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How to Photograph Fireworks to Create Impressionistic Images

23 Dec

I love experimenting with different techniques and ideas. So when our editor here at dPS, Darlene, asked if someone was willing to try out a technique and experiment with fireworks. I jumped at the chance. I love being creative and pushing the limits of new ideas. Her idea for an article about creating artistic images of fireworks came from this article – Bloom or boom? Photographer captures the moment fireworks erupt into life – creating amazing images that look like flowers.

How to Photograph Fireworks to Create Impressionistic Images

Here’s a fairly typical image of fireworks.

Successful recreation

I loved the look of the images and this type of artistic experimentation is right up my alley. I try this type of stuff all the time. Sometimes it works. Other times it’s not such a success, but the point is to learn and grow as an artist and photographer.

These first set of shots were taken using the technique described by the photographer in the article. Yes, it is copying someone else’s technique, but there’s nothing wrong with that. Imitation can lead to ingenuity. I used a long exposure and then tried to time my movements of the focus ring with the explosion of the fireworks. Timing is everything with this technique, and it’s hard to master. It took me almost the entire fireworks display to get some images that copied his technique.

Note: you don’t need to crank the focus ring. A small movement out of focus will create the desired effect.

How to Photograph Fireworks to Create Impressionistic Images

I like the look of these fireworks. The explosions remind me of flower petals.

How to Photograph Fireworks to Create Impressionistic Images

These blurred images of the firework create a more artistic and impressionistic image.

It’s okay to fail!

I’m quite satisfied with the look of these images. I used a 70-200mm lens and set the exposure at 0.6 seconds, with an aperture of f/2.8 and ISO 250. It worked fairly well. The timing was by far the hardest part of this whole endeavor.

I had an awful lot of failed images. There were times when the shot was too far out of focus. The result was some really nice bokeh lights that I’ve since used as image overlays. Usually, black and white art shots and blended them in to create light and interest. Every shot can have a use, so don’t always delete your “failures”.

How to Photograph Fireworks to Create Impressionistic Images

In this case, I turned to focus ring too far and created some pretty bokeh.

How to Photograph Fireworks to Create Impressionistic Images

While the colors are pretty, this one is a fail too.

The images that were never planned

Other images didn’t turn out exactly as the other photographer’s work but I think the results are still successful. The images are pretty and have turned out to be successful images for birthday cards.

I still used the same technique he did, but I didn’t get the timing correct so these images don’t have the same look as the first ones. They are still appealing though and there is nothing wrong with these unexpected surprises.

How to Photograph Fireworks to Create Impressionistic Images

I accidentally moved the camera while turning the focus ring. It’s a mistake but I still like the effect.

How to Photograph Fireworks to Create Impressionistic Images

I love this shot. The lights remind me of popcorn for some reason.

How to Photograph Fireworks to Create Impressionistic Images

These lights remind me of rain or comets.

Using fireworks was tough. The timing was very difficult to master. I was only able to capture a handful of shots during the 30-minute firework display. This fact led to another experiment. This time sparklers were used. The night was fairly windy so I used my garage as a studio.

Pushing the experiment further

NOTE: Lesson learned – wait for a night when there is no wind to shoot with sparklers. The fumes from the sparklers filled the garage, and I had a headache after shooting. Of course, I should have thought of this before attempting, but when in the moment…

For the following shots, I used the same premise as I did shooting the fireworks. The one difference was my f-stop. This was my mistake. I set my camera to f/16. This was a huge mistake on my part. I couldn’t replicate the out of focus look for my photos. You need to use a wide open aperture for the experiment to be successful. As a result, the images I created are considerably different from the impressionistic flowers created at the fireworks. There are still a lot of interesting images in this collection, but it wasn’t the look I was hoping to capture.

How to Photograph Fireworks to Create Impressionistic Images

I used a longer lens for this shot but didn’t use the focus ring.

How to Photograph Fireworks to Create Impressionistic Images

I love how this seems to look like exploding rain.

Making mistakes

The settings for these shots used a range in aperture from f/16 to f/32. They are still pretty I think, and I will find a use for them for sure.

The next step in the experiment involved getting closer to the sparklers and capturing something different. I attached an extension tube to my lens and got very close to the sparkler. Perhaps a little too close, it is possible to damage your sensor by shooting something too bright. The aperture was small however so this may have saved my camera.

How to Photograph Fireworks to Create Impressionistic Images

This quick phone shot my son took shows the distance between the camera and sparkler with the extension tube in place.

Using an extension tube

Here are the results of the experiment. The images allow us to see how the base of the sparkler ignites. These are also interesting images and worth the time it took to create them.

How to Photograph Fireworks to Create Impressionistic Images

I used my 12mm extension tube on my 50mm prime lens for this shot.

How to Photograph Fireworks to Create Impressionistic Images

Here’s a shot where I captured the sparks as they fell from the sparkler.

Being creative in post-processing

It was also fun to play with color during the post-processing stage. An adjustment to the color temperature slider changed the sparkler lights from a warm yellow to an intense orange.

Again this is all experimentation. The process may not result in a finished image, but it’s all about playing with settings and trying to create different effects in your photography.

How to Photograph Fireworks to Create Impressionistic Images

I simply moved the slider to adjust the color of the light.

How to Photograph Fireworks to Create Impressionistic Images

I adjusted this shot using the split-tone sliders in Lightroom.

Trying one more time

Naturally, the experiment continued with a second try at the sparkler images. This time I set a much wider aperture. Here are the results using the same method as I used to create the firework images.

How to Photograph Fireworks to Create Impressionistic Images

I like the effect of the wide open aperture. Only a few of the sparks remained in focus.

While the sparklers did not recreate the blooming flower impressionistic type effect, I still like the look of these shots. The sparkler allowed me to focus more easily on the task at hand. While I still had to move quickly it wasn’t as rushed as shooting the fireworks. Both activities were enjoyable and challenging in their own way.

