Category: Photography

Dude Be Nice – Mastering the Art of Constructive Criticism

Several years ago, one of the local high schools near me put on an anti-bullying campaign called “Dude, Be Nice!” During the time that the campaign was going on, I’d often see students, parents, and teachers wearing navy blue t-shirts with the slogan in huge white lettering across the front. I loved seeing those shirts around town because they served as a reminder to me that I almost always have a choice as to whether my words tear someone down or build them up.

Since then, the phrase “Dude, Be Nice!” has become a kind of life motto for me (I even managed to get my hands on one of those t-shirts), and I think it is an especially relevant foundation for learning how to offer quality feedback in photography. Being nice is always the most important part in offering constructive criticism that is meaningful and will be heard.

Here are a few other tips that will help you master the art of constructive criticism:

Be Conscious of the Setting

Have you ever seen a photographer share an image on social media, saying how much they love this particular image, only to have some random person comment with criticism? Sometimes the comments may be constructive criticism, other times they’re just plain criticism like, ‘This photo sucks, and you’re a terrible photographer.” We don’t need to get into the dynamics of what might cause someone to leave the latter sort of comment because that’s just not worth any of our time.

One thing that we should spend a bit of time thinking about is whether the person you’re responding to is actually asking for constructive criticism. There are a lot of great Facebook groups for new photographers to give and receive constructive criticism. That’s an appropriate place to offer thoughtful feedback about another person’s image. However, a photographer’s personal Facebook page may not be an appropriate place for that sort of feedback. You obviously have the freedom to say whatever you’d like, but I’d argue that offering criticism (even if it is constructive) when it hasn’t been asked for is very rarely helpful.

Use a Compliment Sandwich

Most of us have heard about the concept of a compliment sandwich before. This idea isn’t new or groundbreaking, but I want to reiterate just how effective it can be in terms of providing constructive criticism that is actually heard by the recipient. For example, if we take my own image above, here’s an example of how to offer the same piece of criticism in several different ways:

Straight Criticism: Your composition sucks. The baby should be either in the center or following the rule of thirds.

Constructive Criticism: The photo would be stronger if you composed it differently. I would have put the baby in the center of the frame so that there was the same amount of greenery on either side.

Compliment Sandwich: The vibrant colors of the flowers are a really unique and fun contrast to the usual neutrals you see in newborn photos, I like it a lot! One thing that could make the image stronger would be to adjust your composition so that the baby is in the center of the frame. Or, you could adjust the other direction so that the baby is more off-center, following the rule of thirds, which would make your composition look more intentional instead of accidental. Overall though, good job on exposure, focus, and coloring!

As you can see, the essential criticism is the same in all three examples. However, when you use a compliment sandwich, that same criticism is framed in a way that serves to build the recipient up which will make it more likely that they are able to hear and internalize your feedback.

Ask a Question

Another really good method of offering constructive criticism is to phrase your criticism in a question. For example, you might ask something like, “Why did you choose to apply a matte treatment to this image?” Or, “Why did you decide to focus on the left petal of that flower rather than the center of the flower?”

Framing something that may be a criticism in the form of a question helps to diffuse the psychological impulse that when we receive criticism, we’re being attacked. In addition, it requires the photographer to think about whether the element that you’re asking about was a conscious decision or an accident. This will help determine whether the criticism is coming from a stylistic difference (more on that in a minute!), or whether it was not an intentional decision, and an element that they may not have thought about before.

Be Aware of Stylistic Differences

The novel, “The Road” by Cormac McCarthy received a Pulitzer Prize for fiction in 2007. It also breaks almost every conventional grammar rule known to man. Does the fact that it doesn’t follow the traditional rules mean that it’s less valuable? Nope. On the other hand, does the fact that it won a Pulitzer mean that it’s going to be everyone’s cup of tea? Again, nope.

Whether you’re talking literature, art, music, or photography, there are lots of different styles or genres that will appeal to different people. The fact that I don’t personally prefer HDR photography doesn’t mean that there’s no value to HDR images.

When giving constructive criticism, it’s important to consider whether or not your criticism is rooted in stylistic differences. For the most part, I’ve found that constructive criticism based primarily on stylistic differences is not a productive use of anyone’s time.

