Category: Photography

How to Use DNG Files on Your iPhone With Lightroom Mobile, RAW or ProCam 4

The recent release of iOS 10 saw an important update to the iPhone’s operating system for photographers. If you own an iPhone with a 12-megapixel camera (that is an iPhone 6S/Plus, iPhone 7/Plus, iPhone SE or even an iPad Pro 9.7) the operating system now allows third party camera apps to save photos in the DNG format. That’s excellent news for iPhone photographers as it means that you can now realize the potential of your phone’s camera.

Image quality improvements

The advantage of using DNG (rather than JPEG) as the file format is that you can process the DNG files in Lightroom (or your software of choice). This gives you much greater control over noise reduction and sharpening, as well as color and tonal adjustments. Photos processed by the iPhone and saved in JPEG format often suffer from smearing caused by noise reduction, especially if taken in low light. Using DNG lets you avoid that.

This photo was taken at ISO 125 (fairly high for an iPhone, whose lowest ISO setting is 25) using the JPEG format (all other photos in this article are from DNG files).

This 100% magnification from part of the image shows the smearing caused by the iPhone’s processing. To me, it looks like someone has applied a filter in Photoshop that is meant to make the photo look like a painting.

This photo was taken at ISO 250 using the DNG format. A smartphone camera is not the best tool for shooting in low light, but I wanted to test the camera under these conditions.

This is a 100% magnification. I processed the photo using Lightroom’s default noise reduction settings. There is plenty of noise (exaggerated by the increased Clarity needed to get the best out of iPhone files) but no smearing.

DNG files are also much better for converting to black and white than JPEG files. Black and white shooters will appreciate the ability to process their own Raw files and not rely on the camera’s software to do it.

Here’s a black and white version of the opening photo that I made using Lightroom for conversion.

What you need to know

The important thing you need to know is that, at the time of writing, the iPhone’s native Camera app doesn’t have the ability to save your photos in the Raw format. You need a third-party one. Let’s take a look at some of the choices available.

Lightroom mobile

Lightroom mobile lets you take, save, and process DNG files on your iPhone. This is brilliant if you’re a Lightroom CC subscriber as it lets you take full advantage of all of Lightroom mobile’s features.

The only disadvantage of using Lightroom mobile is that the photos you take are stored within the Lightroom mobile app and not in the Camera Roll. That means you can’t download your DNG files by connecting your iPhone to your computer using the lightning cable.

Please note: If you’re not a Lightroom CC subscriber, you can still download Lightroom mobile for your iPhone and use it to take Raw photos. However – and this is very important – there is no way to save the Raw files to your Camera Roll or get at them without a CC subscription. I understand that Adobe software engineers are working on a solution to this, and hopefully, it will be implemented in a future version of Lightroom mobile.

How it works

Lightroom mobile uploads photos taken with the camera, to Adobe’s servers. These are then downloaded by Lightroom desktop or Lightroom mobile on another device such as a tablet. You can set Lightroom mobile to sync only over wi-fi networks, so you don’t have to worry about using up data. But, given that DNG files are larger than JPEG files, it does mean that if you take photos in any volume it’s going to take a while for them to synchronize across devices.

Lightroom mobile’s camera app is a little more sophisticated than the iPhone’s camera app and lets you set white balance and exposure compensation.

As we’ve seen, Lightroom mobile works well under the right circumstances. But if you’re not a CC subscriber or you don’t have fast wi-fi, then you may want to look elsewhere for an app that lets you save photo files in the DNG format.

RAW

500px have released a free camera app called RAW that lets you capture DNG files and edit them on your phone. The RAW app lets you create model releases, upload and license your photos on the 500px website, and use filters created by other RAW app users to process your photos.

The app also lets you save DNG files to the Camera Roll. So that you can download them by connecting your iPhone to your computer without having to rely on a wi-fi connection. You can only do this one at a time, though. So it’s a time-consuming process if you shoot a lot of photos. The camera in the app itself is also quite limited – you can tap on the screen to select the focus point but that’s the only control you have over the camera.

VSCO Cam

The VSCO Cam app (also free, AND available for Android users too!) doesn’t support DNG yet but according to a recent press release DNG support is coming in a future update (date unspecified).

I’m looking forward to this, because the VSCO Cam camera app is quite clever and lets you adjust the exposure, white balance, and flash settings, as well as display a grid and a spirit level on the screen. You can download free presets to process your images (or buy others). But the big advantage is that it saves photos automatically to the Camera Roll, so you can download your DNG files directly from your iPhone if you want, without having to rely on a wi-fi connection.

ProCam 4

If you’re looking for a sophisticated iPhone camera app that supports Raw, saves your DNG files to the Camera Roll, and gives you full manual control over the camera, then I recommend the ProCam 4 app.

It costs a few dollars to buy ($ 4.99) but is well worth the expenditure. This app lets you adjust ISO, shutter speed and white balance. It also lets you save the same photo in both JPEG and DNG formats in the Camera Roll.

If you take photos in any volume, then the ProCam 4 app is the best one that I’ve used for the iPhone. All you have to do to transfer your DNG files to your computer is connect the iPhone with the lightning cable and import the files using Lightroom (or the computer’s own software). It’s much quicker and easier than waiting for Lightroom mobile to synchronize files, or using the RAW app and saving your photos to the Camera Roll one by one.

Disadvantages of DNG

Are there any disadvantages to using Raw on an iPhone? The only one that I can think of is that DNG files are larger than JPEGs and require more storage space. If you have an iPhone with 64GB or more storage space I don’t think this will be a problem. But if you have 32GB or less, then space management may become an issue if you have lots of DNGs.

More to come in the future

Before we finish I think that it’s important to note that the ability to save DNG files on an iPhone is such a new feature that developers are still rushing to take advantage of it. Expect the apps mentioned in this article to be updated and improved, and for more apps to take advantage of this new feature in the future.

All photos in this article were taken with an iPhone SE and processed in Lightroom.

