Category: Photography

Photoshoots that Go Wrong – the Challenges and Beauty of Working in Photography

The post Photoshoots that Go Wrong – the Challenges and Beauty of Working in Photography appeared first on Digital Photography School. It was authored by Erin Fitzgibbon.

The illusion of perfect experiences

I haven’t used any images from the anecdotes I discuss. I don’t want to create targets. Instead, the images in this article are from successful photoshoots but also some very challenging shoots.

It’s time to talk about the photoshoots that go wrong.

Most people write about the tricks and tips that guarantee success. That’s an illusion. I won’t say the word “lie” – it’s too harsh. Those articles promise success where none can be assured.

Don’t get me wrong – the advice is useful and good to know. It does help the shoot go smoothly; however, life has this funny way of throwing a wrench into even the best-laid plans. Sometimes no matter what you do or how prepared you are things can and do go wrong.

It’s okay! It doesn’t mean you’re a bad photographer. It’s just a part of the daily grind. It is real life and you cannot escape this reality.

Sometimes photography, just like every other endeavor, hands you a bag of hammers. The important thing is to handle the situation. You need to come out of the proverbial lion’s den with all your faculties intact.

Hopefully, the following stories will lift your spirits. I also hope they will give you some inspiration and some courage to continue when all you see before you are roadblocks and negativity. Knowing you’re not the only one may make it easier to get out bed tomorrow and to keep working hard.

Note: As I mentioned in the photo caption above, I haven’t used any images from the anecdotes I discuss here. I don’t want to create targets. Instead, the images in this article are from successful photoshoots but also some very challenging shoots.

The family that hates each other

The oldest boy was being rather grumpy in this session. Allowing him to poke and pester his brothers actually made for a great image. This is the family that loves each other. The total opposite of the family in the anecdote below.

When you shoot family portraits you witness some interesting family dynamics. Most of the time scenarios are pretty average. Perhaps there’s a bossy mom or a grumpy. You might run into the moody teenager or difficult children. All of these issues are relatively easy to manage. Bossy moms need a little encouragement to focus on being relaxed. Grumpy dads are easy to appease with a few jokes and a promise that the session will be over quickly if he can try to have fun. Teenagers are usually easy to bribe if you take a few photos and then promise to give them their favorite for social media.

However, what happens when you meet the family from hell? What do you do when the situation is far more complicated than you expected? Imagine trying to get images that portray love and caring in a family when there is none present. Imagine a situation in which family members are staring each other down across a picnic table. I never imagined that I would meet one of those families until I did – and it shocked me.

The family members were making thinly veiled insults towards each other. When I asked them to pose, they began to throw a few snide comments my way. I was not impressed. When clients don’t treat you with respect, it’s really difficult to create images that are appealing and unique.

It seemed like a situation in which nothing was going right. Truthfully, nothing was. The shoot became far worse the moment the grandmother pulled out her point and shoot camera. She proceeded to stand behind me and shoot over my shoulder. Normally, I would have stopped the shoot and walked away. The clients would have received a refund when I returned home, and that would have been the end of the whole event.

I should have followed my instincts and walked away, but I didn’t. Knowing when to get out of or turn down a job is as important as taking amazing photographs. The only thing that stopped me was the woman who booked the shoot. I’d known her for a long time and felt wrong about lumping her in with her mother in law. That was my mistake. The advice is simple. Never let personal relationships affect your professional nature. The client was being rude and overstepping her boundaries. That was reason enough to walk away.

Instead of creating the best possible images I made the bare minimum effort and didn’t try to add in any of my usual fun creativity. The shoot ended with the client receiving some pretty basic images.

The behavior of a client affected my ability to produce the best possible portraits. That’s not good. Never allow that to happen. If you can’t produce great images in the situation, then don’t take them. Don’t deliver sub-par work. It will only affect you later on. Those who view your work won’t know that the client was impossible; they’d see the photo online and assume your talent is limited.

In this session the challenge was lighting. It was rather harsh in the end.

The client who wants you to “Photoshop” them until they look 20 again

We’ve all run into this situation. We end up with clients who want you to turn them into something they are not. They show you pictures of themselves from 20 years earlier and 30 pounds lighter. They expect you to create the fountain of youth for them. This becomes the challenge. You have to convince your clients that they are beautiful just the way they are. That’s probably more than you can accomplish in 90 minutes.

The advice is simple – be gentle, be kind. Do your best to put the client in poses that show off their best features but at the same time be firm. If you create portraits that address the insecurities of your client, and the images are photoshopped and look fake, it will once again reflect badly on you.

Instead, work with the client to achieve the look while still holding to your vision. The work must reflect your skills and aesthetic as well as satisfy the client.

In this case, I asked the client to show the photos to her friends. I knew the images were great, but the client couldn’t accept her own body. The comments and praise from friends helped. She purchased the images, but I’m pretty sure she did so to be polite.

A few months later, I saw her new real estate signs around town, and in the end, she had used a different photographer. The images were highly photoshopped and looked nothing like her. There’s nothing you can do when a client wants a certain look. You either have to deliver or hold to your vision.

Part of me wishes I had caved and given her what she wanted. Perhaps I would have landed more jobs from her if I had, but it just didn’t feel right. I didn’t want to create an image that wasn’t true to the beautiful person I saw before me. The lesson in this situation is that photography cannot repair someones damaged self-image. Be prepared for the client who dislikes your work.

I find photographing animals quite challenging. I’m able to connect with humans much more easily.

The day the hurricane blew through town

This final scenario presents a situation in which no matter how much you prepare, you cannot prevent mother nature from wreaking havoc on your photoshoot. The family requesting the portraits had just the one day available. Family members were visiting from the west coast of Canada, and it was a do-or-die type of scenario. There was no option to reschedule, and just our luck, the remnants of a hurricane decided to blow through the Toronto area making the option for shooting outdoors impossible.

The challenge here was to create a warm family atmosphere despite the raging wind and rain outside. The family was understanding, but they were adamant they needed their photographs completed then. The hurricane forced us to have to improvise a setting and deal with bad lighting.

We moved some furniture and tried to create a nice setting with a large couch. I moved the couch to face the large window to add natural light to go with my flash. My strength as a photographer is in shooting solely with natural light and in outdoor settings. I don’t do well inside in confined spaces without the opportunity to improvise and add some physical activity. However, we had no choice.