How to Photograph Fireworks to Create Impressionistic Images

The focus here is more exact.

How to Photograph Fireworks to Create Impressionistic Images

There are some unique lines created by the flares in this image.

Give it a shot!

It’s almost New Years and time for fireworks once again. Share with us some of your experiments and results. It doesn’t have to be fireworks. You could use lights or flashlights. Be creative! Show us what you’ve created!

My next experiment will involve spinning the sparkler while I shoot. What kind of effect will that create?

How to Photograph Fireworks to Create Impressionistic Images

Just one more shot.

If you want some tips on shooting fireworks with a more traditional approach try these articles: 

  • 15 Tips for Successful Fireworks Photography
  • How to Photograph Fireworks

The post How to Photograph Fireworks to Create Impressionistic Images by Erin Fitzgibbon appeared first on Digital Photography School.


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Weekly Photography Challenge – Holiday Images

23 Dec

Nothing hard this week for the photography challenge. Just show us your holiday-themed images. How do you celebrate with your family? Is it a big festive meal? Then photograph that. Do you deck the house out with sparkly lights? Photograph that!

Weekly Photography Challenge – Holiday Images

Time to practice shooting bokeh with your Christmas tree or holiday lights. Or maybe try some fireworks if your city sets them off for the holidays.

Editor’s note: A crazy but true story, I was in Matagalpa in Nicaragua on December 25th last year and that city set off the official fireworks in the local central park – but that wasn’t the only ones! All around our hotel we saw fireworks in every direction, right at midnight. And it went on for about 30 minutes! We were doing our Christmas tradition – watching Die Hard – and at first, we ignored it. But it went on for so long we had to go look. They really like fireworks in Nicaragua and call them “bombas” or little bombs. 

Or try these if you need more ideas: Five Fun Ideas for Making Festive Holiday Images

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. Sometimes it takes a while for an image to appear so be patient and try not to post the same image twice.

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.

The post Weekly Photography Challenge – Holiday Images by Darlene Hildebrandt appeared first on Digital Photography School.


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Improve Your Photography Today with all dPS Courses 62% Off for 48 Hours

22 Dec

We’re nearly at the end of our popular Christmas sale and we’re really excited to offer you today’s deal, because we love helping people discover how to take great photos.

We’re offering our entire range of online photography courses at a massive 62% OFF.

These courses are normally $ 99, but today you can get any of our five courses for just $ 37 (USD) each. That’s incredible value!

5 Practical Courses Designed to Improve Your Photography

These step-by-step courses created by some of our talented photography experts include:

  • Night Photography by Jim Hamel – released just this year so that you can take amazing photographs at night
  • Lightroom Mastery by Mike Newton – every photographer should have a copy of this to create perfect photos!
  • Lightroom Mastery: People & Portraits by Mike Newton – will help you transform dull headshots into stunning portraits
  • Photo Nuts and Bolts by Neil Creek – the ideal course for the beginner photographer
  • Photo Nuts and Shots by Neil Creek – creative photography advice from a pro so you can get off auto

Each course is packed with tutorials and demonstrations shot in high-quality video by professional photographers. They’re designed so you can binge and do it all fast or slowly digest it at your own pace.

You get lifetime access to these courses, so you don’t have to rush to finish them and you can go back and review topics anytime you like.

Check out all the discounted courses here.

These courses are the perfect way to set you up for a great year of photography in 2018.

Bonuses from our Partners

This year we’ve arranged some exclusive partner bonuses for anyone who makes a purchase during our Christmas promotion. Thanks to New York Institute of Photography, KelbyOne, Perfectly Clear and ON1 for partnering with us. Check your purchase receipt email for the access link to the bonuses!

Christmas Deals:
Bonus Offers

Bonus Offers

Brought to you by

ON1
Athentec Perfectly Clear
KelbyOne
New York Institute of Photography

The post Improve Your Photography Today with all dPS Courses 62% Off for 48 Hours by Darren Rowse appeared first on Digital Photography School.


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5 Lessons I Learned by Doing Still Life Photography

22 Dec

Still life is a particular style of photography that slowly lured me into its clutches. The gateway drug was, of course, food photography, and before I knew it, my weekends were spent combing secondhand shops for props and buying up linen in all different shades.

5 Lessons I Learned by Doing Still Life Photography

The popularity of Instagram has given rise to images of every different kind of food, drink, dessert, cake, and cocktail. You name it, someone is shooting it, adding a filter and posting online before they even taste it. Except for the one thing it really shows, is how hard it is to compose and take a good still life image, especially with a cell phone. There are a lot of really awful shots out there. Someone even made a hilarious video about the effort needed to get a good shot.

Of all of the techniques I have learned in my photography journey, none has taught me as much as doing still life work.

5 Lessons I Learned by Doing Still Life Photography

My first venture into still life – an Easter challenge that needed your hands in the image. This was before I had a wireless remote.

 #1 – Slow Down, Breathe and Take Your Time

You need three things for a good still life shot – light, good composition and a subject. Pretty much the same as for any photographic image really. But one of the best things about still life is you can take as much time as you like. Usually shot inside with some control over the conditions and with a static subject, this gives you the freedom to be really present and experiment.

As seen in the video link above, the composition is a key element. Do you shoot the subject isolated? Will props help you tell more of a story? Is there a particular mood you are going for? How can you achieve that?

5 Lessons I Learned by Doing Still Life Photography

I bought these gerberas and shot them every day for a week until they were past their best. Each flower had its own distinct shape and character that needed time to bring out its best

What angle is most effective? Close-up or include more environment? Will flat lay (overhead) or side on be best?

Because you have more control over the conditions you can allow a lot of time and shoot the same subject in many different ways in one shoot. You may come out with one great shot or several good ones. It will certainly teach you a lot about how difficult it is to get a good shot.

5 Lessons I Learned by Doing Still Life Photography

My studio is my spare bedroom, one window, and a fold away craft table. Of course, a cat getting in the way!