Do you have an iPhone that lets you use the DNG format? Which apps do you use to take DNG photos? Let us know in the comments.

Editor’s note: There are several Android phones which can shoot RAW files in the DNG format as well. If you have an Android do a google search to find options for your brand and model.

If you’d like to learn more about processing photos in Lightroom then please check out my Mastering Lightroom ebooks.

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The post How to Use DNG Files on Your iPhone With Lightroom Mobile, RAW or ProCam 4 by Andrew S. Gibson appeared first on Digital Photography School.

Digital Photography School

November 16, 2016
New 2016 Annual dPS Reader Survey – Tell Us More About You

At dPS we value you, our readers, above all else. We want to help you take better pictures.

By doing this survey you will be helping dPS serve you better. By knowing what kinds of things are you struggling with, and the types of articles you want to see we can work toward providing more of what you need to move your photography forward.

We value your time, and you, as our regular reader and always strive to improve – you will help us by completing this form, for which we will be especially grateful.

Click on this link, or the image below to start the survey.

Thank you for your continued support and being a dPS reader. We wish you all the success on your photography journey.

The dPS Management Team

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Digital Photography School

November 16, 2016
How to Improve Your Photography by Shooting Behind the Scenes of a Short Film Shoot

For any creative photographer, shooting behind the scenes of a short film sounds like a boring idea. That’s what I thought until my friend called me to shoot for one of his school projects (he is in a film school and had to shoot three sequences). I wasn’t going to refuse so I showed up that day and little did I know, I ended up learning so many things and got to meet a lot of people. The best part is that I took some of the best images since I first picked up my camera.

Here are some reasons why you should consider shooting behind the scenes images and how it can benefit your photography:

#1 – It’s an opportunity for a photoshoot

During a shoot for a short film, most of the actors are used to modeling and aren’t afraid of a camera. There is a director of photography who works on the lighting, and there is a make-up artist (of course there are more people on set who take care of the sound, costumes, assistant, etc.). A short film is basically a photo shoot but instead of taking images, people act and they are being filmed.

Actors have their costumes, they have had their hair and make-up done, and the director of photography just did the entire lighting for you. You have to see it as an advantage because they spend weeks planning and you’re just here to take beautiful photos with perfect conditions. I took my most beautiful images during short films and I would not have had been able to reproduce the scenes, costumes, and ambience on my own.

Even if you don’t really like the theme or would rather plan a photoshoot on your own, trying other people’s ideas can also put you out of your comfort zone and help you progress.

#2 – You’re surrounded with creatives

Working with other creatives has helped me so much. The best thing is the shared interest and not wanting to disappoint. Working with people who want to create gives you an extra boost and it pushes you to do your best. Most people on a film crew need these images. Looking at all the work they put into creating their projects, whether it’s for auditions to find the perfect actors, negotiating to borrow super expensive filming equipment, let’s not forget the make-up artists who stay on set all day, and all the detailed planning of the sequences. You can’t really disappoint with average images, so you automatically try to get stunner shots.

It’s quite difficult because you can only take images after the scenes when the actors are briefed by the film director. So they’re not actually posing for you, you just have to walk around without attracting any attention to get some nice images. Do not take any images when the video camera is rolling. The sound of your shutter can throw a whole scene away, and trust me you do not want to be in that situation. Just patiently wait for the director to say cut and then you can start taking your images.

When an actor is not included in a scene, you can kindly ask them to pose for you. Most of them need portraits for their website or their portfolios so they will most likely say yes. If they say no, just tell them that if they change their minds, you’re always fine with taking portraits.

#3 – You may get to work with these people on future projects

A whole day of filming can take up to eight hours or more. You’re going to meet a lot of people (depending on the size of the crew) and you will have a lot of time to get to know everyone. I would highly recommend socializing during the breaks over a cup of coffee and getting to know everyone. Most of them have the same passion as you, whether it’s the assistant or the sound team, you can speak about previous or future projects, have tech discussions about camera gear, you name it.

The actors are the most talkative, especially when they have a few hours without any scenes. Tell them about your photography. If you like their profile ask them if they would like to have a photoshoot with you in the coming weeks. The make-up artists are also great contacts to have, take their business card and contact them for your next photo shoot if you need someone for make-up and hair.

One make-up artist I met had a little girl who wanted to start modeling. We met a couple weeks later and I photographed her daughter. I ended up having a solid image that went directly into my portfolio.

Get your images ready to show them quickly

One tip I can give is to work on the images as soon as possible. Once these people see your images they will start spreading the word to other people in their school or entourage, share your images on social media, etc. (that is of course if you had good results). You will probably end up being Facebook friends with most of the crew and you can keep in contact that way.

Most of them will post on Facebook or directly contact you if they need a photographer. Once you do a good job, they will most likely call you back. Their friends will start calling you then you will meet other actors and make-up artists, and increase your contacts even more.

#4 – You will learn a lot of technical things

Most film crews use a lot of advanced equipment. By watching them set up everything, you will learn a lot about cameras, the choice of lenses, framing, lighting, sound, communication with actors, team work, tracking shots, and organization. Even if you’re passive in this process, open your eyes and try to absorb as much information as you can.

Most directors of photography will use different lighting techniques with some hair light, key light, harsh light, soft light, back-light with different modifiers. Pay attention to their work and try to replicate what you see later at home, you can also take images of the light set up to know exactly how each light is placed on set.

Conclusion

Those are just a few ways you can benefit from shooting behind the scenes on a film set. If you’ve had the experience of doing this, please share your thoughts and images in the comments below.

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The post How to Improve Your Photography by Shooting Behind the Scenes of a Short Film Shoot by Yacine Bessekhouad appeared first on Digital Photography School.

Digital Photography School

November 15, 2016
Overview and Hands-On Reviews of the New Fuji X-T2 Mirrorless Camera
The newest Fuji camera on the market is the Fuji X-T2 mirrorless camera. It’s been available for a couple months now so there are a few reviews and tests out there already. I personally own and use the X-T1, so I am very interested to hear about its successor. Let’s see what a few sources have to say about the X-T2.

