some important benefits as well as drawbacks that you might want to consider before you switch.

However, please don’t look at this as a matter of which format is better.

Neither RAW nor DNG is objectively superior; both have advantages and disadvantages. The point is to give you enough information to make an informed choice about which format works for you.

DNG benefits

1. Faster workflow

The main reason many people use DNG files is related to editing efficiency when using Lightroom. Since DNG and Lightroom are both made by Adobe, it stands to reason that they would work well together.

If you have ever found doing some simple operations with RAW files in Lightroom frustrating, like switching photos or zooming in to check focus, you will be shocked at how fast things like this are when using DNG files.

Switching from RAW to DNG has made a huge difference for me in speeding up my Lightroom workflow.

Nikon D750, 40mm, f/1.4, ISO 360, 1/180 second.

2. Smaller file sizes

File size is another area where DNG has an edge in the RAW vs DNG debate. Although, it might not be quite as important now with storage so cheap compared to ten or twenty years ago.

DNG files are typically about 20% smaller than a RAW file, which means you can store more of them on your computer. If you are limited in storage space, DNG just might be a good option for you.

I converted a folder of RAW files to DNG. Both contain the exact same data for each photo, but the DNGs are much smaller. The entire folder of RAW files is 1.75GB, whereas the folder of DNG files is 1.5GB.

3. Wide support

Because DNG doesn’t require a proprietary decoding algorithm, like RAW files from major manufacturers do, there is wider support from a variety of editing software. Various archival organizations, such as the Library of Congress, even use this format. That means it should work just fine for most photographers too. Personally, knowing this helped settle the RAW vs DNG debate for me, but you might prefer another solution.

4. Wide support

One additional benefit of DNG has to do with editing metadata and how it is stored. Lightroom is non-destructive, meaning that any changes you make to an image, you can alter at any point in the future. The original file remains untouched, and a record of your edits is stored separately.

When working with RAW files, these edits are written to a very small file called a sidecar. However, if you use DNG, all your edits are stored in the DNG file itself. Most people consider this an advantage since it requires fewer files to store and manage, but it can be a drawback which I explore later in this article.

Nikon D750, 40mm, f/1.4, ISO 1000, 1/3000 second

DNG Drawbacks

1. File conversion

Since most cameras don’t natively shoot in DNG format, you need to convert your RAW files if you want to use it.

Lightroom can do this automatically for you when importing, but it does come with a drawback that may be significant. Depending on the speed of your computer and the number of RAW files you import, the conversion to DNG can take anywhere from a few minutes to a few hours.

This could be problematic for some people in high-speed workflows such as sports and other action photography. Personally, I don’t mind. I just do the import/convert operation before dinner or at another time when I don’t need to start editing immediately.

I like to think of this initial conversion time as the culmination of all the seconds I used to spend waiting for RAW files to render, but all rolled into one lump sum. It’s a tradeoff I’m happy to make, but some people might find this a dealbreaker and stick with traditional RAW formats.

Converting lots of RAW files to DNG can take a great deal of time. And this is time that some photographers don’t have.

2. RAW metadata loss

Another drawback to the DNG format is that some of the RAW metadata gets lost during conversion. All the usual metadata you would expect is intact such as exposure, camera information, focal length, and more. But some information like GPS data, copyright information, and exact focus point don’t always transfer over.

Additionally, the built-in JPG preview gets discarded in favor of a smaller preview, which is another trick Adobe uses to bring down the size of DNG files.

Whether this information matters is up to you. Personally, I find none of the lost metadata a dealbreaker.

3. Multiple editors

One other issue you might want to consider is whether your workflow involves having multiple editors work on the same RAW file.

If that’s the case, then the lack of a sidecar file could be problematic. Essentially, the sidecar acts as a storage locker for all your edits. The RAW file is untouched, but the sidecar stores a record of your edits. This means that if you have two people working on the same RAW file, you can share your edits just by copying the sidecar files.

Edits to RAW images get stored as sidecar files. You can send these sidecar files to other editors to share your RAW edits (as long as they have the original RAW files).

If you use DNG, you have to share the entire DNG files, which can be problematic compared to the ease of copying a tiny sidecar file.