2 – Composition is Key

Being a nature and landscape photographer originally, I am used to shooting things on a big scale. Lots of pretty mountains, lakes or sea, cloud-filled skies, and so on. A handy foreground element like a rock or driftwood or tussock is included for scale and to ground the image.

So when I tried to shoot much smaller things up close it was a bit of a shock to find how difficult it was to compose those images well.

5 Lessons I Learned by Doing Still Life Photography

One black background, one silver spoon, and some raspberries.

It is interesting to learn how a subtle difference in angle can affect the outcome of the image. How close or far away your camera is can completely change the balance of the subject within the frame. How scale becomes really important and a tool to be leveraged for the most effective images.

I spent hours taking so many shots, discarding nearly all of them over and over again until I figured out my problem. Complexity. I made the rookie mistake of trying to include too many elements, which threw off the balance of the composition. It was crowded and messy and the subject was overpowered by all the extra stuff I was shoving in the frame.

5 Lessons I Learned by Doing Still Life Photography

A black background, a silver spoon, and some raspberries. Taken at a different angle, closer up, more intimate and inviting. Subtle differences.

This is where lesson one really started to make sense. By taking the time to slow down, breathe and see my subject, see the possibilities, feel the story it was trying to tell me, I shot a lot less, but my keeper rate vastly improved.

The trick was keeping it simple and strong.

3 –  See the Possibilities

This step naturally emerges after steps one and two. Once you take time to be in the moment with your subject, position it within the lighting you have, turn it this way and that, then it will show you its best side.

If you give yourself and your subject time to get to know each other, then its secrets will be revealed. It might be an onion, or it could even be a portrait, the same rule applies. If you take the time to get to know your subject, you begin to see different possibilities. Perhaps this background over here is less cluttered, maybe this plate enhances the natural color better, that rustic board gives a great farmhouse appeal.

5 Lessons I Learned by Doing Still Life Photography

Be the garlic clove! Feel the garlic clove! Hear its story.

I know, it sounds a bit zen and probably a bit corny, but it doesn’t make it any less true. Yes, you can take two seconds to position a shiny red apple and shoot it and have a perfectly acceptable image.

But what else might you end up with if you took 20 minutes, positioning the apple at different angles, on different surfaces? Maybe you cut it open or take a big bite out of it? Pose it with a glass of cider? Maybe you have a handful that looks great arranged in a decorative bowl?

5 Lessons I Learned by Doing Still Life Photography

The focus of this shot is the funny squiggle of butter on the bagel, but the story is Sunday Morning Brunch. Yes, it was delicious too!

Unless you give yourself time to relax and let the possibilities make themselves known to you, rather than focussing on one outcome, taking that shot and moving on, you will miss out on lots of opportunities. Plus you limit your chances to learn and grow as well.

I failed consistently when starting out with still life photography and it was really frustrating, but it made me work even harder. Once I did get it, the quality of my work improved faster than expected, which was a nice bonus.

4 –  Go Abstract

It is easier to shoot something whole and give it obvious context so that the viewer doesn’t have to think about what they are seeing.

But how much more intriguing would your work become if the viewer did have to take some time to think about what they were seeing? Where it teased at the edge of their consciousness that they should know what the object is but couldn’t quite figure it out? What if your image stuck with them and niggled away in the back of their mind? Where they actually remember it out of the many hundreds of images seen that day scrolling past on their phone?

5 Lessons I Learned by Doing Still Life Photography

A metal bench in the city but taken side on and obvious context removed with the focus on the lines and the circles instead.

Don’t be afraid to go abstract. To shoot something in a way that hides its original shape, form, or purpose. Be as obscure as you like so long as it’s interesting and arresting. Obscurity for the sake of it may put people off rather than engaging them.

5 Lessons I Learned by Doing Still Life Photography

A piece of glacier iceberg taken up close from a boat to capture the intense blue color and the texture of the bubbles froze within the ice.

Again taking the time to look at your subject, seeing its possibilities and angles, and being creative all apply here. This tip you can easily take out into the world. There are many small intricate elements adorning the world if you take time to see them, interesting shapes revealed when you hide the obvious context. The devil is in the details, have fun finding them.

5 Lessons I Learned by Doing Still Life Photography

A wonderful art deco stairwell.

5 – Props

Props are an essential part of still life photography. They set the scene, the color tone, the mood and the feel of the image you are creating. Learning to prop and style a shot well was the hardest thing for me about still life. It’s difficult to do well without enough options to work with.

This doesn’t mean you need hundreds of dishes and bowls and towels and fabric and cutlery (though it’s easy to end up with them). But a few carefully chosen options that give you flexibility are a good choice.

5 Lessons I Learned by Doing Still Life Photography

Most of my still life prop collection. Enough variety to be useful and flexible.

This is not the only style of photography that benefits from props: portraits, engagement, wedding, children, pets, and family photography all benefit from the use of props. Anytime you have people in your image, having something for them to interact with can help engage them better.

What about the color and style of clothing they are wearing? Hair color or style? Makeup? Shoes? How much fun can be had just with a brightly colored umbrella?

5 Lessons I Learned by Doing Still Life Photography

A model dressed as Red Riding Hood, wearing a bright red velvet hooded cloak and faux medieval outfit. Shot at an old estate using a broken wooden gate as a prop.

These are all elements that can enhance or cause distractions in your image. What is the story you are telling? What mood are you trying to evoke? Therefore what style or color clothing is going to work best? This is something to think about and discuss with any clients in advance.

Conclusion

Before I started shooting still life photography I used to be in too much of a hurry. I would settle for the obvious shot and leave frustrated because it was boring, predictable and not different enough. Now I take time to prepare properly and give myself plenty of time to shoot. Looking for creative options and being prepared to experiment is fun and exciting.

Now I shoot a lot less, but the quality of my work has improved and I know when I have achieved a keeper shot. My ability to compose and style an image has improved. Including other elements to tell a story has added depth and nuance to my images that was previously lacking.