Check prices on the Fuji X-T2 on Amazon.com or B&H Photo.

Tony and Chelsea Northrup thoughts

Tony and Chelsea tested out the X-T1 so they have a good comparison between it and the new Fuji X-T2 and talk about what’s new and improved in this video. They also mention a few things they would have liked to see added that weren’t.

Photography Concentrate – Lauren’s thoughts

Fuji loaned them an X-T2 to try out for a couple weeks. This is what Lauren thought of it overall. Some of the things she mentions as being “issues” I personally don’t have any problem with such as:
- The aperture ring on the lens (I like it!)
- That the camera gets quite warm on hot days. I have noticed that with the X-T1 also.
- Play button in an odd place (no biggie you can program custom buttons)
- Using the Smartphone app that you can’t see the RAW images. How I get around this with my X-T1 is that I process a few select images into JPG on the camera then pull them to my phone or iPad to play with in Snapseed. I haven’t found it an issue.
But overall she gives it a pretty good thumbs up and says she’s considering switching from Canon to use this camera for all her profession work. So that’s a pretty good endorsement.

The Camera Store guys

In this next video, the guys from the Camera Store give the Fuji X-T2 a good field test in New York City. They test both still and video which some of the other reviews don’t cover. Also mentioned in this video is the new Fuji speedlight which can handle high-speed sync.

The highly improve autofocus on the Fuji X-T2 is mentioned and that it’s a bit tricky to set up. There’s a link to the Fuji Guys channel where they’ll help you configure it if you decide to pick up this camera or already have.

Things I’m excited about:

Since I have the predecessor the X-T1, these are a few of the features that I’ve seen (and I’ve had a chance to handle the camera give it a really quick go) which I’m really excited about as improvements over the old design. They include:
- YAY, you can open the battery compartment now without having to remove the tripod insert!! This is my biggest pet peeve of the X-T1.
- The dial on top lock and unlock and they move a lot smoother now. Mine on the X-T1 stick and something both the top and bottom ones move together. I know I can send it back to get those fixed but I don’t want to be without the camera for several weeks so I put up with it.
- Improved autofocus options and faster autofocus. From what I’ve seen the X-T2 is WAY better than the first generation X-T1. According to The Camera Store guys it actually rivals the Sony a6300 for fastest focus on the market currently. Impressive!!
- Two memory card slots. I like the idea of shooting RAW on one and JPGS using the nice Fuji film profiles on the other.
Check prices on the Fuji X-T2 on Amazon.com or B&H Photo.

Have you already ordered yours? Are you considering it? Have you had a chance to test drive one? I want to know. Tell me your thoughts in the comments below.

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The post Overview and Hands-On Reviews of the New Fuji X-T2 Mirrorless Camera by Darlene Hildebrandt appeared first on Digital Photography School.

Digital Photography School
November 15, 2016
5 Quick Tips to Help You Make a Fashion Photography Shoot Like a Pro

It might be the fabulous pages of magazines or it might just be that urge to create something chic. Either way, we are now living in this digital era where fashionable shoots are just around the corner. Hashtag #OOTD (outfit of the day). But that’s where the similarity ends. Planning and executing a fashion photography shoot takes more than that.

I hate to break it to you, but placing all your good looking friends in front of your camera, and purchasing the latest mirrorless technology probably won’t make you the next Guy Bourdin. From my personal story as a fashion photographer for over five years now, your biggest learning experience comes from learning through your own team, fellow creatives, photographers, stylists, models, and make-up artists. So, here are some tips I’ve learned through my years of trials and tribulations on how to produce a fashion shoot like a pro.

1. Inspirations 101

“Nothing of me is original. I am the combined effort of everyone I’ve ever known.” or so the saying goes. Nowadays, let’s challenge the concept of people stating there’s no such thing as originality anymore. Is that true? But truthfully, the best ideas may not be the first ones.

Creativity is a limitless concept. You can always start developing your ideas by sourcing inspirations from practically anywhere. When you start noticing the littlest things in your life, it will do wonders as your source of inspiration. This is fundamental because it is the ground work before every shoot. To develop a concept that is strong and authentically yours is the key to the next step of creating the perfect frame in a fashion photo shoot.

2. Team Work is Everything

Create your perfect squad. When you meet someone you are comfortable working with, continue to develop a great relationship with them. Because at the end of the day, the perfect frame is not just in the hands of the photographer. Everyone needs to be equally involved and the greater the chemistry ultimately leads to the perfect picture.

Make sure you succeed in getting everyone on the team on the same page, from the vision for the shoot to work ethics. A solid team of creatives that gel well together is really ideal because in the end, it’s all about teamwork.

3. The Look

A fashion shoot is never complete without the right model. You need to find a model who has the right look for the concept. Whether it’s height, hair color, skin tone, eye shape, etc. Bonus points if you get to know the model first beforehand. Good chemistry between the photographer and model is also very important to create a comfortable shooting environment.

When you are shooting, there’s only the photographer, the model, and a camera. Putting on a music that’s enjoyable to everyone can also help the model get into character.

4. Scouting Locations

Outdoors or indoors, it’s crucial to prepare everything beforehand. You don’t want to be stressed out on the big day right? When it comes to studios, the physical environment has to be a positive working environment. Think about how much space you need, equipment, facilities, etc. An outdoor fashion shoot are tad trickier. Always double check if you need to have permission beforehand if it is a private area, and always, always check the weather! The sun can be your best friend or your enemy in this case.

5. Hair, Makeup and Wardrobe

This is where the good team work really shows. I personally think it is important to get everyone on the same page for the vision and mood of the shoot. Also, don’t be afraid to voice your opinion if something can be altered. Such as the hair is too big, the model needs more mascara, the button’s falling off, etc. Don’t be afraid to speak up, it’s team work after all.