In this case, the resulting photographs were not up to my usual standards, and I was unsatisfied with the work. While the client seemed satisfied with the product, there was the issue of personal pride in the work. This experience resulted in a personal decision to improve my studio photography skills so that in the rare circumstance when I cannot shoot outdoors, I can still create work with which I’m satisfied. The lesson here is knowing your limits and then working to improve your skills.

The skies opened up suddenly and we had to rush to finish the shoot in the pouring rain.

In Conclusion

Photography can be unpredictable. That very factor makes it exciting.

For those of us who crave some variety and challenge within our work, we embrace this fact about the photography world. It can cause frustration and anger, and sometimes you might wish you had a different career or hobby.

Then in the next moment, the truth hits you, and you know the unpredictable challenges keep you going. You’d be bored otherwise. The idea of knowing how each day begins and the end makes you cringe. So take a deep breath and dive into the business. You can handle all the challenges life throws your way.

The challenge here was pure exhaustion. We had been working for 6 hours without a break.

The post Photoshoots that Go Wrong – the Challenges and Beauty of Working in Photography appeared first on Digital Photography School. It was authored by Erin Fitzgibbon.

Digital Photography School

March 28, 2019
Basics of Landscape Photography

Successful landscape photography is made up of multiple elements, such as location, composition, proper depth of field, lighting, equipment used and other aspects. In the guide below on the basics of landscape photography, I will attempt to shed some light on what these elements are and how they work together to make landscape photos that stand out differ from ordinary Continue Reading

The post Basics of Landscape Photography appeared first on Photodoto.

Photodoto

March 28, 2019
Experimenting with Low Key Black and White Photography
The post Experimenting with Low Key Black and White Photography appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

Think dark, moody shadows. Sparse illumination and a somber atmosphere. No color. This is low key black and white photography.

© Kevin Landwer-Johan

Usually one main light, or ‘key’ light, falls on your subject and the background fades to black. It’s all about the highlights and shadows and how they define the shapes in your composition.

Subject selection for shape

Low-key lighting will not suit every subject. You will find bold subjects and bold composition of subjects are best for low-key photography.

Busy scenes with a lot of detail end up looking jumbled and are best avoided. Or at least composed in such a way as to make the content in your photo minimal.

© Kevin Landwer-Johan

A novice monk in a shrine was the center of my attention. Around him was clutter. Bright sunlight shone through an opening with a grid, making the light directional.

By selecting to make my exposure based on the highlight on his face I have made the scene work in low-key black and white. The candles, people, Buddha image, and other distractions in the background are insignificant. Had I included them in my composition the impact of the simple outline of his face would be lost.

Exposure choice is essential

Low-key lighting is as much about the shadows as it is about the light.

Let the darkness envelope all but your main subject. Even let it consume most of your subject. So long as it enhances what you want to show.

Taking an exposure reading from the highlight area, when the light is harsh and the background is darker, creates a moodiness.

Small Buddha statue photographed on a bright, sunny afternoon

Set your ISO for the overall amount of light. Outside on a sunny day you need to keep your ISO low. Inside, or in other situations where there’s not much light, choose a higher ISO.

Balancing your aperture and shutter speed to the brightest parts of your composition will expose well.

This method of exposure will provide you highlights with detail and shadows rendering black, (or close to black.)

Experimenting with your settings will help you understand this principle. If you haven’t tried this, don’t make one exposure, make many of the same subject at various settings. When you view them on your computer, look at the metadata for the settings you used and make comparisons. Which settings give you the most pleasing results?

See in black and white

How will the tones of what you are seeing in color translate to black and white?

Complementary colors will help provide contrast in your black and white photos. Blue, violet and red convert to darker tones. Green, yellow and orange will convert to lighter tones.

© Kevin Landwer-Johan

Setting your camera monitor display to grayscale will help you learn to see in black and white. When you try this at first look at the colors in your composition and see how they are shown in grayscale.

Color contrast is more critical when the light is softer. When the light is soft, it’s more challenging to make low-key photographs because the overall tone values are evener.

Squint your eyes to help you see

When you’re not sure if there’s enough contrast in a scene for a low-key black and white photo, squint your eyes. Doing this reduces what you see and contrast becomes more apparent.

Compare the brightest and darkest areas in what you are looking at. Train your eyes to understand when there will be enough contrast.

© Kevin Landwer-Johan

With your eyes open you can see a broader tone range than your camera is capable of recording. By squinting your eyes you are effectively narrowing the tone range which is visible to you.

The importance of post-processing for low-key digital photography

Even though your camera records a reduced tone range compared to what you see, it’s still recording more than you want for a low-key photo. Certainly more than photographing with black and white film.

Post-processing your photos to achieve the contrast and minimal tone range requires a different technique than it does for images showing a wide range of tones.

When you’ve made photos where you expose for the highlights it’s easy to darken the shadows during post-processing.

© Kevin Landwer-Johan

These are the tools I most frequently use when processing low-key photos to reduce the shadow detail:
- Contrast
- Blacks
- Shadows
- Highlights and Whites
- The Burn tool (or similar)
Enhancing the overall contrast boosts the highlights and diminishes shadow detail. Increasing the blacks and decreasing the shadows will help gain the effect you want also.

Manipulating the whites and highlights will help you keep some detail in the brightest parts of your image. If the detail is totally removed low-key photos can still look okay, but it’s good to be mindful of this and make sure it’s a deliberate choice.

As with all post-processing there are many different ways to achieve the same or similar results. Experiment and find what works best for you with each photograph you work on. The more you try different methods the more skilled and quicker you will become.

Plug-ins and apps can make post-processing easier

I love using the Silver Efex Pro plug-in with Photoshop. There’s a good selection of presets which can also be customized after you have applied them.

Don’t get stuck thinking you need to use the Low-Key presets. If you’ve got your light and exposure right, other options will be more effective.

I used the Silver Efex Pro preset ‘Fine Art Process’ and added extra burning in. © Kevin Landwer-Johan

Conclusion

Photography is very subjective. Like any form of creative expression, I believe there’s no real right or wrong way to express yourself.

Most important is that you take your photos and post process with intent. Knowing what you want before you press your shutter release will help you obtain the look and feel you want.

These few techniques outlined here are by no means exhaustive or complete. I want to encourage you to experiment. I hope these points give you some foundation to work on when experimenting with low key black and white photography.

Once you’ve had a chance to try some on your own please post your pictures and leave your comments below.

The post Experimenting with Low Key Black and White Photography appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

Digital Photography School
March 28, 2019
10 Ways to Use the Beauty and Complexity of Reflections in Photography

The post 10 Ways to Use the Beauty and Complexity of Reflections in Photography appeared first on Digital Photography School. It was authored by Anthony Epes.