5 Lessons I Learned by Doing Still Life Photography

The good thing is that these benefits apply to almost any form of photography, some more than others, obviously. Do you just want a quick snap or do you want to engage your viewer fully? What is the story you are trying to tell? What emotion do you want to share? How can you connect with the viewer and make your image stand out from the Instagram or Facebook crowd? What sets your work apart from the millions of images posted online every day?

It does actually matter how much work and thought you put into crafting your image. Like any new skill, it will take time to learn. I challenge you to give it a go for a few months and then compare your new work to your older stuff and see the difference.

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How to Backlight Translucent Objects for Dramatic Effect

22 Dec

Incorporating translucent elements into your compositions can add an interesting dynamic of luminosity to your photographs. Especially if you can backlight them.

How to Backlight Translucent Objects for Dramatic Effect

Water spray, smoke, steam, and things such as flags, flowers, and fabric when backlit can take on an almost surreal quality because of the way the light refracts as it passes through these types of semi-transparent elements. In this article, I want to share with you some ideas and examples of how to make the most of backlighting translucent objects.

Front light versus backlight

How to Backlight Translucent Objects for Dramatic Effect

If you light a translucent element from the front it will look pretty normal as the light will reflect naturally. Lighting translucency from behind means the light is refracted, (bent,) and scattered before your camera’s sensor records it.

As you can see from the two example photos of the mad scientist with the red liquid in the flask. Notice how the color of the liquid appears very different in the two photos. See how dark it is above, compared to the bright red color in the image below where it has backlighting.

How to Backlight Translucent Objects for Dramatic Effect

Any colored liquid in a glass, or even any colored glass containing no liquid, will take on a dramatically different quality when it’s backlit. The colors will appear lighter than if they are lit from the front.

Position yourself to create backlight

Water spray, steam and smoke all provide you with great opportunities to produce creative photos. Backlighting and photographing any of these elements will return very different results than if you position yourself so the light is behind you and the camera.

As the light passes through these elements, (or anything translucent,) the rays are bent and the light is diffused before your camera records it. Backlit semitransparent things tend to glow because of this.

How to Backlight Translucent Objects for Dramatic Effect

In the image above, I found a good location where the sun was in front of me to photograph during the Song Khran festival in Chaing Mai, Thailand, (which is one huge water fight). This lit up the water spray as buckets were thrown and hoses sprayed on revelers.

Seeing the monk sweeping leaves and burning them in the temple grounds (below) I carefully positioned myself to photograph the sun coming through from behind the smoke.

How to Backlight Translucent Objects for Dramatic Effect

Good subjects for backlighting

Flags and flowers are two of my other favorite translucent things to photograph. If you can find an angle where the sun is coming from behind a flag or row of flags the resulting photos can be far more colorful and interesting than if the flag is front-lit.

How to Backlight Translucent Objects for Dramatic Effect

Photographing flowers where you have the opportunity to light them from behind, or even part of them from behind, (as in this image of the purple orchids,) can really make them pop. However, if you are wanting to get clear and realistic correct color of flowers you are photographing it is probably better to light them from the front.

How to Backlight Translucent Objects for Dramatic Effect

Exposure notes

When you are photographing any backlit element take care to expose well. Don’t be too concerned about getting a “correct” exposure as often slightly overexposing will enhance the effect. Expose to create a feeling or mood rather than to achieve a technically precise result.

Your camera’s exposure meters measure reflected light. When you photograph refracted light passing through a translucent element your camera may not give you an acceptable result if you are using any of the automatic modes. Being in control of your exposure manually will allow you to experiment and set it to give you the result that you think looks best.

How to Backlight Translucent Objects for Dramatic Effect - colorful drinks

The background matters

If you are able to include a dark background in this style of photograph this can often enhance your pictures as well. The glow of a backlit semitransparent element can really stand out from a dark background where the light is three or more stops lower.

This photo of a Lahu man smoking against the dark background of my outdoor studio is a good example of this.

How to Backlight Translucent Objects for Dramatic Effect

Processing

Taking a little more time to post-process photos you have made using this technique is advisable. Because of the unusual nature of the lighting and the subject your camera may not always record the photo exactly how you want it. Manipulating the contrast levels, blacks, highlights and using the dehaze feature will allow you to enhance your photos of translucent backlit subjects.

How to Backlight Translucent Objects for Dramatic Effect

Please share your photos in the comments below of smoke, spray, steam or any other translucent elements with backlighting that you’ve enjoyed making.

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The Myth and Reality of Shooting in Manual Mode

21 Dec

I’ve heard it. You’ve heard it. And it’s a great big steaming pile of…baloney.

Myth – Professionals Only Shoot in Manual Mode

I recently read an account of a new photographer who heard that “expert” photographers only shoot in manual mode, so he headed out to shoot. Camera firmly set to M, he shot away, happy as could be. However, the results from that first exploration were, needless to say, disappointing; overexposures, under-exposures, and a lot of crappy, blurred photos.

Professionals Shoot in Manual Mode

I had about 10 seconds to make this image of a grove of Baobabs in Botswana. Had I been fiddling with finding the right manual settings, I likely would have missed the shot.

Here is the reality: Professionals and other experienced photographers use just about every shooting mode on their camera.

Those modes are there for a reason. Settings provide simplicity, speed, flexibility, or full control. Depending on the conditions in which you are shooting, any one of these may be appropriate. While other articles here at dPS discuss how to use each of the settings on your camera, I want to talk about the myth of Manual Mode, but also why it’s important to use it

Professionals Shoot in Manual Mode

Moving subjects and quickly shifting scenes are not conducive to manual mode.

The Professional Reality

Try shooting on full manual control while making images of birds in flight. Go on, try it. I’ll wait.