Offer a Suggestion or Solution

I’m a firm believer that learning how to offer constructive criticism is beneficial to both those giving and receiving the feedback. It forces the giver to think about an image in greater detail, and to really identify things that you like and dislike about an image (and why). When constructive criticism is done well, it allows the recipient the opportunity to hear from others about their photography, affirming the things they do well and identifying areas that may need improvement.

One of the ways that you can make your feedback even more beneficial to the person on the receiving end is to offer advice as to how to either correct or prevent the problem that you’re providing the feedback on, in the future. Whether you’re suggesting a remote shutter release in order to prevent camera shake in astrophotography or cropping an image in post-production to improve composition, giving someone else the tools to better their craft is one of the qualities that separates constructive criticism from quality constructive criticism that is likely to make an impact.

It also makes YOU a better photographer, as it forces you to think in advance about how you’d handle different challenges and circumstances in advance, and create a game plan for how you’d handle them.

Conclusion

If you’re offering someone else constructive criticism, don’t forget that it is really hard to put yourself out there! Be kind, and encourage one another. Make sure that constructive criticism is actually wanted before you offer it. Utilize a compliment sandwich when possible. Frame your criticism in the form of a question, and be aware that some criticisms boil down to stylistic differences. Most importantly, if you want to offer quality constructive criticism, offer a suggestion or solution that will help to correct or prevent the issue you’re seeing.

Then, chime in below–what was the most helpful piece of constructive criticism you’ve ever received? Why was it helpful? What was the least helpful? Why?

The post Dude Be Nice – Mastering the Art of Constructive Criticism by Meredith Clark appeared first on Digital Photography School.

Digital Photography School

May 12, 2017
The Light at the End of the Tunnel – 18 Totally Tubular Images

Tunnels have a unique lighting situation – they are dark in the middle, with the light coming from one end.

They can also be a great place to create or take unique photographs. Here is what 18 photographers created with photos of tunnels:

By Tore Bustad

By Metropolitan Transportation Authority of the State of New York

By Susanne Nilsson

By _ Liquid

By Indigo Skies Photography

By Rex Boggs

By ??? tocausan

By Matt Niemi

By Andi Campbell-Jones

By Hernán Piñera

By Vincent Lock

By darkday

By darkday

By Vaidotas Mišeikis

By pieter musterd

By Rahigrim Monasterios

By Simon & His Camera

By darkday

The post The Light at the End of the Tunnel – 18 Totally Tubular Images by Darlene Hildebrandt appeared first on Digital Photography School.

Digital Photography School

May 10, 2017
Weekly Photography Challenge – Tunnels

Check out: The Light at the End of the Tunnel – 18 Totally Tubular Images.

By Thomas Hawk

Weekly Photography Challenge – Tunnels

If you live in a city there are likely a few options for you to go find some tunnels to photograph.

Always remember – safety first, please! Do not enter a tunnel that has active traffic or trains!

Country dwellers think outside the box. Where can you find a tunnel? Perhaps a drainage pipe for a stream? what about a covered bridge? If you can’t find one can you make your own tunnel?

Time to get creative and share your images of tunnels.

By Claus Tom Christensen

By Caden Crawford

By Jimmy

By followtheseinstructions

Share your images below:

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 on the dPS Facebook group as the challenge is posted there each week as well.

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

Digital Photography School

May 10, 2017
How To Shoot Professional Portraits

Good weather is when photographers like taking photos outdoors. A lot of photographers go to parks to take beautiful shots. But how can they stop taking casual photos and start creating professional portraits? This article gives you a lot of recommendations on how to create art photo portraits. Where to start? Of course, first you should begin planning your photo Continue Reading

The post How To Shoot Professional Portraits appeared first on Photodoto.

Photodoto

May 10, 2017
How to Crop to Exact Pixel Size Using Photoshop – with Phil Steele
If you’ve struggled to resize images to an exact pixel size watch this video tutorial by Phil Steele. He will show you exactly how to crop your images to fit a specific pixel size (like for a Facebook banner, etc.) using one quick step in Photoshop.