For most people, this probably won’t matter, but for those who work in editing rooms or production houses that rely on sidecar files to store edits, DNG might not be the best option.

Finally, if you research this issue long enough, you will hear some trepidation about the longevity of DNG since the biggest camera makers, like Canon, Nikon, and Sony, do not officially support it. Personally, I’m not too worried about this since DNG is a widely-adopted industry standard, and if it’s good enough for the Library of Congress, then it’s good enough for me.

How to use DNG

If you want to give DNG a try, you can start by converting some of your existing RAW files. In your Lightroom Library module, select the RAW files you want to convert and then choose Photo->Convert Photo to DNG.

I recommend checking the values you see here, though if you are ready to go all-in, you can also select the option to delete originals. The “Embed Fast Load Data” option is what really speeds things up in Lightroom.

Un-check the option to use lossy compression if you want to retain all the data from the RAW file instead of having Lightroom toss out some in favor of a smaller file size. Also, you don’t need to embed the RAW file since doing so will more than double the file size of your DNG.
Another option is to use the Copy as DNG setting when importing photos from your memory card. This will add a great deal of time during the import process since Lightroom converts every one of your RAW files to DNG.

However, for me, the tradeoff is worth it since DNGs are so much faster to work with in Lightroom compared to traditional RAW files.

Conclusion

As with many aspects of photography, the answer here isn’t black and white, and there is not a one-size-fits-all solution. The question of RAW vs DNG isn’t about which format is better, but which format suits your needs.

There is no data loss when working with DNGs, but there are some issues compared to RAW files, and it’s important that you make an informed choice.

If you have experience working with DNG files and would like to share your thoughts, I would love to have them in the comments below!

The post RAW vs DNG: What’s the Difference and Why Does it Matter? appeared first on Digital Photography School. It was authored by Simon Ringsmuth.

Digital Photography School

February 8, 2020
Weekly Photography Challenge – Street Photography

The post Weekly Photography Challenge – Street Photography appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

This week’s photography challenge topic is STREET PHOTOGRAPHY!

Photo by dPS writer, Kevin Landwer-Johan © Kevin Landwer-Johan

Street photography can be a powerful genre of photography. It can also be one that many a shy photographer can struggle with. So, I challenge you to go out and give this genre a go this week and share your resulting images with us in the comments below.

You can use a wide-angle lens, a telephoto or a prime lens – it depends if you want to get in amongst it or photograph unnoticed from afar.

They can be color, or black and white. You can photograph from a low angle, high angle, wide angle or really close – the decision is yours! Try using negative space, or simply capture the action, emotion and atmosphere.

So, check out these pics to give you some ideas, have fun, and I look forward to seeing what you come up with!

Also, check out some of the articles below that give you tips on this week’s challenge.

Photo by dPS writer, Kevin Landwer-Johan © Kevin Landwer-Johan

Photo by dPS writer, Glenn Harper © Glenn Harper

Photo by dPS writer, James Maher © James Maher

Tips for Shooting STREET PHOTOGRAPHY

The Ultimate Guide to Street Photography

How to Avoid Distracting Backgrounds in Street Photography

How To Easily Improve Your Street Photography Portraits

6 Tips for Aiming Low and Going Unnoticed in Street Photography

7 Steps to Improve Your Closeup Candid Street Photography

7 Gritty Tips That Will Create the Foundation for Your Street Photography

8 Advanced Street Photography Tips to Get You to the Next Level

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 #DPSstreetphotography 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 – Street Photography appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

Digital Photography School

February 7, 2020
DIY Lighting and Background Accessories for the Budget-Conscious Photographer
The post DIY Lighting and Background Accessories for the Budget-Conscious Photographer appeared first on Digital Photography School. It was authored by Ana Mireles.

Do you want to take your photography to the next level, but don’t have the budget for professional equipment? Just a few dollars and a trip to the stationery shop can do the trick. Keep reading for some DIY lighting and background accessories using paper.

Professional photography studios have multiple lights and accessories to create their images. If you want to learn about them, here’s a great introduction guide.

However, when there’s no budget at hand, it’s time to get creative.