Lastly, never forget to have fun! It’s always a blessing to be able to work passionately. Enjoy your ride along the way, stay curious, and bring positive vibes. Good luck.

Please share your fashion photography tips and photos in the comments below.

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The post 5 Quick Tips to Help You Make a Fashion Photography Shoot Like a Pro by Sally Ann and Emily May appeared first on Digital Photography School.

Digital Photography School

November 15, 2016
7 Tips for Doing Crystal Ball Refraction Photography
You’ve have heard of reflections in photography, but have you have tried refraction? When used well, refraction creates compelling images that will leave your audience both wowed and curious. I’ve been approached many times by strangers who are curious about how I photograph with a glass ball. Once you’ve mastered this type of photograph you’ll likely get the same audience. Here are some tips to help you do crystal ball refraction photography.

$Doing Crystal Ball Refraction Photography - house inside glass ball$

The subject shows prominently in the ball, and around the ball is bokeh.

So what is refraction?

Refraction happens when light passes through an object of denser mass, such as water or glass. When this occurs, light is bent, and there is a distortion. When refraction occurs with a transparent spherical object something magical happens. An inverted image of the scene behind the ball is seen. The lens elements in your camera actually work this way as well. You can use a glass ball as an extra lens element, one you can move around your scene.

$Doing Crystal Ball Refraction Photography$

How to do refraction photography

Now you know what refraction is, it’s time to learn how to apply it to your photography. If you follow the guide below you won’t go far wrong with this type of photography.

#1 – Dealing with the upside down image

There are instances where it works to have an upside down image in the background or inside the ball. If you want to avoid this, the best way to deal with an upside down background is to blur it out using bokeh. An alternative to blurring out the background is to use reflection since the reflected image will be the right way up inside the ball.

$Doing Crystal Ball Refraction Photography - The image inside the ball will be upside down.$

The image inside the ball will be upside down.

#2 – Get above your subject

You should get the ball off the ground so it’s level with the subject you’re photographing. A centered subject in the ball will have less distortion and more impact in the frame. There are always exceptions, of course, as leaf beds or puddles work well when the ball is placed right in them.

#3 – Fill the glass ball with your subject

You have to get close to your subject, or it (they) will appear very small inside the ball. The best advice I can give here is to see if your scene would fill a wide angle lens. If so you’re gold.

$Doing Crystal Ball Refraction Photography$

In this photo, the cityscape is captured inside the ball, and a closer framing was employed.

#4 – Choose the correct lens

The best option here is to use a macro lens or a telephoto lens with macro capability. The macro lens will allow you to get close to the ball, making it easier to create bokeh around the ball. Using a wider angle lens can also work if your scene allows it.

#5 – Choose the correct aperture

You need to get the correct aperture for your scene. An aperture that’s too small won’t blur out the background. One that’s too large will make it hard to get a sharp image inside the ball. I would choose an aperture of around f/4, it depends on the scene you are photographing, though.

$Doing Crystal Ball Refraction Photography$

One of the best ways of dealing with the upside down image is to use reflection in the photo.

#6 – Find a safe place to position the ball

This is very important, especially if you are photographing from a high vantage point. The ball needs to sit on a flat surface, finding a crevice to sit the ball on is better. Once you have placed the ball ensure it isn’t going to fall and keep your hands near it during this time.

If there is no place to rest the ball you can ask a friend if they’ll hold the ball for you. You need to be especially careful on a windy day, a strong gust of wind can move the ball if it’s not in a secure position.

In this photo of the Taj Mahal, there is a reflection in the background, and this reflected image is in fact upside down.

#7 – Lighting the subject in front of the ball

You should have a well-lit subject in any kind of photo, but it’s even more important with refraction photographs. A strongly lit subject will shine through the ball with less reflection appearing on the ball. Look to photograph when the sun is behind you or during blue hour shooting towards lit buildings.

Refraction photography versus a standard landscape

A lot of locations that suit refraction photography with a glass ball will also be good for regular landscapes. The question is why photograph a refraction photo when you could take a wide-angle shot of the same scene? Let’s take a look at some of the pros and cons of crystal ball refraction photography.

Pros of refraction
- A glass ball is cheaper than a lens and allows you to create a fish-eye like effect.
- You can move the ball to different positions in your scene.
- Using a large aperture in conjunction with the ball to create bokeh, is great for minimalism.
- Scenes created with a crystal ball often have a more artistic feel.
- The ball creates a natural frame for your photo.
Scenes that are well suited for a wide-angle photo also often work well inside a crystal ball.

Cons of refraction
- The larger glass balls are heavy to carry, in an already heavy camera bag.
- You need a macro lens, something a landscape photographer may not normally carry.
- Distortion on the edge of the ball.
- It’s difficult to get a sharp image inside the ball.
- The image in the ball is upside down.
This is a wide angle photo of a famous road junction in Shanghai.

The choice of taking a glass ball is yours to make, I highly recommend experimenting with it, though. The pros really outweigh the cons, and following the tips in this article will help. You may also find weight an issue, so I recommend scouting a location before shooting with the ball. Then return for a second visit with just the equipment you need to take the photo, this will reduce the weight somewhat.

Experiment with the ball

The first thing you’ll need of course is a crystal ball, you can buy them easily through amazon for 27$ . While you wait you can try filling a wine glass with water, you’ll get the refraction effect this way too.

Now you’re ready to get started, so head to a local landmark and start experimenting. The list of subjects is really endless; you can start with a lone tree, a church, or a cityscape scene. If you have any photos that show refraction please add them to the comments below, it would be great to see them.

Natural landscapes look great inside the ball. This is a volcanic lake found in Indonesia.

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The post 7 Tips for Doing Crystal Ball Refraction Photography by Simon Bond appeared first on Digital Photography School.

Digital Photography School
November 15, 2016
10 Tips for Doing Your First Family Portrait Session

Photographs from a good family portrait session will be treasured for many years to come. It’s an incredibly rewarding area of photography, but it can also be a little daunting for new photographers. You need to build a rapport with the family fast, keep the children on board, and meet the parents’ expectations with gorgeous photographs.