I’m a huge fan of simple ideas that will create immediate effects for your photography.

Photography is a vast subject and learning all the intricacies of your camera, shooting on manual, as well as processing can seem overwhelming.

But there are so many ways to take wonderful photos, using simple ideas you can play with, that will create compelling photos for you right now.

When you take great photos, it inspires you to keep learning and pushing yourself on this intensely fulfilling creative journey.

In this article, you’ll learn how the simple idea of reflections can bring a wonderful complexity, beauty, and depth to your images.

The fantastic thing is reflections are everywhere! In the puddles you pass on your way to work, on shop windows, and on the sun-soaked sea of your holidays. They are on shiny cars, floors, walls, rivers, and streams. They are, of course, wherever you can find a reflective surface.

Reflections are fun to play with – bringing humor, abstraction, and patterns into your images. Here I’ll suggest many different ways to use them in your photography and give you tips to use right now, to create new effects and new looks in your images.

And, by focusing on one technique or one concept and really learning how to use that, you will become incredibly strong in that area.

By picking up one technique at a time, you can build a toolbox of skills that will help you feel confident and able to create magnificent photos.

Let’s get started. Let’s look at all the different aspects of capturing reflections in photography.

1. Reflections create depth

A reflection can create a feeling of depth within an image.

In the photo above taken in the early morning in Venice, the subtle reflection in the puddle on the street creates an image with a strong midground, background, and foreground – so the image isn’t so flat.

Here is another image from Venice, where the rain on the streets creates long reflections from the street lamps. They enhance the journey down the street and help draw you into the scene.

Tip: To get a smoother look for your reflection, use a long exposure, like in the photo above.

2. Reflections create eye-pleasing patterns

The eye finds symmetry and patterns very pleasing. In the photo below, I needed absolutely perfect positioning.

Tip: Finding the best angle for your shot is incredibly important. Many people get so awed by their subject they just start shooting instead of working out where the very best angle for that subject is.

So go up somewhere high, or lie on the ground. Move around until you find the perfect angle for your composition.

Try capturing patterns in the world around you, that when photographed as reflections, become an intriguing abstract image:

3. Reflections can create humor

As well as wicked patterns, reflections can be used to enhance or create humor.

I am not a particular ‘humor’-driven photographer – but occasionally I find something funny I want to capture.

Tip: There are two focal points in most reflections: the surface and the subject of the reflection. Shoot reflections using different shutter speeds and this will blend the colors. This sounds tricky, but with practice, you can nail it.

4. Reflections can create mystery and abstraction

“In photography, there is a reality so subtle that it becomes more real than reality.” – Alfred Stieglitz

I have taken a lot of photos of reflections in shop windows. I love to play with the different shapes you can create, superimposing the outside reflection onto the items in the shop window.

Of course, don’t include yourself in the image – unless you want to! I sometimes do for added interest, but generally, I keep out of my photos.

The photo below has a very intriguing reflection. What is it? Where is it? I know, of course, but I sometimes like to create mystery. To remove reality from reality and play with shapes, textures, color, and reflections.

When I am wandering around, I look everywhere. I look up, look around – and then my favorite – I look down.

I think we get so used to our environments we often don’t look all around us – particularly upwards or downwards. Think of a street you walk down every day. Do you look at the tops of the buildings, the roofs, the upper floors? It’s the same with the world at our feet. There is so much going on down there that we don’t notice.

Colorful, strong light reflecting off the wet pavement.

5. Reflections create texture

In the photo below, whilst walking past a canal, I noticed some strong yellow light that, with the texture of the water, created a sensual reflection and a lovely pattern.

When you see a reflection it’s not always obvious where it is coming from, look for the source, seek the light!

6. Reflections to enhance your photo

I often like to use reflections in quite subtle ways in my photography. It doesn’t have to be a big obvious reflection to be engaging.

One question I always ask my students on my workshops is, what is the light doing here in this situation?

We are all able to see the apparent sources of light, but what about the more subtle ways that the sunlight is bouncing off the glass and into the puddle on the floor?

In the photo above you have reflections in the water which are quite subtle but add a nice complexity and depth to the image.

In the image below the scene is made intriguing by the reflected light of sunrise in the windows of the buildings. Without it, the scene would be flat and boring.

The glint of golden light on a dark morning brings beautiful color as well as a hint of magic and mystery. The scene has turned into something quite compelling.

Tip: Always be looking to see what the light is doing, and how it’s affecting everything around you.

7. Reflections are beautiful, passing moments

I feel that reflections are little pretty moments, bringing an appreciation of the present moment of lovely light:

“Photography is a way of feeling, of touching, of loving. What you have caught on film is captured forever… It remembers little things, long after you have forgotten everything.” – Aaron Siskind

In the photo above of some birds in Istanbul on a foggy day, the reflections are subtle but create some depth to the photo. I think the movement of the birds is brought to life by the reflections.

8. Reflections create an alternative reality

Wherever I have beautiful light and reflective surfaces I am looking for reflections. In the photo above I like that the water is moving just enough to make what would be quite a bland photo a little surreal.

Tip: As you often have a lot of different and contrasting light sources in a reflection, expose for the brightest part of your photo.

9. Reflections of light create exuberance

Here is a simple photo with the sunrise reflected in the sea. Warm, beautiful sunshine is a wonderful thing to photograph. Sometimes it’s the simplest elements in your image that create the most impact.

In the photo below it’s also the sea, but this time the reflection of the moonlight:

What a gorgeous scene, right? And to show the wash of reflected moonlight makes the image stunning.

10. The sheer joy of light reflected on water

Water is involved in so many of my reflection photos. Here we have gorgeous light reflecting off the moody sea with the clouds reflecting the light around them.

I find clouds endlessly fascinating to photograph – they create wonderful texture within an image.

Last, but not least, I love having fun taking my own portrait using reflections. I mean, why not?

I hope this lesson has helped you with new ideas and ways to capture the complexity and beauty of reflections in photography.

What I love about photography is how much it helps us see the world in new, fresh ways. So keep going on your photography journey. There is always more to capture, more to see and more to learn. It’s a wonderfully enriching life pursuit.

“Through this photographic eye you will be able to look out on a new light-world, a world for the most part uncharted and unexplored, a world that lies waiting to be discovered and revealed.” – Edward Weston

I’d love to know what you thought of these ideas – let me know in the comments below.

The post 10 Ways to Use the Beauty and Complexity of Reflections in Photography appeared first on Digital Photography School. It was authored by Anthony Epes.