I’ll show you some ideas on how to create DIY lighting and background accessories using paper only. This has the intention of being a starting point to spark your creativity according to your needs and whatever you can find in your area.

DIY lighting and background accessories

DIY diffuser

There are two types of light, hard and soft. Hard light is very bright and usually, a condensed light that casts well defined, intense shadows and contrasting hot points.

It can be natural on very sunny days, or artificial from flash and strobes.

This can be great for certain types of photos, but other times it can be very unflattering for the scene.

Hard light with no diffuser. 0.5 sec, f/2.8, ISO 200

Soft light means that the subject is illuminated more evenly, the shadows become softer, and the entire mood is different.

Professionally, hard light is turned soft by using umbrellas or softboxes.

You can achieve a softbox effect using vellum paper as I did on the image below. In case you can’t find it, any type of tracing paper will do, or even oven paper from your kitchen.

Hard light turned soft with the use of DIY lighting accessories – vellum paper. You can also use tracing paper or oven paper. 0.5 sec, f/2.8, ISO 200

DIY Reflector

A light reflector bounces the existing light so that you don’t have to add a second source. This is very helpful to fill in shadows or darker areas of the image to bring out more detail.

You can find these in different sizes and colors, but the DIY stationery solution I chose was a foam board. It’s very light, easy to cut, and has a glossy exterior that maximizes the reflection.

1/5 sec. f2.8 ISO 200

In the above example, see how much light I gained just by placing a piece of foam board opposite the flash. It’s so much that I even lost the contrasting effect I wanted. However, I wanted to show you how big the difference is.

If you want less light, you can place it further away or change the angle. It takes some practice to learn how to use reflectors to light your subject, but it’s really worth it. If you need to block the light instead, you need to use flags, which you can achieve with black paper.

Creative uses

DIY Gels

Other DIY lighting and background accessories you can create are gels. Gels are pieces of colored, semi-transparent material that you can use to modify your light. Professional gels are graded to exact colors and density. This is because you can then compensate for the exposure and white balance in your camera and different light sources. However, for creative lighting, you can use simple cellophane paper or plastic index dividers.

1 sec. f. 2.8 ISO 200

Creating bokeh with wrapping paper or foil

Bokeh is an effect created by the lens when you send the background out of focus. You can easily create it by using crumbled metallic wrapping paper or aluminum foil as a background. If you want to create colored bokeh, buy wrapping paper with iridescent designs.

You can create a great bokeh background simply by using crumbled metallic wrapping paper or aluminum foil as a background. 1/10 sec, f/8, ISO 200

Once you place this background, light it from the side with any kind of lamp, flash or even window light. The most important thing though is to keep it out of focus. If you’re not sure how to achieve the shallow depth of field needed, check out this article.

Using paper to create a textured backdrop

Of course, you can make a backdrop with any kind of paper – that’s not news. However, I encourage you to add texture to it and see the difference. This, of course, makes a busier background, so it may not suit all subjects, but it can be a creative solution for many others.

This background was created using crumpled tissue paper. 1/5 sec. f2.8 ISO 200

I found that tissue paper is great because it’s cheap, light, easy to manipulate, and comes in multiple colors. You can just crumble it, cut it into pieces, and form patterns.

In this example, I cut it into squares and then twisted the center to create the ruffles, then pasted it all together with alternating shades of green.

Conclusion

So there you have it – some incredibly simple, and affordable DIY lighting and background accessories that you can buy on a small budget from almost any stationery store. Try these out, and if you have any other tips to add, please share them with us in the comments!

And for more photography DIY ideas, check out the following articles:
- How to Make a DIY Lens Hood to Eliminate Lens Flare
- How to Use Ordinary Items to Make DIY Photo Filters
- DIY Photography: How to Make Your Own DIY Lightstick for Cool Photos!
- DIY Photography Backdrops for Still Life and Product Photography
- How to Make a DIY Photography Softbox (video)
- Try this DIY Neutral Density Filter for Long Exposure Photos
- DIY Food Photography Props on a Budget
The post DIY Lighting and Background Accessories for the Budget-Conscious Photographer appeared first on Digital Photography School. It was authored by Ana Mireles.

Digital Photography School
February 7, 2020