Crop to pixel size using Photoshop

Phil also mentioned that it’s a good idea to sharpen your image after cropping. Here is some help on that topic:
- Photoshop Tip: Using the High Pass Filter to Sharpen Images
- Smarter Sharpening in Photoshop using Adobe Camera Raw
If you want more Photoshop tutorials, try these:
- How to Understand the Curves Tool in Photoshop
- How to Use the Levels Tool in Photoshop
- How to do Digital Blending in Photoshop to Create a Composite Photo
- How to Create a Rim Light Effect Using Photoshop
- How to Add a Sun Flare to Your Images Using Photoshop
- How to do Non-Destructive Editing in Photoshop
Want more from Phil? Check out his Photoshop Basics course here.

The post How to Crop to Exact Pixel Size Using Photoshop – with Phil Steele by Darlene Hildebrandt appeared first on Digital Photography School.

Digital Photography School
May 10, 2017
3 Useful Accessories for Landscape Photography

With photography being more popular than ever been before, it’s no surprise that there are also a whole bunch of accessories available on the market. Many of these are completely unnecessary items that you’ll most likely never need. In this article, I’ll introduce you to three accessories for landscape photography that you can manage without BUT will probably be used more than anything else. I wouldn’t be surprised if they end up as your favorite accessories that you can’t imagine photographing without.

L-Bracket

I’ve been using an L-Bracket for so long that I don’t even consider it to be an accessory anymore. For me, it’s become part of my equipment and I honestly don’t remember what my camera looks like without one.

An L-Bracket is a plate that is fastened to your camera body and serves as a connector between the tripod and the camera. The L-bracket is used instead of a regular quick release plate as it’s a much more flexible option. A clamp is placed on the tripod’s head to connect it with the camera.

Advantages of an L-Bracket

Now, you might be asking, “Why is that a better option than the regular plate which comes with the tripod?” Simply put, it eases your workflow.

Let’s say that you’re standing in the middle of a river and photographing a waterfall. You’re taking a horizontal image and you’ve got a good composition. After taking some images you realize that a vertical image will work better for that scene. With a regular plate, you’ll need to adjust your tripod head so the camera is tilted vertically. By doing this you most likely have to set up the composition all over again since you’re camera has now moved several inches to another side.

With an L-bracket, however, you avoid this problem. Simply disconnect the camera and clip it back into place vertically. In this case, the tripod hasn’t been moved which means you still have the same composition, just vertically instead.

Manfrotto L-bracket mounting a camera vertically on the tripod.

It wasn’t until I “lost” the clamp (connection between camera and tripod) in Iceland that I realized how valuable this tool has become in my workflow (I did find it again later at the airport – in my backpack…) Being able to seamlessly switch between a vertical and horizontal format has made this my favorite accessory. It does add some extra weight to your equipment but it will also protect the camera if you should be unlucky and drop it (still, I don’t recommend dropping it!)

Spirit Level

While this is a built-in function in many high-end DSLR cameras, a spirit level is an accessory that I strongly recommend one if you own a camera without the virtual horizon function.

Capturing images with a straight horizon can be difficult without a spirit level, especially when you’re photographing a scene that doesn’t have a defined horizon (in which case the grid view will help a lot). The spirit level is a handy little tool that will make this process much easier.

The spirit level is placed on the hot shoe (where you connect a flash to the camera). Many choose to leave it there at all times to avoid accidentally forgetting it at home. It’s not the most popular tool for those who don’t use a tripod since it’s placed on top of the camera. If you’re using a tripod, however, it can be essential.

Pre-Moistened Wipes

The last accessory I recommend is one that I have in my backpack at all times. In fact, I get worried if I only have one left.

Pre-moistened wipes are a landscape photographer’s best friend out in the field. We all know that creating beautiful images of landscapes often involve being outdoors in less than ideal weather. Either it’s windy, rainy or large waves are spraying you, having a couple pre-moistened wipes nearby will help you keep the lens clean at any time.

Dust spots or dirt on the lens are constant battles and when it gets really bad it has the potential to ruin an image. (Unless you’re a post-processing ninja who’s willing to spend hours in Photoshop cleaning it up.)

I tend to always have a couple pre-moistened wipes plus a microfiber cloth in my pocket when I’m shooting out in the field. Most of the time, regular microfiber cloths will work great but in the most challenging conditions, you will want to use wet ones. This is especially true when photographing seascapes and the lens gets a thin layer of salt over it.