Digital Photography School

March 27, 2019
A Baker’s Dozen: 13 Key Ideas

Thirteen years ago this month, Strobist.com launched with a cutting edge design (heh) and a novel mission (at the time) to be a free source of education for small flash lighting techniques.

Today, a triskaideka-appropriate post: thirteen of the most important principles I have learned related to lighting.
Read more »

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Strobist’s X-Peditions Workshops will be announcing new openings soon. Click here to learn more or sign up for advance notification.

Strobist

March 27, 2019
What You Need to Know About Using Manual Mode on Your External Flash

The post What You Need to Know About Using Manual Mode on Your External Flash appeared first on Digital Photography School. It was authored by Jackie Lamas.

When you’re getting started in flash photography, it can seem like your flash has a mind of its own. You’ll be surprised to know that in a way it does. However, switching to manual mode can give you the control you really want.

Using flash in manual mode lets you set the amount of light that you want to fire from your flash to light your subject.

What is manual mode?

External flashes are default set to the ETTL setting. This setting lets the flash meter the light and then give what it thinks is the correct output of light. ETTL is rather inconvenient since each photo you take will have a different output because the flash is constantly metering before each frame, causing a lot of inconsistency from photo to photo.

Refer to your manual to find out how to change your flash from ETTL to Manual. On Canon, you push the MODE button until you cycle through to M which is manual.

Manual mode is where you take control of the power output of the flash and therefore get more consistently lit photos. For example, if you are in one spot photographing a portrait and don’t need to adjust for ambient light changes constantly, then you can set your flash at 1/4 power and leave it there until you move or want something different.

When competing with the sun, full power or half power is your best bet.

In manual mode, you override the flash’s metering and have full control. It also allows you to control taking photos at shutter speeds of more than 1/200th of a second, which is the fastest shutter speed in ETTL.

On this particular flash, hitting the button with the “H” on it will allow you to use a shutter speed faster than 1/200 of a second. Refer to your flash manual to find this option.

You can use manual mode in both outdoor and indoor settings. Practicing using your flash in manual gets easier over time, and eventually, you’ll be able to select the correct output for the ambient light or the effect that you want to achieve.

Manual mode is also really helpful when you ‘slave’ more than one flash. Slaving is when you sync more than one flash so that they go off at the same time. In manual mode, each flash can be set to a different power output so you can choose which is your key light and which is your fill – giving your photos more depth and contrast.

For these photos, two flashes were used to light the couple and keep the ambient in the background.

Metering output for flash in manual mode

Your camera meters ambient light, however, it does not do the same for flash output. Don’t worry though, with practice and a bit of trial and error, you will get to know your flash and when to use full power or half power, for example.

Now you’re probably wondering what full power even means. An external flash has power output levels which are read in fractions. Full power output means that the flash is giving everything it has got and this is transcribed as 1/1. From there it can go to 1/64 of its power output.

There is no right way to begin practicing, however, it’s best to meter for the ambient light that you want to achieve in-camera. For example, if you’re photographing a family during sunset, meter for the sunset. Once you have that settled, put your flash in manual mode and begin with a power output of 1/4 power.

No flash was used for this portrait.

Same family, location, ambient light and used flash at 1/8 power.

From there, adjust the power of the flash until you get the desired result. This way, you’re guaranteed to have the ambient light metered correctly and use the flash to fill in the light where you want it – in this case, on the family.

You can use your flash on your camera or off-camera in manual mode. Using it off-camera will give you a more angled direction of light and may inspire some creative lighting. On camera, be careful of the power output and angle you have your flash. Outdoors, you’ll probably want to point the flash at your subjects. Indoors, however, you might want to bounce the light off of a ceiling or adjacent wall.

If you’re using a modifier like a flash diffuser, be aware that the light output will be different than using the flash without a diffuser. The power needed to light your subject also depends on the distance at which the flash is from your subject. When your flash is closer to your subject, it requires less power because the light is closer.

If you are at a distance, then you’ll need to up the power on the flash in order for it to reach your subject at all. This can be especially tricky outdoors so make sure you are checking your photos after taking some test shots.

When to use your flash in manual mode

You should strive at getting comfortable using your flash in manual mode every time you need to use flash. This can really help you to get consistent photos when you’re not moving around or when the ambient light isn’t changing.

The left photo is with flash and the right is without flash. Note the blue of the ocean and the sky with the flash versus without flash.

The best times to use flash are when you want to pop some light onto your subject when you’re competing with the sun outdoors, or when you want to control and create light in a studio, to fill in shadows, during sunset or low light, and for indoor settings.

For example, when you are photographing family portrait sessions outdoors with the sunset, you may need to use the flash to fill in light so that you can get the beautiful sunset and not have your subjects in the dark.

Left without flash and right with flash.

Another example is when you are in an indoor setting, like a bride getting ready and you can bounce your flash off the ceiling to add some light into the room.

Using your flash in a studio setting can be a little more tricky since flashes don’t come with modeling lights. If you’re photographing in a dark room, using a flashlight to focus your camera first can be a big help. Some flashes have a fluttering effect to help with focusing, check your manual to turn this function on.

One flash used for both photos. The left has the flash in front of the couple and the second has the flash behind the couple.

Using more than one flash at different power output levels can also create stunning photos with lots of depth, much like real studio strobe flashes but with more portability and less expensive.

To do this, you’ll need transmitters or some flashes also come with built-in sync transmitters. This means that when one flash sees another go off, it also goes off.

Other important factors when shooting with flash in manual mode

A few things to keep in mind when you’re photographing subjects with flash in manual mode include the batteries, shutter speed, ambient light metering, and high-speed sync.

Using flash to fill the couple in and capture the sunset.

When you’re photographing at 1/4 power or more, you’ll go through batteries much quicker. A battery pack especially made for flash and professional cameras can come in handy especially if you’re going to be using flash for a long period of time. It can also make recycling the flash much faster.

What is flash recycling? It’s the amount of time that it takes the flash to recycle and be ready to flash again. The more power you set the flash at, the more time it takes to recycle. For example, a flash at 1/2 power takes longer to get ready to fire again than a flash powered at 1/16.

Using flash at an angle to light your subject creatively.

The flash also takes much longer to recycle when the batteries begin to drain and lose charge. Have at least three or more sets of batteries at the ready in case this begins to happen.

When you’re using a flash in ETTL, the fastest shutter speed that you can use is 1/200th, on some, it can go up to 1/250th of a second. This isn’t too fast if you’re photographing in outdoor light or competing with the sun. Many flashes have the ability for high sync speeds when you’re using the flash in manual mode.