So where do you start? Which camera settings should you choose?

Here are some important pointers to make your first session go smoothly, and to help you take great family portraits.

1. Get down to their level

Get down to a child’s eye level. This will lead to far more engaging photographs, as well as helping you to interact better with the child.

2. Use Centre point focus

Different focus settings suit different photographers, but center point focusing tends to be the most useful for family portraits. As you take more and more family portraits, you’ll get a feeling for whether this suits you, But it’s a great starting point for your first session.

3. Choose an appropriate aperture

Your aperture settings will be influenced by the style you prefer. As a starting point, many lifestyle family photographers choose to shoot wide open for individual portraits (f/2.2 works really well), and around f/5.6 for group shots to ensure everyone is in focus.

This was taken at f/5.6.

This was shot at f/2.2.

4. Starting shutter speed

You will probably find yourself needing a slightly faster shutter speed for family portraits than you’d need for many other kinds of portraits. Children move fast, and sometimes unpredictably! A good setting to start with is 1/250th, which will give you flexibility for children rolling over or waving. If you have a situation where someone is moving very fast, such as a child jumping or racing off into the distance, choose a much faster shutter speed like 1/800th.

This was taken at 1/800th]

5. Use Auto ISO

While you’re familiarizing yourself with the apertures and shutter speeds that work for you on family portrait sessions, consider setting your ISO to auto. The results are usually satisfactory, and it’s one less thing to think about on the day. As you gain experience and confidence, you can start to select the ISO as you go along.

6. Metering mode

Certain metering options seem to suit some photographers better than others. As you take more family portraits, you’ll soon see which works best for you. To start with, try using spot metering for individual portraits, and evaluative metering for a group shot.

This was taken with the evaluative metering mode.

7. Shoot in RAW format

The editing options open significantly in Lightroom, and you’ll have a far greater range of colors and detail recorded if you shoot in the RAW format.

8. Auto White Balance

Set your white balance to auto if you’re doing a location shoot. You’ll be working in a variety of locations with different lighting, and you won’t have much time for setting white balance as you go. Correcting white balance is an easy edit in Lightroom, so you’d be better off spending the time engaging with the family you’re photographing.

9. Choose your lenses

Consider which lenses to take with you to the family portrait session. If your budget doesn’t stretch to having several lenses, consider renting some. It can be surprisingly economical, and it gives you the opportunity to try out different focal lengths to see which suit you best.

This was taken with an 85mm lens.

Using several lenses throughout a family portrait session will give you lots of variety in the images, as well as meaning you can cope with most locations. A zoom lens like a 24-70mm will give you lots of flexibility, or a popular prime lens for family portraits is an 85mm lens, which is very flattering for portraits. A wide lens like a 35mm will help you to set the scene.

As you gain experience photographing families, you’ll develop a sense for which lenses suit you best. That’s a good time to invest in the best quality lenses you can afford.

This was taken with a 35mm lens.

10. Set limits

Limit yourself to taking five versions of each scene. This will train your eye to look for the details and expressions you want to capture and to make sure you ultimately combine them all in one photograph.

Conclusion

So there you have it – family portraits in a nutshell. Practice makes perfect, though, so be prepared to work hard and hone your camera skills. Above all, a friendly and professional attitude combined with careful preparation for each family portrait shoot should make for happy clients and repeat business.

Please share your family portrait tips and photos in the comments section below.

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The post 10 Tips for Doing Your First Family Portrait Session by Louise Downham appeared first on Digital Photography School.

Digital Photography School

November 15, 2016
How to Photograph the Magical Microscopic World – Photomicroscopy
What is photomicroscopy

There is a whole world right under your eyes where everyday and unique objects take on a fascinating new appearance. This world is microscopic and even though it is right in front of you, the tiny scale makes it difficult to see the incredible detail.

Photomicroscopy in its simplest form is high magnification photography, which in practice involves the use of a microscope to magnify images followed by using a camera for image capture. With the advent of eBay and other online auction style sites, photomicroscopy is becoming far more accessible to the wider population, allowing anyone to see the incredible detail.

Monosodium Glutamate (MSG) at high magnification by polarized light microscopy.

My passion for photomicroscopy

As a scientist, I spend a significant part of my time conducting investigations which require me to use microscopes. It was this exposure (and my embedded love of science) that got me interested in microscopy. Once I caught the bug, I acquired a microscope from an online auction store and purchased the accessories needed to couple the microscope to my Nikon DSLR. It should be noted that you can easily find accessories to couple with most camera brands, so this is not limited to Nikon.

My Nikon attached to the microscope.

Over time my setup expanded, to try and optimize the workflow through the addition of focus stacking software and hardware to counter the very shallow depth of field microscopes have.

How to take photomicrographs

Two-ply toilet paper by transmitted light microscopy.

Photomicrographs are high magnification images which are captured using both a microscope and a camera, in my case a Nikon D5300 DSLR. First, you need to find an object that can be imaged and prepare it.

Because the depth of field is so narrow, most item(s) need to be cut into thin slices or focus stacked to get an adequate depth of field. Once you have found the item you want to photograph, it is then a case of putting it under the microscope on a glass slide, setting the light to evenly illuminate the item and setting your camera to take the image.

One point to note is that many entry level DSLR’s (including the Nikon D5300) do not meter with microscope adapters. As such, to capture an image you will need to have the camera in Manual mode and use trial and error to adjust your shutter speed to expose the image properly.

Dried chili flake by transmitted light microscopy.

What items look great under the microscope?

A significant number of everyday objects look incredible under the microscope, some of these can be found in the kitchen, while others are more likely to be found outside. Here are a few ideas:
- Insect wings
- Pine needle cross-section
- Lake water creatures (e.g. water fleas)
- Granules of sand
- Onion skin
Sand grains by transmitted light microscopy (and focus stacked).

Onion skin by transmitted light microscopy (and focus stacked).