Zeiss lens cleaning wipes.

What are your faves?

These are some of the accessories I recommend for landscape photography. What are your favorites?

The post 3 Useful Accessories for Landscape Photography by Christian Hoiberg appeared first on Digital Photography School.

Digital Photography School

May 9, 2017
How to Create Abstract Images With a Soft-Focus Look Using Vaseline

As a rule, sticky substances and photography don’t mix. For a beloved camera, any liquid substance is a cause for concern. So naturally, I was surprised when I stumbled upon a neat trick used by glamor photographers back in the day. Actresses of the 1920s and 30s were photographed in the soft-focus style that photographers like Alfred Stieglitz and Edward Steichen developed.

Arnold Grethe and Victor Georg, photographers of Vanity Fair used hazy focus, diffusion filters, and other techniques to soften the portraits of actors, particularly women. This stylized softness was adopted by American filmmakers who before then had stuck to the sharpest focus possible. Doris Day, queen of romantic glamor portraiture was rumored to have insisted that photographers use diffusion filters to soften the focus of her photographs. And sometimes, in a pinch, photographers applied Vaseline or petroleum jelly to the lenses.

An abstract photograph of yellow flowers, taken with Vaseline or petroleum jelly applied to a clear filter. The waves in the image reflect the density of the petroleum jelly applied to the lens.

How to make a soft-focus look with petroleum jelly

Creating a diffusion filter with petroleum jelly is actually quite simple, and a lot less messy than it sounds. First, raid your bathroom cupboard for some Vaseline. If you don’t already have a supply, you can purchase a tub from your local pharmacy.

Next, you’ll need to apply the jelly to your lens. There are two ways to go about this. One method is to first stretch a layer or two of cling wrap over the front of your lens, forming a barrier between the jelly and the lens. Fix the cling wrap with a rubber band and double check for holes in the plastic before you start applying the jelly. The potential risk of this method is that the plastic might rupture, causing the jelly to ooze all over your lens instead.

Alternatively, if you have a spare clear filter handy, you could smear petroleum jelly all over that instead. This is a little simpler and you can remove the jelly with alcohol wipes later. Either way, DO NOT apply the petroleum jelly directly to your camera lens – it won’t end well.

This abstract photograph of water was taken with only a thin level of petroleum jelly applied to the center of the lens filter.

Method of application

Start off by adding very small amounts of petroleum jelly to your lens or cling-wrap rig. You can apply the petroleum jelly with your finger, a brush, or some additional plastic for varying results. I’ve found that if you use your finger to apply the jelly, it can leave abrupt areas that affect the softness of the resulting image. Even in very small amounts, the softening effect of the petroleum jelly is quite pronounced. The more you add, the more abstracted the resulting photograph will be.

The direction in which you apply the petroleum jelly also has a significant impact on the outcome of your photograph. Swiping the petroleum jelly in one direction could result in a completely different effect to that of jelly applied in the opposite direction. Experiment with different application methods by tracing different shapes into the lens with your finger.

I also pack some alcohol or glass wipes in case I want to remove a portion of the Vaseline for artistic purposes.

The direction that the petroleum jelly is applied impacts how the resulting photograph will look. For this image, I applied streaks of petroleum jelly around the outer edges of the filter. I then used a tissue to clear the center area. This resulted in a clearer view of the subject in the center of the photograph, and streaks of color on the edges.

A balance between abstraction and soft-focus, this effect was achieved with different densities of petroleum jelly distributed over the lens filter.

For this effect I used my finger to draw zig-zag patterns in the layer of petroleum jelly on my filter. The resulting image is clearly shaped by the sharp edges I traced.

An abstracted image of tree branches with diffused light peaking through the leaves.

When finished, carefully remove the cling wrap or filter. You can wipe the filter down with some alcohol wipes before stowing it away for later use.

Try it

Give this fun abstract soft-focus technique a try and share your results in the comments section below.

The post How to Create Abstract Images With a Soft-Focus Look Using Vaseline by Megan Kennedy appeared first on Digital Photography School.

Digital Photography School

May 9, 2017
Digital Photography – Is it the Death of Prints?