Professionals Shoot in Manual Mode

On the off chance that you actually went out and tried that exercise, I suspect you ended up with a lot of really bad photos. As birds passed quickly in front of different backdrops, as the sun darted in and out from behind clouds, the lighting conditions were undoubtedly in constant change. To adapt to those changes on the fly would be a nearly impossible task.

Professionals Shoot in Manual Mode

Rather, any professional would use one of the other settings. I, for example, would probably choose Shutter Priority mode under those conditions. That would assure I could maintain sharp (or artfully blurred) images as I shot, and leave the decision on aperture up to the camera. If I wanted a brighter or darker exposure I’d adjust the exposure compensation.

Now, if I was carefully shooting a landscape and had a particular vision for the final image, that’s when I’d make the switch to Manual Mode. In manual, I can take full control of the scene. I can adjust the depth of field, the exposure, incorporate blurs, or selective focus. In Manual Mode, I own all aspects of the final image, for better or worse.

Professionals Shoot in Manual Mode

My point here is simply this – professionals use all the tools at their disposal. If it were true that pros only use Manual Mode, then pro-level cameras would only have one setting. Quite obviously, that is not the case.

You Still Need to Shoot in Manual

Shoot in Manual Mode, but not all the time. But understanding exposure, focus, shutter speed, and aperture and their effect on the final image is the heart of photography. To master the technical aspects of image-creation, you need to be able to put all these together without the help of your camera.

Professionals Shoot in Manual Mode

Manual Mode is perfect for landscape photography because you have the time to dedicate to creating the image you envision.

Manual means full control

I regularly practice the art of manual settings. When a scene is in front of me, I’ll imagine a particular way to portray it. I’ll envision how bright I want the image to appear. I select the focal point, whether motion blur is incorporated or eliminated, and how deep the depth of field should be.

Once I’ve got the image in my mind. I’ll select the ISO, shutter speed, and aperture without using the camera’s light meter to help me. Then I click the shutter and have a look.

Professionals Shoot in Manual ModeThis exercise reminds me of light and settings and how the camera works, sure. But more so, it turns every aspect of the image into a purposeful decision. There is no “spray and pray” photography when you are shooting in Manual Mode. Setting your camera to that scary “M” means you grant yourself full control and full responsibility for whatever emerges.

Professionals Shoot in Manual Mode

Aurora borealis and most other night photography require the use of Manual Mode.

There is no better way to learn about your camera, light, and about thoughtful photography than to set your camera to Manual Mode, turn off the autofocus, and go make images.

Summary

It’s absolute nonsense that pros only shoot in manual. Utter garbage. Your camera has a bunch of settings for a reason. Shooting in just one would be like only eating one type of food. Each has a purpose, and each has their place in the art of photography.

Professionals Shoot in Manual Mode

Purposefully underexposed images are also well-suited to Manual Mode, particularly when you want to retain a shallow depth of field, as I did with this flower image.

However, and this is a big HOWEVER, shooting in Manual Mode may be the best tool at our disposal for turning our photography into a purposeful exercise. Using manual will force you to understand depth, light, exposure, blur, and focus.

So yes, you should shoot in manual mode. Just not all the time.

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5 Tips for Killer Macro Backgrounds

20 Dec

You’ve got a perfect macro subject, the perfect angle, and the perfect composition. You’ve checked your focus, and it’s spot on. Your finger hovers over the shutter button. One quick press, and you’ll have the shot. It’s all there before you…right?

Maybe not. There’s one more thing that I’d urge you to check before you shoot – and that is the background.

Macro backgrounds coneflower 1

See, while subject, lighting, and setup matter a great deal in macro photography, the background matters too, far more than people often realize. This is quite understandable; it’s the background. As long as you’ve got the perfect subject, why worry?

But when it comes to macro photography, the background can make or break a shot. You’re often working with a limited compositional palette, of sorts. Lines, colors, shapes; macro photography simplifies things, which is not to say that it makes photography easier. Instead, it magnifies each element, making attention to detail all the more important.

Fortunately, getting good backgrounds is not that difficult. As you start to become conscious of backgrounds and of their importance, your eye will develop. But to jump-start your technique, here are five tips that will dramatically improve your macro images right away.

1. Simplicity is key

I said I’d give you five tips, but this one right here is the big one. This is the starting point that should drive all other background considerations.

When I say simplicity, I’m not necessarily advocating a static, uniform, black or white background (although that can work well). What I mean is that you don’t want clutter. You don’t want a background full of distracting shapes and lines that draw the eye away from the main subject.

For instance, one of my favorite types of backgrounds is just a single color. Nothing fancy, but nothing distracting, either. If you’re shooting in a natural area, maybe you can position yourself so that your subject has some trees behind it. Then you can capture a nice, green wash for your background.

Macro backgrounds pink cosmos 2

The background here is a simple green, which allows the colorful subject to pop.

And if it’s autumn, even better. The golds of the changing leaves make for some beautiful hues.

Macro backgrounds daisy 3

Once I found this flower, I shifted my position to include distant trees, which were exhibiting some lovely fall colors.

The key consideration here is that the background isn’t distracting. Aim for the background to complement the subject without overpowering it. In general, you’ll be safe with a uniform wash (but it’s also possible to go with something a little more complex, as you will see in tips four and five below).

2. Achieve good subject-background separation

When it comes to macro photography, sufficient separation between the subject and the background is crucial. That is, you’re going to want to find a subject that is a significant distance away from whatever sits behind it. When you focus on your subject in the foreground, distant background elements will generally become a pleasing blur, creating the solid wash that I discussed above.

So what exactly is a significant distance? In general, this is going to depend on a couple of things.

Macro backgrounds blackeyedsusan 9

First, camera to subject distance. The closer your camera is to the subject, the closer the background can be to the subject. If your camera is just five inches from a flower, then you’ll probably be okay with a background that’s only 10 inches behind that flower. However, if your camera is five feet from the flower, then you’re going to need perhaps ten feet of distance between the flower and background.

Second, depth of field is a factor. Briefly, depth of field refers to the amount of the subject that is sharp and in focus, which is altered by widening and narrowing the lens’s aperture.

