Category: Photography

  • 6 Still Life Photography Mistakes and How to Avoid Them

    As a beginner photographer, I still remember experimenting with random photo-shoots of colorful fruits, leave,s and flowers. Believe it or not, capturing the inanimate has always been one of our favorite pass time activities as photographers. But, not anymore! With so much demand for lively product shoots in magazines and websites, still life photography is a million dollar business today.

    Capturing the still life is a very unique photographic experience. With your subject being inanimate, you get enough time to play with all the creative controls on your camera, and keep snapping until you end up with a shot to which you say – Woah! That is the perfect one.

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    Capturing still life photographs seems easy, but breathing life into those inanimate objects requires a great deal of creativity and obviously, a lot of practice. Should you mess up with the lighting and framing, it’s fairly easy to end up with an austere shot of that already dull bunch of keys. Here are the six most common mistakes that photographers make while doing still life photography.

    Still Life Mistake #1 – Improper Lighting

    Rule one, your subject needs to be well lit up. After-all, it is the central theme of your photo-shoot. Using natural light generally gives superb results.

    In case you are shooting inside a room, you need to be a little creative with the way light falls on your subject. One of the most common mistakes is to photograph your subject under full blown artificial light sources like LEDs and fluorescent tube-lights. Why? Because such light sources add a color temperature to your subject that makes it look less natural. Moreover, they make your inanimate object look just what they are – lifeless and boring.

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    Solution

    Place your subject near a natural light source, such as an open window. Get creative with the light falling on the subject. Does it look amazing when light falls on it from the side? Or does it look more attractive with light falling on it from behind? I personally find natural light from the side to look more attractive. The subtle shadows and visible details under the natural light, sparks interest in the otherwise dull object.

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    Another important thing to take care of is the intensity of the natural light falling on your subject. Avoid shooting it under direct sunlight. The bright sunlight may washout the otherwise delicate details and colors of your subject. As a remedy, in case you really need to shoot under broad sunlight, use a light modifier such as a soft-box (or translucent reflector) that will help produce an overcast effect, and will direct the light to softly diffuse over your subject.

    Still Life Mistake #2 – A Distracting Background

    Placing your subject on a backdrop full of distractions is another potential mistake in still life photographs. Your product being the central theme, deserves all the attention. Therefore, you need to ensure that the background is free from all such distractions. By this, I mean anything that shifts your attention from the main product to the backdrop behind it. For example: capturing a vase of flowers in a background of a home furniture shot.

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    Solution

    Choose a wall that’s simple, and painted with a plain color. If your wall is not plain, use a piece of white chart paper to cover the wall, so that it doesn’t interfere with your main subject. One more tip, if you’re shooting your product over a table top, again make sure that the table is neatly covered with a white piece of cloth or paper. The main idea is to focus as much attention on your product as possible.

    Still Life Mistake #3 – Not Using a Tripod

    In case you need to shoot your subject with longer shutter speed, you need to make sure that you do not end up with a blurry shot. An example under this kind of setup can be a decorative indoor water fountain. You may want to use longer shutter speed to capturing the motion of the falling water. So in this case, it makes any sense to use a tripod because even a slight camera shake can result in a blurry shot.

    With a tripod, you may also wish to use a wireless remote control for shutter release. This makes sure that not even the slightest of the shakes can blur your photo. Alternatively, in case you do not have a remote control shutter release, you can capture the shot by setting your camera on the 2-second timer mode.

    Still Life Mistake #4 – Improper Framing

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    Framing your shot helps focus and arrest the attention of the viewers on your main subject. While framing the shot, determine whether the subject fills the frame in a way that draws the required attention. Utilize the rule of thirds, move around and experiment with different possible angles. You’ll definitely come up with that perfect shot.

    Still Life Mistake #5 – Not Experimenting

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    Being fastidious really pays off when it comes to taking still life photographs for professional and commercial purpose. When you’ve finished setting everything up for the shoot, take a few good clicks and randomize the entire setup – shift your subject to a little different location, add something to the scene that complements the subject, use different angles and lights, try framing the shots all over again. You’ll end up with a unique piece of art each time.

    Still Life Mistake #6 – Wrong Choice of Lens

    Still life photography is all about creating depth, and bringing out the subject in a way that directly interacts with the viewer. How will you achieve this level of focus? By utilizing the shallow depth of field.