Using flash indoors bounced off the ceiling at about 1/16 power.

The distance of the flash to your subject can also affect where to set the power on your flash in manual mode. The further away your flash is from your subject, the more power you’ll need in order for the light to reach your subject. The closer you are, the less power you’ll need. Of course, this depends on where you are photographing your subject and if ambient light is a factor.

Practice makes perfect

Using flash can seem really intimidating. However, controlling your flash by using it in manual mode can be just the right move for you to get comfortable using a flash. Practice makes perfect and the more you practice with your flash, the more you’ll understand how to power it in certain lighting situations.

Flash used at 1/16 power to fill in light and get catchlights in eyes.

Unfortunately, cameras don’t record flash settings in the metadata of your images. It only records if the flash fired or not. This isn’t helpful when you’re trying to practice flash in manual mode.

Carry around a small notebook and record your settings in your camera for each image that you take. This way, you can remember what your flash settings were in that particular set up and light for future reference.

Using flash at a 45-degree angle toward the subject off camera helps fill in the light.

As time goes on, you’ll be more comfortable setting, testing, and using your flash in manual mode.

In conclusion

Using flash at 1/2 power indoors off-camera, on a flash pole high and pointed directly at the subject. This imitates the light of the sun for these indoor photos.

If you feel like using your flash sometimes gives your images an inconsistent look, try using your flash in manual mode. Manual mode lets you be in full control of how much light you want the flash to fire giving you more consistent exposures and taking out the guesswork of the flash itself.

Try it out and let us know if these tips helped you out!

The post What You Need to Know About Using Manual Mode on Your External Flash appeared first on Digital Photography School. It was authored by Jackie Lamas.

Digital Photography School

March 27, 2019
Using Color Temperature in Black and White Conversions

The post Using Color Temperature in Black and White Conversions appeared first on Digital Photography School. It was authored by Adam Welch.

Digital photography has opened up enormous possibilities for black and white photography. The ability to first shoot in color and then convert the image to black and white offers photographers a way to express themselves in ways that reach beyond the influence of color. Well, for the most part.

You see, advanced black and white conversions take advantage of the different luminance values present in our RAW files so that we can individually manipulate those values after we have converted the color image to black and white. Usually, this is done via the HSL (BW) Panel in Lightroom or other processing software.

But there is one ingredient of the black and white pie that gets constantly overlooked during the average photographers (let’s pretend) black and white conversion process; color temperature. I know, the operative word here is COLOR and black and white photos…you know…don’t really have a lot of color.

In this article, we’re going to take a cruise aimed at getting a little closer to understanding how much of a role color temperature plays in our digital black and white conversions. We’ll look at how we can leverage this constantly neglected aspect of digital black and white photography so that we have many more opportunities to make even more impressive monochromatic images.

I also intend to make at least one black and white related pun before the end.

Let’s get started!

A quick refresher on color temperature

When we talk about color temperature, we are referring to the hue-based Kelvin scale (there’s a temperature-based one too) which measures the hue of color and thus relates to white balance; which is the theoretical absence of color cast within an image. More blue or “cool” colors have a higher Kelvin number, and more red or “warmer” colors have a lower Kelvin number.

“Adam…but wait! Most image processing software shows lower Kelvin color temperatures as blue and warmer colors as red!”

Yes, you are precisely correct. You paid excellent attention in science class!

In short, the color temperature sliders in most photo editors are in fact reversed from the true Kelvin scale. From what I’ve gathered, this inversion is due to the approach that white balance adjustments in digital photography are based on “compensation” rather than direct cooling or warming of colors. This means that if a photo is “cool” out of the camera, we will tell the software to “warm it up” by increasing the Kelvin value to bring the white balance closer to the original scene. Thereby, making the photo perceptibly warmer.

Yeah, it’s confusing.

Luckily, we don’t have to worry about any of that.

For our purposes, we are just concerned with how the cool or warm the colors are within the image regardless of actual numeric Kelvin temperature.

Thank goodness for that.

How color temperature affects black and white photos

The remainder of this article assumes that you are shooting in RAW format or at the very least in color JPEG.

We need the color information from the image file to exploit the impact of color temperature on luminance values after the black and white conversion. This means it is imperative that you do not shoot in a dedicated monochromatic mode.

Got it? Good.

Now that we’ve got that out of the way it’s time to experiment.

Let’s first convert an image to black and white in Lightroom Classic CC and see what happens when we begin to adjust the color temperature. I just happen to have a photo ready to go right here. It is a RAW file with a relatively well-balanced color temperature that I converted to black and white.

Color temperature slider set to 5050K in Lightroom

First, let’s slide the color temperature slider entirely to the left and “cool” the image.

Color temperature slider at 2000K in Lightroom

Next, we’ll move the color temperature slider all the way to the right to “warm” the image.

Color temperature slider set to 50000K in Lightroom

From this, we can see that there are some readily apparent changes in contrast based solely on the adjustments in color temperature.

So, what exactly is happening here?

Let me show you.

Have a look at the original histogram with conventional white balance:

HIstogram with normal white balance

Now with a much cooler color temperature…

Histogram at 2000K

And lastly, with warmer color temperature.

Histogram at 50000K

When we cool down the image we are causing the colors to become more blue, purple and magenta in hue; hence the shift in the histogram and resulting contrast change. The same is true for the warmer color temperature where the photo becomes more red, orange and yellow.

What we are doing is setting a bias towards certain colors which in turn augments their luminosity when converted to black and white. The benefit here is that these drastic changes in color temperature allow us to make some impressive adjustments to the luminance values beyond what might usually be possible once you have converted it to black and white.

Practical applications

Advanced digital black and white conversions rely heavily on specific adjustments in luminance values based on color information contained within the image file. If we increase the amount of a particular color within an image, we then have more latitude in manipulating the brightness values of that color in relation to the other colors within the photo.

Here are three separate versions of the Golden Gate Bridge photo from earlier. The first photo was processed using the HSL/BW Panel to brighten the bridge and darken the sky.

Next, I went to work on the 2000K version from earlier. Seeing as the blue tones had skyrocketed, I was able to achieve some interesting results.

Last but not least is the warm-toned version which clocked in at 50000K. Which if you recall, would make the photo cooler instead of warmer if we were operating in the world. However, we’re not. This is photography.

These extreme swings in color temperature are useful almost exclusively in the domain of black and white digital photography. Outside of that, the only result will be gruesomely unappealing white balance.