The shallower your depth of field (achieved by using a wide aperture, generally in the f/1.8-5.6 range), the closer your subject can be to the background, while still allowing for a nice uniform wash. But when you’re using a narrow aperture (e.g., f/8-32), you’ll need to be a lot more careful. Without a large distance between your background and subject, you’ll find that whatever exists in your background (leaves, stems, trees, etc.) will remain well defined, and will, therefore, distract from the subject.

Macro backgrounds cosmos 4

This flower was a few feet in front of the background. The large distance, plus the shallow depth of field at f/2.8, allowed for the background leaves, drenched in evening sunlight, to blur in a pleasing manner.

3. Shoot toward a cloudy sky

This one is easy to pull off, and can result in some really pleasing images. All it takes is a willingness to get low to the ground so that you can place the sky behind your subject. If you take the picture as you normally would, exposing for the main subject, then you’ll find that the background will be rendered as a pleasing, uniform white.

Macro backgrounds highkey 5

I got down to a level with this subject so that it was positioned just above the horizon, and I could capture clouds as the background.

4. Shoot into the sun

Often, macro photographers like to position the sun behind them, so that the light is coming over their shoulders and falling on the front of the subject. While this can be a great strategy, sometimes switching things up can result in creative effects.

One of the most interesting techniques is to wait until the sun is low on the horizon. Then position the subject between yourself and the sun, get down low, and expose for the main subject. Don’t aim to get the sun in your shot. Instead, try to capture some of that golden light that sits just beside the sun.

Macro backgrounds sunflower 6

I took this image while lying on my front lawn, as the sun sank below the horizon. These colors are essentially straight-out-of-camera.

It’s critical that you do this in the late evening. Any earlier and the sun will be too bright. You won’t get those rich, golden colors, and it will be tough to expose for the main subject.

I’d also urge you to be careful; do not look at the sun through your camera viewfinder. This will be damaging to your eyes. Instead, capture the image while using your camera’s Live View function.

5. Use the surrounding color

While a uniform wash often works quite well as a background, you may want to give your shots something extra. A little bit of pop. That’s where vibrant colors can come in handy.

For now, I’m not necessarily suggesting that you match colors like clothes, nor am I suggesting you use color theory. There’s no need to be that particular, not when you’re starting out. Instead, just try to look for colorful spots in the background, and compose the shot so that the main subject has a bit of color behind it.

Macro backgrounds fairytale 7

For this image, I angled my camera so that a few yellow flowers in the background contrasted with the reds of the subject.

When you’re out in the field, you may not see an abundance of options, but pause and glance around. Try looking through the viewfinder while shifting your camera angle. It may turn out that certain areas become startlingly beautiful once they’re out of focus.

One of my favorite techniques when shooting flowers is to adjust my composition so that a second bloom is a bit behind the first, while shooting with a shallow depth of field. Rendered as an out-of-focus patch of color, this background bloom complements the main subject.

Macro backgrounds yellow 8

Here I positioned myself so that a second flower, a little behind the first, was rendered nicely out of focus.

In conclusion

Macro photography requires careful attention to your background, but don’t let that hold you back. By achieving good separation between the subject and the background, by shooting toward the sky, the setting sun, or including vibrant colors, and by—above all—concentrating on simplicity, you’ll be well on your way to getting fantastic macro images.

If you have any tips that I didn’t mention here, I’d love to hear them in the comments!

 

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What is a Circular Polarizing Filter (CPL) and How to Use it

20 Dec

The use of lens filters can transform your photograph completely, as it allows you to go beyond the usual and explore something creative with your gear. Among multiple filters, a circular polarizing filter (CPL) is one such creative tool using which you can enhance the final photo that appears on your camera LCD screen.

A circular polarizing filter is a landscape photographer’s best camera accessory as it allows you to capture vividness and contrast in a photo. I have even used it to capture cityscapes and trust me it completely changes the image once you have it mounted on your camera lens. Having said that, let me take you through detailed uses of a CPL filter.

What is a Circular Polarizing Filter and How to Use it

 CPL Filter Enhances the Sky Color

One of the major disappointments while shooting cityscapes is that the color in the sky is not registered in your camera as accurately as it appears to your eyes, right? Even if you are able to match the colors in your photo, you might still find the sky to be dull or hazy.

With the use of a Circular Polarizing filter (CPL) on your lens, you can enhance the colors in the sky as well as the elements in your frame. This is made possible as the CPL filter, when rotated at a particular angle minimizes the haze in the sky and enhances the color by reducing the polarization effect caused by sunlight.

What is a Circular Polarizing Filter and How to Use it - blue sky before and after

As you can see in the image above, the dome was appearing off-white in color and the sky was appearing a bit too bright. After applying the Manfrotto CPL filter on my Canon 24-70 f/2.8 lens, I was able to correctly expose the dome, the sky had a good amount of contrast and the clouds were also clearly visible.

What is a Circular Polarizing Filter and How to Use it

Here is another before and after CPL filter comparison, let me know in the comments section below which one do you like better.

A CPL Filter Cuts Reflections

While taking photos of glass buildings or landscapes with a water body in the frame, it can be really challenging to get rid of the reflections being caused by sunlight. You might have to change your composition or wait for the light to change in order to get a reflection-free image.

Using a CPL filter can allow you to minimize the mirror image being caused by in the reflective element in your frame. All you have to do is simply rotate the filter to the required angle.

What is a Circular Polarizing Filter and How to Use it

Discussing the two images above, you can clearly see how mounting the CPL filter almost completely eliminates the reflection visible in the water body. Isn’t that magical?

What is a Circular Polarizing Filter and How to Use it

Here is another example of how rotating the CPL filter to the desired angle can allow you to minimize the reflections in any water body in your frame.

How to get the maximum polarization effect?