When you start to add polarization to the mix, a number of chemicals take on a new life, some of these are every day, while others are more unique:
- Caffeine
- Menthol
- Nicotinic Acid
- Benzoic Acid
- Stearic Acid
Benzoic acid by polarized light microscopy.

Caffeine by polarized light microscopy.

Tips and tricks for photomicroscopy

As with photography, lighting is essential for photomicroscopy. Microscopes essentially have two types of lighting. One is transmitted lighting which is where the light is shone up through the item. The second type of lighting is where light is shone on the item which is known as reflected lighting. Transmitted lighting is best for transparent samples, while reflected lighting is best for opaque samples.

Using a polarizing filter retrofit will make many chemicals under the microscope come to life due to a property called birefringence. This property is where the refractive index of a material changes based on the degree of polarization and light, leading to many different colors within chemical crystals.

The depth of field in photomicroscopy is VERY shallow, as such you may need to either use thin slices of a material or do focus stacking to achieve a suitable depth of field. There is a range of software packages which can help with focus stacking, these include; Helicon Focus, Zerene Stacker and Photoshop.

Peppercorn by reflected light microscopy.

A few more images

Here are a couple more example images.

Absorbent Wipe by reflected light microscopy.

Butterfly wing by dark field microscopy.

Glutamaic Acid

Sponge

Have any idea(s) on what might look great under the microscope? Let us know in the comments below, please.

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The post How to Photograph the Magical Microscopic World – Photomicroscopy by Travis Hale appeared first on Digital Photography School.

Digital Photography School
November 11, 2016
Step by Step Plan for Backing Up Your Images While Traveling
Planning how to back up your images while you travel isn’t nearly as exciting as planning your itinerary or buying gear for your upcoming trip. But it’s an important step in the travel planning process. Especially if you’re going someplace rugged and amazing like Iceland in the dead of winter, having a plan for uploading and backing up your images while you travel will help you ensure that all of your images are securely stored in multiple locations. After all, if you finally get a chance to photograph ice caves and the aurora borealis, you don’t want to worry about getting those hard-won images safely home with you.

Following is a step-by-step plan for backing up your images starting with preparing to travel, guidelines for backing up during your trip, and how to complete the process once you return home.

Part I. Before you leave on your trip

Step #1 – Examine, reformat and test all of your memory cards

Before you leave on your trip, make sure that you have plenty of memory cards. I budget approximately two 32gb cards per day. You may need more or fewer, depending on your style of shooting.

First, examine all of your memory cards for damage. If any are visibly bent, warped or deeply scratched, it might be time to retire them.

Next, reformat all your memory cards in your camera. Take and save several images on each memory card and then upload the images, one card at a time. This test verifies that each memory card is still in good working order. If a memory card does not pass the upload test, retire it.

Step #2 – Buy smaller memory cards to reduce risk

If you need to buy additional memory cards, evaluate using smaller cards like 32gb and 64gb. You have to change memory cards more often while you’re shooting but if one memory card goes bad, you’ll have endangered far fewer images than if a huge 256gb or 512gb memory card corrupts.

Use stickers to indicate if memory cards are full or empty.

Create a system to keep full memory cards separate from empty memory cards. An easy method is to buy a memory card case or folder with clear pockets. Put blue sticker dots on one side of your memory cards. Put red sticker dots on the other side of your memory cards.

Blue sticker dots mean used or full cards. You can remember this mnemonically since blue, used and full all contain the letter U in them. Red sticker dots mean empty cards. You can this remember this mnemonically since red and empty all contain the letter E in them.

Step #3 – Number your memory cards sequentially

Before placing the stickers on the cards, I also like to number the sticker dots one through however many cards I have. I file the memory cards numerically in the case. On day number one of my trip, I’m using cards numbered one and two. On day number two of my trip, I’m using cards three and four. By numbering the cards, I ensure I rotate them which further reduces the chance of corruption since no one card is used excessively. Then if I do lose a card, it’s also easier to keep track of which card from which day has gone missing if the memory cards are numbered sequentially.

Lastly, if a card does corrupt, it’s easy to keep track of which one because it’s numbered. I usually pull it out of my case and stow it separately in a secure pocket elsewhere in my bag. If memory card number four goes bad on a trip, I want to ensure I don’t accidentally reformat it or save more images to it before I’ve tried to recover the images.

After you test, number, and sticker all of your memory cards, place them in the case with the red sticker dot facing up. While you’re traveling, place full (used) memory cards back into the case sequentially with the blue dots facing up. If you’ve budgeted the amount of cards you need for your trip correctly, on the last day of your trip, all of the memory cards in your case should have blue dots facing up.

SD or CF cards or both?

If your camera has two memory card slots, evaluate carefully whether or not you want your main memory card to back up to the second card while you’re shooting. My Canon 5D Mark III has two memory card slots. One is a CF card slot and the other is for an SD card. I typically only use the CF card slot because they write faster than SD cards. Since I photograph horses and wildlife and set my camera to high-speed burst mode, I want my images to write to my memory card as fast as possible. Since my camera defaults to the write speed of the slowest card, I leave the SD card slot empty.

While this method works for me, your camera might function differently than mine. You may also have different priorities than I do when you shoot. Landscape photographers, for example, don’t use high-speed burst mode very often. Neither do macro photographers. If you specialize in landscape or macro photography, automatically creating a backup in camera by writing your RAW images to two memory cards simultaneously might be a good failsafe for you.

Step #4 – Buy two identical portable hard drives for travel

I recommend uploading your travel images to two identical, high-quality, portable hard drives. I use 1TB drives. One terabyte is typically enough for my style of shooting since I rarely travel for more than 10 days at a time. Digital storage is inexpensive these days. So evaluate the best size portable hard drive for you by reviewing your image files from past trips. Buying more storage than you think you need is more effective in the long run. So if you think you need 500gb drives, buy 1TB. If you think you need 1TB, buy 2TB.