I mean really unappealing (caption)

Just look at it…terrible.

Ok, I’ll admit that maybe I low-key like that last one.

Final thoughts on color temperature and black and white photos

We can get caught up with the idea that there are certain “rules” which must always be adhered to when we process our photos.

Nothing could be further from the truth.

While it’s true that color temperature plays an important role in rendering colors within your image accurately, we must remember that we are still allowed to paint outside the lines whenever we choose. Perhaps the benefit of this free-thinking mentality is no more apparent than when it comes to working with our black and white photos.

Making drastic changes to the white balance of your black and white images is not only allowed, but it can make for some exciting outcomes and boost your creative thinking.

Even though your mind may not immediately jump to color when you think of black and white photography, the fact remains that even though we may not see color within a photo, the inherent color information remains (as long as you shoot RAW) and that information is still wholly adjustable, including white balance. The role color temperature plays in processing your photographs is never black and white. See, I told you I would work that pun in there somewhere.

Experimenting with some interesting black and white conversions using color temperature? As always, we’d love to see what you’ve been up to, so feel free to post your photos in the comments below!

The post Using Color Temperature in Black and White Conversions appeared first on Digital Photography School. It was authored by Adam Welch.

Digital Photography School

March 26, 2019
Portrait Photographers: Do You Really Need a 70-200mm Lens?
The post Portrait Photographers: Do You Really Need a 70-200mm Lens? appeared first on Digital Photography School. It was authored by Simon Ringsmuth.

For many portrait photographers, the 70-200mm f/2.8 lens is considered the key to great results. This lens seems like it covers all the bases that any portrait photographer would want: wide aperture, a range of good focal lengths, and excellent build quality. It’s the cornerstone of many portrait photography workflows – and with good reason too – but it also comes with a hefty price tag (nikon, canon, sony). The question, then, for many amateur and semi-professional portrait photographers becomes: do you really need a lens like this to get good portraits? The answer might surprise you.

Nikon D7100, 50mm f/1.8 lens. Shot at f/2.4, 1/3000th second.

Whenever you are thinking about buying new gear, it’s wise to perform a needs assessment. This can help you figure out exactly what you can do with your current camera equipment, what you want to do, and whether a new purchase is required to bridge that gap. You can do this using a variety of methods, but a good way to start is to ask yourself some simple questions such as:
- What camera lenses do I currently have?
- What kind of portraits do I want to take?
- Do I know how to use my lenses to get those portraits?
- If not, can I learn to use my lenses differently instead of buying new gear?
- In what ways are my current lenses limiting my portraits?
- What lens would be best for the portraits I would like to be able to take?
Nikon D7100, 35mm f/1.8 lens. Shot at f/3.3, 1/90th second.

Perhaps your current lenses are lacking in specific areas such as the ability to shoot in lower light, overall sharpness, or autofocus speed. In that case, it might be a good idea to look at upgrading your gear. However, it is also entirely possible that the lenses you have are just fine for portraits and you don’t need new lenses at all.

If you do decide to drop some cash on a new lens, you might think that a 70-200mm f/2.8 lens is the be-all, end-all, ultimate goal to start saving for. Also, in many respects, you wouldn’t necessarily be wrong. However, you can get outstanding results with other lenses too and save a massive amount of money in the process. Here are some other lenses worth considering that produce excellent portraits for a lot less money.

Note: While I mostly mention Nikon and Canon lenses throughout this article, you can also get the same types of lenses for other systems like Sony, Olympus, Fuji, Panasonic, Pentax, and more.

The Power of the 50mm Prime

One of the most amazing lenses you can get for portraits is a humble 50mm f/1.8. The Nikon version is around $ 200 and the Canon retails for about $ 125, and there are plenty of third-party options available as well.

These little workhorses, sometimes called the Nifty Fifty or Fantastic Plastic due to the nature of their construction, can produce absolutely breathtaking results. In some ways, they are actually better than a two-thousand-dollar 70-200mm f/2.8 pro-grade lens. A 50mm f/1.8 lens has more light-gathering ability which means lower ISO values or faster shutter speeds in low light, as well as shallow depth of field.

Autofocus speed on these lenses isn’t going to win any awards, nor are they designed to take a beating or function in the rain and snow. However, they shoot great images in low light, and their wide apertures let you get the type of creamy bokeh you might have always wondered about but never been able to achieve with your kit lens.

Nikon D200, 50mm f/1.8 lens. Shot at f/1.8, 1/250th second.

If you’re the type of person who delights in pixel-peeping or poring over MTF charts, you might turn up your nose at an inexpensive 50mm f/1.8 lens. That’s not the point of a lens like this though, and what they lack in technical specs they more than make up for with sheer results. Also, at less than one-tenth the cost of a 70-200mm f/2.8 lens, their price-to-performance ratio is almost impossible to beat.

Nikon D7100, 50mm f/1.8 lens. Shot at f/4, 1/350 second.

The Mighty 85

One downside to shooting with a 50mm lens is that you won’t get much background compression. Your subjects won’t appear any closer to the background elements in the shot. While you can use an f/1.8 aperture to make the background blurry, it won’t zoom in much which is one advantage of a lens with a longer focal length. If that’s what you’re looking for, then an 85mm lens might fit the bill quite nicely.

Nikon D7100, 85mm f/1.8 lens. Shot at f/2.8, 1/350th second.

An 85mm f/1.8 lens is going to cost about two to three times what you would pay for a 50mm f/1.8 – around the $ 400 mark for both the Nikon and Canon.

In exchange, you’re going to get a hefty piece of equipment that is a little sharper, a little faster to focus, and will give you a bit more flexibility in terms of your portraiture. Its longer focal length will make it seem like backgrounds are just a bit closer to your subject.

In addition to their ability to get super blurry backgrounds when shooting at wide apertures, this could be the answer you are seeking.

Nikon D7100, 85mm f/1.8 lens. Shot at f/2.8, 1/750th second.

The 85mm focal length is ideal for many portraiture situations. I know professional photographers who choose to shoot with an 85mm lens instead of a 70-200 f/2.8 lens. 85mm lenses are smaller, lighter, and often just as capable as their big brothers.

Moreover, when you shoot at f/1.8, you can blur the background even more than a more expensive f/2.8 lens when shooting at similar focal lengths. While it’s true that the f/1.8 versions aren’t going to be as tack-sharp as their f/1.4 or f/1.2 counterparts, it’s hard to beat the value you get for your money.