As the science states, the maximum polarization effect takes place at an angle of 90 degrees from the sun that move in a circular band. This means that if the sun is at the top, you would get equally lit sky if you are shooting at an angle of 90 degrees from the sun.

To get the exact frame where you should be positioning your camera to get the maximum benefit of the CPL filter simply make an “L-shape” using your thumb and the index finger. Just point your thumb towards the sun, and your index finger will give you the angle where you would get evenly lit sky and get the maximum benefit of the CPL filter.

Otherwise, you may get unevenly lit sky in your photos which would be hard to correct later in the post-processing stage.

Things to consider while using a CPL Filter

1 – It cuts the light

As you mount the CPL filter on your camera lens, it cuts some amount of light which may vary from 1-2 stops. It means that if you were earlier shooting at 1/1000th, f/16 and ISO 100, after mounting the CPL filter the exposure would decrease by let’s say 2-stops. So in order to let in 2-stops of more light, you will either have to:

  1. Slow down the shutter speed from 1/1000th to 1/250th, or
  2. Open up the aperture from f/16 to f/8, or
  3. Increase the ISO from 100 to 400

So whenever you plan to use a CPL filter, remember that there is going to be a loss of light and you might have to compensate a bit to get the correct exposure.

2 – Avoid using a wide-angle lens

Using a wide-angle lens can sometimes result in uneven sky color or color variation. The CPL filter is not at fault here, it is because wider focal length would cover more of the sky and as we discussed above the polarization effect is maximum at 90 degrees. Now a wide angle lens would cover more area of the sky, thus resulting in color variations.

To get the maximum benefit and the best result using a CPL filter, try and avoid using a lens wider than 24mm.

3 – Do not always use the maximum degree of polarization

What we usually tend to do is use everything at the maximum value and degree possible, like we do with an f/1.8 or f/1.4 lens, right? You should always rotate the CPL filter 360 degrees and check the level of contrast, saturation, and reflection it is boosting or reducing, and then only decide the degree at which you want to use the filter.

Sometimes using the CPL filter at maximum degree might result in color variation as well, especially while using it on a wide-angle lens.

Conclusion

If you want to learn more about polarizing filters and see examples here are some other dPS articles on the topic:

  • When NOT to use a Polarizing Filter
  • Circular Polarizers Versus Graduated Neutral Density Filters for Landscape Photography
  • How to Make Funky Colorful Images of Ordinary Plastic Objects Using a Polarizing Filter
  • Why You MUST Have a Polarizer
  • The Ultimate Guide to Nature and Outdoor Photography

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How to Create Powerful Travel Photos that Will WOW Your Friends [2 Days Only]

19 Dec

Have you ever said ‘This is nothing like what I saw!’ when looking at the images you took of a trip?

Travel Photographer of the Year (and dPS Book Author) Mitchell Kanashkevich has created an amazing “Behind the Scenes” photography course that’s a blueprint for creating power photographs. 

It’s all about helping you to capture the magic of the experiences you have when travelling and come home with images that will wow your family and friends.

For the next 48 hours, as an exclusive offer to dPS readers, he’s offering his course at 70% off the normal price. 

That means for the next 2 days you can get his beautifully crafted travel photography course for $ 39.95 instead of $ 129.97.

In this online Course you’ll Learn: 

  • How to search for that amazing photo (includes the first obvious question that’s rarely asked)
  • The truth about compositional rules and more organic and fluid ways of looking at composition 
  • Why being a photo sniper makes no sense in the digital age
  • The crucial factors that make the difference between a great photo and one that falls short
  • Can a great image be the result of an accident? (Confession time, but it’s not what you might think)
  • The practical approach to capturing the moment
  • … and much more

Mitchell provides an over the shoulder editing experience as well as providing RAW files, so you can practice the same techniques on them in post-processing.

Check out the full course outline here.

… you only have 48 hours (and counting) though, so be quick.

Bonus Offer from our Partners

Anyone who picks up any of the great deals this week also unlocks some great bonus deals from our partners.

For example if you pick up Mitchell’s course today you’ll get access to KelbyOne annual membership at 20% off the normal price. Access our exclusive Partner Bonus Offers here.

Christmas Deals:
Bonus Offers

Bonus Offers

Brought to you by

ON1
Athentec Perfectly Clear
KelbyOne
New York Institute of Photography

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How to do Powerful RAW Conversions with Luminar 2018

19 Dec

One of the most powerful new filters in Luminar 2018 is the RAW Develop Filter. RAW files, straight out of the camera, appear flat and boring, but with capable RAW conversion software like Luminar 2018, you can transform the RAW data into a detailed and vibrant photograph.

Luminar 2018’s RAW handling has seen significant improvements over previous versions. It performs faster and the tools in the RAW Develop Filter reveal additional details in the highlights and shadows, display more accurate color, and reduce noise.

Luminar 2018 RAW Develop Filter

LUMINAR 2018’S RAW DEVELOP FILTER

The RAW Develop filter is organized into three categories:

  • Adjust – Essential Color and Tone Adjustments.
  • Lens – Remove Image flaws caused by the lens.
  • Transform – Correct perspective issues caused by the camera’s physical position.

These three tool sets form a powerful triad for correcting many of the problems encountered with unprocessed RAW image files.

QUICK TIP: JPG Shooters get access to the same tools in the Develop Filter.

Luminar 2018 RAW Develop Filter Tabs

ADJUST

The Adjust tab inside the RAW Develop filter contains fundamental color and tone adjustments. Settings include:

  • White Balance – Choose from white balance presets that are similar to the settings in your camera.
  • Temperature – Warm up (yellow) or cool down (blue) the color temperature of the photo.
  • Tint – Correct color casts by adding magenta or green.
  • Exposure – Adjust the overall luminance of the photograph.
  • Contrast – Adjust the overall contrast of the photo.
  • Highlights – Adjust the brightness of the brightest areas of the photo.
  • Shadows – Adjust the brightness of the darkest areas of the photo.
  • Whites – Adjust the white point of the histogram and white tones in the photo.
  • Black – Adjust the black point of the histogram and black tones in the photo.
  • Clarity – Adjust mid-tone contrast.