Step #5 – Protect your new hard drives

Now that you have two new hard drives to keep your images safe, you need to physically protect them. Use rubber bumpers or cases to protect the drives in case they fall out of your bag or are dropped. If you’re shopping online, you can usually find the correct size bumper or case listed on the same web page as your hard drive.

Step #6 – Label your portable hard drives

When you are setting up your new portable hard drives, label each one clearly. I literally use a thick permanent marker to do this. Keep the names consistent since you’ll be referencing these drives frequently. Mine are simply called Travel #1 and Travel #2.

Step #7 – Format and set up your portable hard drives

Format your new portable storage drives according to your operating system – usually OSX or Windows. When you’re formatting the hard drives, you’ll probably also be prompted to register them with the manufacturer. Registering your new drives might seem like a silly step but it often activates your warranty or image rescue software so don’t skip it.

Step #8 – Create a backup recipe

Once my new portable hard drives are set up and working, I create a folder on each drive called Travel Photos #1 (on drive Travel #1) and Travel Photos #2 (on drive #2). I use a software program called Chronosync (for Mac) to create a recipe that when it is run, backs up drive Travel #1 to drive Travel #2. There are many options for backup software and I would encourage you to do a little research to find the software that’s best for you.

Step #9 – Back up and update your laptop

Right before you go, back up the entire contents of your laptop. I use a MacBook Pro so I run Time Machine. After the backup finishes, I have an up-to-date copy of everything on my laptop on a small hard drive that I leave at home. That copy will come in handy if my laptop is stolen or damaged while I’m traveling. Also, I also check for software updates – especially any related to security – and install those as well.

I skip beta versions or major operating system upgrades since sometimes those are glitchy. I want my laptop software as safe and secure as possible while I travel but I don’t want to have to deal with any new OSX headaches.

Now that you’ve done all that prep work, it’s time to pack, hit the road and make some memorable images.

Part II. While you’re traveling

I know that after a long day of travel, the last thing you want to do is unpack your laptop, upload, and duplicate your image files. But get in the habit of doing it anyway. After a while, it will become routine, like brushing your teeth or washing your face, and you won’t dream of skipping it.

When your friends tell you their horror stories about losing images while they travel, you’ll have to work hard to wipe the smug look off your face because you’ll know you’ve minimized your chances of that happening to you.

Step #1 – Upload images with Lightroom

My first step when I upload images is to plug in my hard drive called Travel #1, then I plug in my CF card reader, insert the memory card and open up Lightroom CC. I always use Lightroom to catalog all of my images. When uploading, I tell Lightroom to import the day’s images to the folder called Travel Photos #1 on the portable hard drive called Travel #1.

Step #2 Option A – Duplicate images on import

In the Import Dialog, you can check a box to tell LR to “Make a 2nd copy to” and duplicate your images by importing them to two locations at once. If you check that box, you also want to click the tiny arrow to the right, click Choose Folder and select the location you want the duplicate images to be stored.

In my case, I would choose the folder called Travel #2 on the portable hard drive called Travel #2. I normally do not duplicate on import because I only have two USB ports on my MacBook Pro. During the import process, both are in use: one for the hard drive Travel #1 and one for my CF card reader. If you have space in your camera bag, you can carry a USB port hub that enables you to attach more drives to your laptop at the same time.

Step #2 Option B – Use software to create a backup

Since I don’t carry a USB port hub, instead of checking the “Make a 2nd copy to” box in the LR import dialog, I use Chronosync to sync one drive to another. This is the backup recipe we set up above. After the images are loaded to my first drive, I run my Chronosync recipe to duplicate them to the second drive. Once I’m done, I have three copies of each image; one on the original memory card and one on each portable of my portable hard drives, Travel #1, and Travel #2.

Don’t erase your memory cards

If possible, don’t erase the images on your memory cards while you’re on the trip. Instead, save them in the memory card holder you prepared in Part I.

Step #3 – Upload after every shoot

When you travel, I encourage you to upload and back up images after every shoot. If you have one shoot per day at sunset, upload and back up before you head out to dinner.

Tip: This is a good time to plug in and charge your batteries too.

Before you head to bed, verify that the image files are mirrored on each drive. Swap the batteries in your charger before bed too to make sure you’ll be all set to shoot again in the morning.

If you have two photo shoots per day, follow these same steps, except do them twice a day. In addition to uploading before dinner, I upload before lunchtime. I usually sneak in a quick nap then too.

Step #4 – Sync images to the cloud

If you have an excellent Wi-Fi connection you might also consider syncing to your cloud service. I normally don’t have very strong Wi-Fi service when I travel so I don’t waste time with this step.

Step #5 – Store your hard drives in different locations

Now that you’ve done all this work setting up this system to back up your travel images, you have one more step to ensure their safety while you travel. You want to keep each of your two drives in different locations. For example, keep one drive in your camera bag and keep one in your luggage.

Always make sure to keep one drive in the bag on (or very near) your person. Keep your luggage with your second drive in your hotel room (or locked in the trunk of the car if you are traveling between locations). In the case of theft, accident, or fire, one copy of your images will be safely stored on the drive in the alternate location.

Part III. When you return home

Once you return home, you need to move your images from Travel Drive #1 to your main photography hard drive. The easiest way to do this is to do it inside Lightroom.