Go wide with a 35

While many people tend to think of longer focal lengths as being best suited for portraits, you can get good results with a wider lens too. The 35mm focal length is close to what our human eyes see and can help you capture in-the-moment shots that are highly sought after by many people who want portraits. You can get up close and personal with a 35mm lens, shoot in low light conditions, and even achieve the buttery-smooth bokeh that you have always been craving.

Nikon D7100, 35mm f/1.8 lens. Shot at f/1.8, 1/1000th second.

Best of all, 35mm lenses are so cheap that you’re never going to break the bank with the Nikon coming in at around $ 200. Canon doesn’t offer a first-party 35mm lens but the excellent 40mm f/2.8 pancake lens is almost the same and even less expensive at about $ 175. My favorite part about a 35mm lens is that you can use it to get intimate images the likes of what a 70-200 f/2.8 could only dream of.

Nikon D750, 35mm f/1.8 lens. Shot at f/4, 1/90th second.

For years I shot almost exclusively with a 35mm lens on my full-frame camera. It was a constant companion of mine on everything from formal portraits to casual everyday shots. In fact, one of the biggest reasons I now use a Fuji X100F for almost all of my photos is because it’s basically the same as using a 35mm lens on a full-frame camera but in a much smaller package.

I wouldn’t go so far as to do entire portrait sessions with only a 35mm lens, but if you’re considering a way to upgrade your kit you might be surprised at how much mileage you can get out of this lens. I would even go so far as to say that you’d be wise to have it even if you do opt for a 70-200mm f/2.8, simply because it’s nice to have the flexibility of shooting at a wider angle when you really need it.

Nikon D7100, 35mm f/1.8 lens. Shot at f/4, 1/45th second with an external flash.

The main takeaway here, before I get to an examination of the 70-200mm f/2.8, is that you can do a lot with other lenses. Whether it’s one of these less-expensive primes or a more professional-grade lens like the Canon 85mm f/1.2 or the Nikon 105mm f/1.4 or any number of other lenses especially from third parties like Sigma and Tamron, the point is you don’t always need the heft and focal range of a 70-200mm f/2.8.

But sometimes you do.

70-200mm f/2.8: The Jack-of-all-trades

It’s impossible for me to say whether any individual photographer needs one of these lenses, but I can say that they are extremely useful in a variety of situations. They are professional-grade lenses designed to meet the demands of a variety of situations, especially for portrait photographers. If you really can’t get your work done with the gear you have, and if one of the other lenses I’ve already discussed isn’t going to meet your needs, then a 70-200mm f/2.8 might fit the bill quite nicely.

Nikon D750, 70-200 f/2.8 lens. Shot at 200mm, f/3.3, 1/250th second.

There are many times in which these lenses can outperform a lot of other options.

If you find yourself in situations like this, then a 70-200mm f/2.8 could be just what you’re after.

They are great for things like:
- Fast-moving subjects who just won’t sit still. In other words…when you are photographing portraits of kids outdoors.
- Full-body portraits where you want a nice blurry background
- Subjects that are far away and you need to zoom in to see them
- Group photos where you want to see the whole family but still have a nice blurry background
- People moving towards the camera, either by themselves or as a group. You can stay in one place and adjust your focal length to zoom out while they get closer.
- Action-style portraits of adults or kids while they are playing sports
- Photographers who need a lot of versatility in their lenses, without wanting to change lenses or carry multiple camera bodies.
Nikon D750, 70-200 f/2.8 lens. Shot at 140mm, f/4, 1/250th second.

A 70-200mm f/2.8 lens isn’t always a necessity, but it can make a big difference if your needs aren’t met by other gear. They’re heavy and expensive, but the results can be worth it as long as you know why you want one and what you plan on using it for. You should also note that you might not need the sheer light-gathering capability of an f/2.8 aperture. In many cases, you would be well-served with a 70-200 f/4 lens which is going to cost significantly less and still produce good results.

Nikon D750, 70-200 f/2.8 lens. Shot at 200mm, f/4, 1/180th second.

Third-party options are a good choice too. You will often find 70-200mm f/2.8 lenses from Sigma, Tamron, and others available for about 50-75% of what you would pay for a first-party lens. These might not have the snappiest autofocus or same level of build quality, but for most portrait photographers they would work just fine.

Conclusion

Hopefully, this information, along with some of these pictures, helps you get a better sense of what different lenses can do. Of course, a 70-200mm f/2.8 lens is great, but if you examine your situation and think about your needs and goals, you might find that a different lens would suffice quite nicely. The point is to find something that works for you, no matter what it is and no matter what other people might use. As long as your gear helps you get the photos you want to take, then that’s all that matters.

The post Portrait Photographers: Do You Really Need a 70-200mm Lens? appeared first on Digital Photography School. It was authored by Simon Ringsmuth.

Digital Photography School
March 26, 2019
DIY Photography Backlighting for Beginners

The post DIY Photography Backlighting for Beginners appeared first on Digital Photography School. It was authored by Ana Mireles.

Have you ever noticed how the subject stands out in professional portraits? How about the beautiful contours of bottles and glass objects in advertising photography? Do you wonder how they do it? You can achieve these and many more effects with backlighting.

Keep reading to learn what it is and how to DIY your way into it.

Backlighting means that there is a source of light coming from behind your subject and pointing directly (or almost) at your camera. This can be used as the only light source or as a supplement, and it can create depth in the image.

For example, in the above photo, I used backlighting to highlight the feathers and clearly separate the subject from the background. This is often used in portrait photography to highlight the hair of the model.

1. Wider light sources

The sun can be an excellent source for backlighting even if you are indoors. Just by placing your subject in front of the window, you are already using this technique. Although, more often than not, it will need some form of manipulation. For example, if the view from the window is not the best backdrop for your subject or the sun is coming in too bright, you can add a diffuser.

A cheap and easy solution is to tape some oven paper, tracing paper or a thin white fabric to the window to soften the light.

The photo on the left doesn’t use a diffuser. The sun was so incredibly bright that I couldn’t blur the background with a shallow depth of field. The shadows were also very dark and distracting.

In the image on the right, I had a white, even background to showcase the subject, which also worked as a diffuser to soften the shadows.

This kind of lighting works well for transparent objects. However, you can always complement with another light, or you can put a reflective surface in front to bounce the light if your subject (or part of it) is opaque.

To show you how it looks, I used the same setting for this bottle but placed a hand mirror in front of it next to the camera.

Most locations are bound to have windows unless you find yourself inside a dark room or something with a specific use where daylight is not wanted. However, if you find yourself in one of these places, you can always use the screen of your computer or tablet. You can look for a nice booked photo, or just open a blank document to create a white background.