Fotografía, foto, photograph…all ways of saying the same thing. But what is this thing that we all strive to become better at doing and in turn share with the world? There was a time not so long ago that the idea of producing a photograph involved a good bit of skill, patience, and hard work in darkrooms making prints.

The only way for one’s work to make its way in front of the eyes of someone else was for it to be printed. Today, the capability of communicating our images to others digitally has virtually become boundless. We are accomplishing the same old thing in decidedly new ways.

So, are we slowly bearing witness to the death of prints entirely? With the advent of digital photography, the world of photo making changed. The medium morphed into something more translucent for the masses. The craft became less organic; less physical. Making photographs, dare I say, became “easy.”

That’s not to imply that there aren’t incredible advancements being made to the photographic art directly as a result of digital photography and sharing. What we’re talking about here is a possible disconnection between craft and craftsman (or craftswoman) which happened slowly.

Perhaps that disconnection is an inevitable natural step as we evolve as a photographic culture. Have we entered into the stages of some type of weird photogenic altruism? Are we missing something by not printing our work?

To print or not to print?

As it turns out we likely are shorting ourselves by not regularly printing our photographs but not in the way we might think. Why go through the problems of manifesting prints when they are, in the eyes of many, unnecessary for most people who shoot with digital cameras.

Printing costs money whereas digital storage cost nothing or next to nothing. Physical prints can’t be “shared” or “liked” on social media. They aren’t something that we can readily copy and paste somehow. And therein lies their value. Not in a monetary sense even though art prints and portraits are still profitable for some. The worth of seeing your own photographic work printed comes from something else.

Digital photography is wonderful in terms of production, cost, and convenience. But it very well may be that it also lessens our own perception of the power derived from photography, which causes us to stop short of the full scope of the art.

The finality of a print is something that gives us as photographers total control over the end product of all our hard work. The print represents a cathartic culmination of everything that we know about making an image and we present that image to world confidently. Prints don’t rely on screen resolution, color modes, or other variables that plague the viewing of our work digitally.

How many times have you viewed a photo on your laptop, your cell phone, or your home computer screen only to notice that in fact, you are viewing three different versions of the same photo? If you’re like me, it causes no small amount of photographic anxiety.

The resurgence of prints?

Lately, there has been somewhat of a possible resurgence in the understanding about the benefits of physical photographic prints. Take the increased popularity of Instamatic cameras which hearken back to Lomography and Polaroid-type cameras. Even Leica and Fuji now manufacture cameras that make singular self-developing prints that are one-of-a-kind expressions. Fuji has taken it one step further by also developing a photo printer which wirelessly prints images from your cell phone onto its Fuji Instax instant film.

The rise in the popularity of the instant medium could mean that we are yearning to slow down and be more committed to our photography. We have become accustomed to swiping right, scrolling up, and clicking over. Could it now be that we are beginning to favor the exclusivity that comes from possessing a print instead of a digital file? Only time will tell what direction the trend will follow.

Final thoughts….

Digital images and physical prints are the twin manifestations of the same artistic vision. Should you always print your work? Perhaps not always. Not every digital photo you make will always be worth a print…but that’s up to you.

Whether or not the digital camera revolution signaled the end of traditional prints is not the issue here. Instead, digital photography, even with all its outstanding contributions to the photographic arts, has possibly caused us to lose sight of the endgame. Sure, sharing your photos so easily with the world is great. It’s an important part of the art of photography. But at the same time, we shouldn’t stop there.

Print your work from time to time. If you have an image that speaks to you just a little bit louder than the others, print it; hang it on your wall, sell it, share it with a photo gallery. Do something more meaningful than just looking at it on your screen.

The post Digital Photography – Is it the Death of Prints? by Adam Welch appeared first on Digital Photography School.

Digital Photography School

May 9, 2017
5 Composition Tips for Landscape Photography

So what exactly is composition in photography and why is it such a big deal? Composition is the way you intentionally arrange or put together the visual elements in an image, in and around your subject. The goal is to catch the viewer’s interest and keep it wandering around your photo. While some people have an innate ability to “see” and compose great images, it is a skill that can be taught.

Once you have identified your subject, here are a few useful precepts you can use when composing your next great image.