Step by step

Here’s a step-by-step guide for moving your images from your travel drive to your main photography storage drive:
1. Attach Travel Drive #1 to your laptop.
2. Attach your main photography hard drive to your laptop. In this example, my main drive is called PHOTOS 9/2016 TO NOW.
3. Open Lightroom CC in the Library module.
4. One by one, drag and drop each folder of your images from Travel Drive #1 to your main storage drive.
1. Note that at this stage, since I keep all my images organized chronologically I drop my travel images into the folder on the drive labeled 2016 SEPT to DEC. Next year I’ll drop images into the folder labeled 2017.
2. Be patient while your computer works. It takes a few minutes for Lightroom to show you that this task is complete and your images have been successfully moved to your main storage drive. Tip: This is a good time to clean your gear.
3. Now that your images are on your main drive, run another backup.
1. I use a Chronosync recipe to back up my drive called PHOTOS 9/2016 TO NOW to my drive called PHOTOS BACK UP.
2. After completing this step, verify that the images have been moved. I do this by opening a Finder window on my MacBook Pro and checking that the image file names match on both my main storage drive and my backup drive.
3. After you verify that you have two copies again, you can wipe your travel hard drives and memory cards to prepare them for your next trip.
4. At this point, it’s good idea to back up to your cloud service so that you once again have three copies of your images.
Final notes

Since I travel often, I find it easiest to keep my entire Lightroom catalog on my MacBook Pro. If I need to work on a bigger screen, I connect to an external display.

If you keep your main Lightroom catalog on a different computer than the one you travel with, rather than dragging and dropping as I’ve instructed above, attach your travel hard drive and your main photography storage drive to your home computer, open Lightroom and go through the complete import process to your main storage drive. After you’ve imported your travel images to your main Lightroom catalog on your home computer, in addition to formatting your memory cards and wiping your travel hard drive, I’d recommend completely removing the images from the Lightroom catalog on your laptop.

Now you can go unpack and do laundry. Or, if you’re like me, you can start to cull, edit, and create collections with your travel images.

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The post Step by Step Plan for Backing Up Your Images While Traveling by Lara Joy Brynildssen appeared first on Digital Photography School.

Digital Photography School
November 11, 2016
5 Steps to Achieve the Look of Black and White Film Using Lightroom
As a hobbyist, amateur, or professional photographer, you may be interested in achieving the look and feel of black and white film without the hassle and investment in equipment and gear. You can edit a digital image using Lightroom with this goal without having your hands smell like rotten eggs (developing chemicals). If you shoot black and white film often, as I do, then you might actually love that smell. If not, then you might want to read on.

The feel of black and white film – research first

The objective here is to provide you with a few basic steps to get you started on the path to edit your digital images to look like they were shot on black and white film, without the mess. If you are not familiar with the qualities of film images or have not examined them closely, it would be a good idea to do so. Try to pick up and look closely at some actual prints on photographic paper. You might find these in your grandmother’s attic or your local museum. Photography books or online searches will yield many reprinted or scanned examples as well.

First, consider the subject of style as it relates to film photography. Film photographs generally have a certain nostalgic or vintage look and quality to them that distinguish them from the clarity and realistic look of a well-composed digital image. Film tends to render subjects and scenes in a more abstract manner. Although you can make tack sharp and very realistic looking images using today’s film and gear, that’s not really the role of film photography.

If you want clean, shoot digital. Film should look old, slightly out of focus, and definitely grainy. All film has some or a lot of grain and it is basically the equivalent of digital noise. While you may prefer some of your images to look super sharp and smooth, you may also find it pleasing to add a little (or a lot) of grain from time to time.

Film adds an air of mystery

You might want to experiment with this more abstract style or look of film that comes with a distinctive aesthetic. One advantage of presenting this style of image is that the viewer is given the task of filling in the blanks, so to speak. Subjects in your image that are not entirely in focus or even blurry can be representative of anything or anyone. Your image can be more open to interpretation by the viewer as compared to an image that was sharply composed with a subject that is obvious. In other words, you might want to leave some room for mystery in your images. Film photography, or working towards the look and feel of film, can do that for your images.

Like digital, film is really just another medium in which we can express ourselves as artists and photographers. I love many things about both film and digital and each has a place in my professional and personal photography life.

5 steps to getting the look and feel of film using Lightroom

If you shoot digital and are looking to achieve the look and feel of film, below are five easy steps using Lightroom.

1. Set your ISO high

ISO should be set to somewhere between 1600 and 6400. Digital noise is the modern day equivalent of the grain in film. The grain or digital noise creates atmosphere and the look or aesthetic that you are trying to emulate.

2. Make an image of something interesting

Choose a subject. Framing and composition should be pleasing, and be careful to avoid too many distractions. Emotion is usually a good idea to include if there are people or animals in your photo. Any additional compositional techniques can be applied to the image. The subject could be in focus or blurry. This is completely up to you and your vision.

3. Convert the image to black and white

To convert your image to black and white, press V or use another method for black and white conversion in Lightroom. You can stay in color, but the look and feel of color film is more difficult to achieve and will require some additional steps.

4. Open the Develop module in Lightroom

In the bottom panel of the Develop module called Effects, make the following adjustments:
- Using the sliders, set the Post-Crop Vignetting to -10. Older camera lenses tended to impart some vignetting onto the image. This will give the image an authentic older film quality to it. Ansel Adams famously burned (darkened) the edges to all of his prints.
- Set the Grain Amount slider to 50.
- Adjust the Grain Size to 50.
- Set the Grain Roughness to 25.
5. Review your image and make the finishing touches

Adjust the sliders to increase or decrease the three Grain options to achieve your vision for the given image. You can also dial in or out the vignette as well. All images are different and all digital image files will respond differently to these adjustments based on the sharpness and ISO settings.

You may want to consider the following questions to evaluate your adjustments at this point. Do these edits help the image? Does it assist in the presentation of the image as more abstract so that it might connect better with the viewer? Did the adjustments achieve the look at feel of film that you were gong for? You can decide on the answers to these questions and make editing decisions as you see fit or recruit a friend to provide a critique.

If you like your results and would like to explore this topic further, there are free online software programs such as Analog Efex Pro that are part of Google’s Nik Collection. Presets are also available that will aid you in this process and even help you to achieve the look and feel of color film. You might want to consider making your own presets and applying them en masse to a given photo shoot or batch of images as well.

Below are a few images representing multiple genres that I made with a digital camera then edited to achieve the look I was going for using the settings in the Effects panel above.

Do you enjoy shooting film or reproducing the look of it using digital methods? Do you have a favorite way to achieve it? Please share in the comments below.

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Digital Photography School
November 10, 2016