2. Narrow light sources

Narrow light sources such as small spotlights create a very bright center diffusing towards the edges, and it’s usually a hard light, so it creates strong shadows. To create this effect, you can use a lightbulb, a candle, a torch or even the LED light from your smartphone. Add a creative element into it, by putting some color in it, like this example:

To create the silhouette of this little coyote, I placed the figurine in front of the background, which in this case was a red semi-transparent folder.

Remember we are getting creative here. If you don’t have a folder like this, you can use other things as long as they are thin enough or transparent enough to let the light pass through.

After this, as backlighting technique dictates, I placed a smartphone which was my light source directly behind the red background pointing directly at the figurine and the camera. Also, I used clothes pins to hold everything in place and for standing them up.

Keep in mind that the closer you put the light, the smaller the light spot will be. So move the phone (torch or whatever you’re using) back and forward to achieve different results.

These DIY hacks don’t substitute professional lighting equipment. However, they certainly allow you to get some creative images, practice your photographic skills and keep your budget intact. And, the most important thing is to keep practicing.

Have fun and let us know any other tricks you come up with in the comments.

The post DIY Photography Backlighting for Beginners appeared first on Digital Photography School. It was authored by Ana Mireles.

Digital Photography School

March 26, 2019
The Importance of Shadows in Portrait Photography

The post The Importance of Shadows in Portrait Photography appeared first on Digital Photography School. It was authored by John McIntire.

When you’re starting out with learning how to light your photography, it’s easy to fall into a pattern of blasting your subjects with light from all angles. The results are often bright images without a hint of a shadow anywhere. Sometimes that’s exactly what the job calls for: bright, cleanly lit images with very little contrast. However, obliterating the shadows in your images can have a negative impact.

The difference between heavily lit images and those with the shadows maintained can be astounding.

Deliberate and effective use of shadows in your images can help to create a natural contrast and depth, convey drama and emotion, and provide you with powerful compositional elements in your photography.

This article will discuss these reasons why it’s not only important to retain the shadows in your imagery, but to keep them in primary consideration while you are still planning your images. There is also an outline of a simple exercise you can do to help you to start better seeing shadows, and how they affect your images, that you can use to improve your understanding of light.

Not just low-key

Obviously, low-key images rely heavily on shadows, but shadows are important in all styles of photography.

It is important to clarify one thing here. This concept doesn’t just apply to low-key images where the vast majority of the space in the frame is dominated by shadow tones. In fact, shadows are just as important to brightly lit images as they help to define the shape and features of your subject.

Why shadows are important

Retaining the shadows in your images can do a lot of things for you, especially in terms of image design. Listed below are a few of these for you to consider.

Depth and contrast

Retaining shadows in your images can help give you a natural contrast and add depth to your images.

Contrast, in terms of this article, is the tonal difference between dark and light. This contrast is how we see things in three dimensions and it’s exactly how you can create the appearance of three dimensions in your two-dimensional imagery. The thing is, it’s hard to do this without shadows. (It’s also difficult to do it without specular highlights, but that’s a different discussion for a different day.)

For example, to illustrate the three-dimensional nature of a nose, you need a highlight that graduates into mid-tones. The highlight indicates the closest point of the nose to the light. Assuming the light is above your subject, shadows will fall underneath the nose. This provides a visual indicator that the nose is protruding from the face. Without the shadows, there will be little, if any, differentiation between the nose and the rest of the subject’s face. This results in a flat, unsettling image. Even if your viewers cannot figure out what they’re looking at, they will still be aware that something seems wrong.

Ensuring that you have shadows in your images will help to have pleasing, natural-looking images in any type of lighting.

Add drama and evoke mood

Shadows are a fantastic tool when you are trying to create images that evoke mood and emotion.

Generous use of shadow tones in your images is one of the quickest and most effective ways to evoke a sense of mood and helps you to create images with bags of drama.

You can do this in a number of ways including:

Backlighting and short lighting

Short lighting is a great tool to help you place shadows where they have the most impact.

Lighting your subject from behind will render most of the foreground of your frame as shadow tones, with only certain aspects of your subjects rendered with highlights.

To control the strength of your shadows, you can change the size and shape of your light source, change the distance between the light source and your subject, or fill the shadows with a secondary light source.

Lighting choice

Making a deliberate lighting choice (like the 2’x2′ softbox used here) to emphasize your shadows is one of the easiest ways to take control of the shadows in your imagery.

If you use a small(ish) light source in close to your subject, you can make use of the faster rate of light fall off to help introduce shadows into your images.

For an even better grasp of this, pick a few movies or television shows (especially dramas) and study the lighting choices during dramatic scenes with a lot of dialogue. In a lot of cases, you will find that there was a conscious choice to light the actors in a way that highlights specific features while throwing most of the rest of the actor in shadow.

Compositional elements

Shadows are a great way to help compose your images and can help you to draw attention to your focal point.

Shadows can be used to wonderful effect in crafting compositional devices within your images. Using darker tones to frame your subject, or to lead your viewer’s eye to what you want them to see can help to make more dynamic and interesting images.

Fill

Shadows don’t have to be dark. Even filled in with additional lights, you can still use shadows for contrast and depth.

When you’re talking about shadows, that doesn’t mean you have to stick to ultra dark tones with little or no visible detail. By using fill lights, you can still light every single part of your image while retaining shadow tone. If you expose your fill light two or three stops below your key light, you will still have the appearance of contrast in your images, but you will retain all the finer details that would be missing if you hadn’t used fill.

An exercise in shadows

To get the grips with this concept, try this simple exercise with a lot of different subjects.

First, choose a subject. Any subject will do, but you might want to start with something static.

Take a good, critical look at what you’ve picked to photograph and start thinking about the lighting. However, instead of thinking about the highlights, try to focus only on where you want to place your shadows.

With that decided, pick a light source (a desk lamp will do) and light your subject so that you have the desired effect.

If you want to take this further, once you have your shadows in place, you can further modify and manipulate your light so that the highlights behave in a way that compliments the shadows.

That’s it

While this is a simple concept, it can seem counterintuitive. When you’re approaching lighting, of course it makes sense to think about the highlights first; however, incorporating some extra thought about your shadows can help take your lighting skills to a new level. Try the exercise above with a few different subjects, and evaluate if and how you can make shadows work for you in your photography.

The post The Importance of Shadows in Portrait Photography appeared first on Digital Photography School. It was authored by John McIntire.

Digital Photography School

March 25, 2019