1. Simplicity

Now that you have your subject in mind, the first question is how do you showcase it so there is no doubt of your intent? Keeping it simple is a good approach, as clutter can distract or even make it difficult to identify your focus. Most times in landscape photography, you have no control over what is around your subject. Here the use of lighting can reduce clutter, as the brighter areas of your photo will draw the eye in. You can also find an angle that helps you remove any

Most times in landscape photography, you have no control over what is around your subject. Here, the use of lighting can reduce clutter, as the brighter areas of your photo will draw the eye to them. You can also find an angle that helps you remove any strong elements that can detract the focus of the object. Thus use only what you consider necessary components. Good composition is as much about what you leave out as it is what you include.

Good composition is as much about what you leave out as it is what you include.

2. Lines

You have no doubt heard the term lead-in lines – which are lines that direct the eye where you want it to go. This is a powerful tool in composition and can add a three-dimensional feel to your image. It does this by creating movement and can take away that static/flat feeling.

Lines can be literal (such as roads, streams, power lines, or fences) or implied (those that link different subjects in the frame). While diagonal lines are considered the strongest, you are not limited to it as experimenting with horizontal, vertical and converging lines can also be a source of inspiration.

3. Oddities

If you have more than one subject in your image, choose an arrangement with an odd number of subjects (at least three e.g. three rocks or trees). Similarly, you can frame or surround your main subject with two objects to add visual stimulation. Odd numbers within a frame are said to be more pleasing and comforting to the eye.

Side Note: In landscape photography, even numbers in the frame can seem less natural and informal, although an even number of subjects can produce symmetry. This is just something to keep in mind if you are breaking the “rule of odds”.

4. Interest

The easiest way to create interest is by having a foreground element in your shot which adds extra depth and dimension. Following on from the point above, you can feature a subject in the foreground, middle, and background, keeping them harmonious or having subjects that complement each other. Complementary subjects are those that have some association (e.g. they are the same color, similar appearance, or add to your story in some way). On the opposite side of this, you can use juxtaposition to create some tension in your image.

Other ways to add interest can be showing the scale of the scene by including an object or person or even by framing your photo in an interesting way.

5. Rules? What Rules?

Most composition articles start with the rule of thirds. This rule divides the image into thirds horizontally and vertically and suggests that you arrange your subject and other important elements near these division lines or at their intersections. The objective is to be more visually pleasing, as placing your subject in center of the frame stops the eye there and takes away from the movement you are trying to create and use to your advantage.

It is a classic rule that is widely used with great results, so it is an excellent place to start as a beginner. However, what if you want to create a perfectly symmetrical image, such as a mountain with its perfect reflection in a lake? What if you have just as much interest in the sky as in the ground? An image like that will clearly not follow the rule of thirds, would it?

When you are out in the real world looking at the scene before you, these rules become more like handy suggestions. You need to allow your subject to influence your composition and not force it to conform to the “rules”. Therefore knowing the rules helps you decide when it is okay to break them, this is a skill you will develop over time.

Conclusion

Composition is important. To get a sense of how important, think about the impact of what you perceive as a really good or bad image. First, analyze the elements and how they work or do not work together. Identify the subject(s) of the photo and break it down into which compositional “rules” are present or broken. Are there lead-in lines? Is there a point of interest in the foreground or odd numbers present? Remember to move around your scenery and try different angles for your composition and in time you will know which rules to apply or ignore.

Please share any images you have created that use one or more of these tips, in the comments below.

The post 5 Composition Tips for Landscape Photography by Nisha Ramroop appeared first on Digital Photography School.

Digital Photography School

May 9, 2017
Low-Key Photography – Highlighting Darkness

Black is the new black. Low-key photography is a style where the main elements are darkness and negative space. It’s an excellent way to create a certain mood or to use contrast to highlight a subject, such as an item, gaze, or outline. These dark images might suggest a dark mood – loneliness or danger – but they don’t have to! Darkness can also be used to create a sense of safety or adventure, for instance.

You can create a low-key photograph in a variety of ways. It can be an underexposed or high-contrast photo; it can be made in the studio, at home, or outdoors; the subject matter can be anything from a landscape to a tiny detail. The main thing is to create something overwhelmingly dark. As darkness is the absence of light and light is the main ingredient of photography, this is a pretty simple recipe.