LENS

The Lens tab in the RAW Develop filter allows you to fix flaws caused by the lens. Settings include:

  • Distortion – Correct barrel or pincushion distortion.
  • Chromatic Aberration Fix – Correct for color fringing along high contrast areas.
  • Devignette – Remove darkened edges caused by lens vignetting.

TRANSFORM

The Transform tab in the RAW Develop filter allows you to compensate for perspective problems caused by the position of the lens at the time of capture. Settings include:

  • Vertical – Tilt the image forward or backward on the X-axis (helpful with key-stoning).
  • Horizontal – Tilt the image right or left on the Y-axis (helpful when shooting at an angle from the subject).
  • Rotate – Useful for straightening a photo.
  • Aspect – Expand the height or width while contracting the opposite direction.
  • Scale – Use to hide the edge gaps after transforming a photo.
  • X Offset – Shifts the image left or right.
  • Y Offset – Shifts the image up or down.

HOW TO PROCESS RAW IMAGES IN LUMINAR 2018

Open your photograph in Luminar, navigate to the Add Filter button and click on RAW Develop in the ESSENTIAL category. The interface is intuitively designed, suggesting the order in which to make your adjustments:

  • Step 1 – Adjust
  • Step 2 – Lens
  • Step 3 – Transform

EXAMPLE 1

Cappuccino Before Luminar 2018 RAW Develop

RAW/Unprocessed (© Angela Andrieux)

Straight out of the camera, the photo above was somewhat flat and slightly underexposed.

Cappuccino After Luminar 2018 RAW Develop

After Luminar 2018 RAW Develop: Adjust + Lens (© Angela Andrieux)

In the Adjust tab of the RAW Develop filter, small adjustments to the Exposure, Contrast, Highlights, Shadows, Whites, Blacks, and Clarity make subtle, but noticeable, improvements to the photograph.

Cappuccino Luminar 2018 RAW Develop Settings Adjust

In the Lens tab of the RAW Develop filter, a small adjustment was made to remove the lens vignette from the corners.

Cappuccino Luminar 2018 RAW Develop Settings Lens

EXAMPLE 2

Balboa Park Corridor Before Luminar 2018 RAW Develop

RAW/Unprocessed (© Angela Andrieux)

The photo above, in its unprocessed state, has blown out highlights, an unpleasant pink color cast, barrel distortion, and a slightly awkward perspective.

Balboa Park Corridor After Luminar 2018 RAW Develop

After Luminar 2018 RAW Develop: Adjust + Lens + Transform (© Angela Andrieux)

With the help of the Adjust panel in the RAW Develop Filter, the color cast was removed, the highlights were toned down with some detail recovered, and architectural details were enhanced.

The Lens panel in the RAW Develop filter fixed a slight lens distortion and removed chromatic aberrations.

This photograph had significant chromatic aberrations in the high contrast areas. Notice the patches of sunlight in the “Before” image below – each sunlit spot has a greenish fringe around the top and a magenta fringe at the bottom. The Chromatic Aberration Fix sliders did a great job of minimizing the unwanted color fringe.

QUICK TIP: Zoom in to 200-300% to check for chromatic aberrations in high contrast areas.

Balboa Park Corridor Before Luminar 2018 RAW Develop Lens Correction

Before Luminar 2018 RAW Develop Lens Correction (zoomed to 200%) (© Angela Andrieux)

Balboa Park Corridor After Luminar 2018 RAW Develop Lens Correction

After Luminar 2018 RAW Develop Lens Correction (zoomed to 200%) (© Angela Andrieux)

Balboa Park Corridor Luminar 2018 RAW Develop Settings Lens

The Transform panel in the RAW Develop filter corrected for a slight upward tilt of the camera when the photo was captured and straightened the vertical lines.

Balboa Park Corridor Luminar 2018 RAW Develop Settings Transform

EXAMPLE 3

Avila Beach Pier Before Luminar 2018 RAW Develop

RAW/Unprocessed (© Angela Andrieux)

The unprocessed RAW photo above has a color cast, is underexposed, lacks detail and contrast, and has both lens distortion and perspective issues caused by a wide-angle lens. The tools in Luminar 2018’s RAW Develop filter corrected each of these issues.

Avila Beach Pier After Luminar 2018 RAW Develop

After Luminar 2018 RAW Develop: Adjust + Lens + Transform (© Angela Andrieux)

The Adjust tab of the RAW Develop filter corrected the color cast and white balance issues, increased the exposure, added contrast and brought out detail in the shadows under the pier and movement in the water.

Avila Beach Pier Luminar 2018 RAW Develop Settings Adjust

The Lens tab of the RAW Develop filter made easy work of correcting the substantial lens vignetting, removing some barrel distortion, and cleaning up the chromatic aberrations around the pier pilings (high contrast areas).

Avila Beach Pier Luminar 2018 RAW Develop Settings Lens

The Transform tab of the RAW Develop filter straightened the horizon and the legs of the pier, correcting for both the position of the camera and the distorting effect of a wide-angle lens.

Avila Beach Pier Luminar 2018 RAW Develop Settings Transform

Conclusion

Each example above shows the power of the RAW Develop Filter in Luminar 2018. A RAW image file contains an abundance of data, but it takes a skilled photographer and a high-quality RAW conversion tool like Luminar 2018, to turn those files into beautiful photographs.

LUMINAR 2018 HOLIDAY SPECIAL OFFER

Ready to transform your RAW files into amazing photos? Visit Luminar 2018 until December 31 to take advantage of the holiday offer!

Get Luminar with an awesome pack of bonuses, plus get an extra $ 10 OFF with the coupon code: DIGITALPHOTOGRAPHYSCHOOL. 

Disclaimer: Macphun, soon to by Skylum, is a paid partner of dPS.

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