Still, low-key photography might be a bit of a challenge for a complete beginner, as you need to know how to manually control the exposure of your pictures. But don’t let that discourage you from trying.

Technically speaking, you should make sure you don’t have a lot of light reaching the sensor, by using shutter speed, aperture, and ISO – the histogram should be heavily left-biased. Most of the time these kinds of photos can be made using a very low ISO, so always start with that if you can – that way, you can make sure your photos are as high-quality as possible.

Let’s use some examples to get an idea of how low-key photographs can be created. When you browse through the pictures, try to pinpoint the mood of each photograph and what role the darkness plays in it. Is it playing a supporting role – for instance, creating an opportunity for something else to be the focus? Or is the darkness the main point of the photograph?

Let’s begin!

Using flash or shooting in the studio

Using a flash might seem like a surprising suggestion for a style which is defined by a lack of light. Yet, it’s perhaps the easiest way to accomplish exactly what you want, since it gives you precise control over the amount of light that’s used (and where it falls). A black background helps, but isn’t required. The important thing is that there’s a large enough difference in light levels between the highlights and the rest of the image.

ISO 100, 1/125th, f/10.

This photo was made in a studio, with a black background, two flashes, and a good friend. Leather or another textured, dark material works really well for this kind of photography.

ISO 100, 1/125th, f/8.

To get this profile image, I used two flashes behind and slightly to the right of the model, one higher up and one lower down. This photo could have worked with most backgrounds, as long as the flashes are strong enough.

ISO 100, 1/125th, f/8.

To light a very specific area of this scene, I used a snoot over my flash.

Using natural light for low-key portraits

To get a low-key portrait in natural light, the most important thing you need to watch out for is that the light source is confined by something, such as a window or a door. You also want the spot where the subject is located to be much darker. The examples below show this in two different ways.

ISO 400, 15 seconds, f/7.1,

Calling this ”natural light” is perhaps a stretch, since it’s coming from inside a house at night. Still, the same applies; it’s a restricted light source shining into a relatively dark space. This time, the space is outdoors and the light source is indoors.

ISO 640, 1/200th, f/2.8.

Here, the subject is sitting in a room with daylight shining through a window with curtains. The background was actually a white wall, but since the light from outside wasn’t shining directly onto it, it was dark enough to turn black in this picture.

Using natural light – textures

Low-key photography is a great way to bring out the feature of a subject that is hard to notice when it’s well lit.

ISO 400, 1/60th, f/2.8.

I found a lot of subtlety in the whites of this wilting flower once I underexposed the shot. The background was very busy, but it became almost completely black once I exposed the shot the way I wanted. I added a slight vignette to darken some lighter spots in the corners of the shot. Another nice thing about this style is that it’s easy to extend a black background if you want more space or to make slightly lighter parts black in post-processing.

ISO 3200, 1/200th, f/5.6.

Sometimes there are also nuances to be found in the blacks. This crow, and its beak, were on a table next to a window (the joys of knowing biologists!) which only got indirect light from outside, so the light levels were very low. Still, it was enough to capture the shades and shapes of the beak.

ISO 4000,1/125th, f/4.

The lighting of these crow feathers was the same as for the above photo. The focus on an all-black scene let all the textures and tones be expressed.

Low-key landscapes

Do you prefer landscape photography? No worries, the low-key photography style works wonderfully for that, too! A night scene usually works very well, but clouds are also very useful. They might make the sky less bright, but they also create interesting light patterns on the ground.

ISO 500, 1/250th, f/8.

An overcast day and an industrial, urban scene provided a great opportunity to capture something dark.

ISO 100, 1/320th, f/8.

The clouds added some nice texture to the sky. But what I was most grateful to them for in this picture was the spotlight effect they created on the landscape.

Conclusion

Experimenting with low-key photography is a great way to get creative – there are so many ways to do it! I hope this basic introduction has whet your appetite to try it out. I’d love to hear from you and see some of your creations in the comments section below!

The post Low-Key Photography – Highlighting Darkness by Hannele Luhtasela-el Showk appeared first on Digital Photography School.

Digital Photography School

May 9, 2017