    This works great with subjects with high levels of detail such as: flowers, leaves, and fruits. Under this kind of a setup, you will want to come closer to your subject, set the camera to AV mode (Aperture Priority), and keep the focal length as long as possible. A telephoto lens is your best bet for this kind of a setup, because the longer focal length compresses perspective, helping your subject stand out more.

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    This doesn’t mean that only telephoto lenses work for still life photography. If you wish to bring out, and focus on the delicate details of your subject, go ahead and shoot with a telephoto lens. On the flip side, if you wish to capture everything on your table top setup, you would be fine with a either a standard 50mm lens or a wide angle.

    How do you capture the still life?

    What has been your experience with still life photography? Do you have any other useful tip to share? We look forward to your thoughts and suggestions on this article.

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    The post 6 Still Life Photography Mistakes and How to Avoid Them by Rika Guite appeared first on Digital Photography School.


    Digital Photography School

  • How to Create an Effective Workflow and Image Organization

    Lets face it, we all love to take pictures, basically to get out there and photograph what makes us happy and gets our creative juices flowing. Many of us, myself included, hate sitting in front of the computer, sorting and sifting through images from a session, wedding, or just personal work. From busy professionals to active hobbyists, having a good solid workflow and method of organizing images is crucial. I am a wedding, lifestyle and travel photographer. So my workflow is slightly different based on the type of session I am photographing, but for the most part I follow the same series of steps. Here are some tips on how to create an effective workflow that can work for your style of photography.

    Memorable Jaunts DPS Article Editing and Workflow -4-2

    Camera gear

    My camera of choice is a Canon 5D MKIII with a Canon 5D MKII as a backup camera. I have to admit, 90 percent of my sessions are shot using the MKIII. I very rarely use the MKII, but when I am photographing a wedding, the MKII is fully loaded and ready to go, in case I need it. I start of each session (wedding or lifestyle) with a fully charged battery and a Transcend 32GB CF card. I own four 32GB CF cards, three 16GB CF cards and two 8GB CF cards.

    For weddings that are over 10 hours long, I carry all my cards with me. Each camera will start with formatted 32GB CF card. When I am traveling for work or pleasure domestically, I carry my MKIII but when I am traveling internationally I typically carry both MKIII and MKII. The night before any photoshoot (either wedding, travel, or lifestyle), I charge all my batteries (I have five batteries between my two cameras and luckily they are the same configuration) and format all my CF cards. My bag is packed and ready to go in my office.

    Fits a Canon 5D Mark II with 28mm lens.

    During the shoot

    Depending on the photoshoot timeline, I will swap out my cards during a logical break in the shoot. For example – the bridal portraits, first look, etc., will be on one or more CF cards. I will swap out the used card before the ceremony (even if it is only partially used), so I can photograph the ceremony on a fresh card. I learned this the hard way early on, when I lost an entire session on a card that failed. Luckily it was not a wedding, but a personal shoot that I was able to recreate. Since then I don’t take any chances with failed CF cards, especially for important events like weddings. Used CF cards from a photoshoot are placed in a separate pouch, from fresh CF cards which are placed in another pouch in my camera bag.

    After the shoot (local)

    When I am back home from a wedding or a lifestyle shoot, the first thing I do is pack away my gear. I separate my camera bodies from my lenses, and pack them away separately. All batteries are removed, including those from my flash. I have heard horror stories where batteries, especially AAAs, have leaked into the flash socket, so I don’t want to have to deal with that mess!

    I download the images from my CF cards onto an external hard drive, that acts as a storage for my RAW images. Once the RAW images are transferred to my external hard drive, I then format the cards in camera (not via the computer). I use Seagate external hard drives to store my images. I also download my images into the Photos app on my iMac computer. The Photos library resides on another Seagate external hard drive.

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    My external hard drives from Seagate are used to store RAW files from my cards and my Photos library. The RAW files are not deleted but the Photos library are deleted at the end of every year.

    I use iPhoto (now Photos) and quickly sort through the images that I like. Those images are exported as Originals to a folder on my iMac (I name my folders based on the date of the shoot. For example: YYYYMMDD_ClientName_TypeoftheShoot. These selected images are then imported into Lightroom, my preferred editing software.

    My Lightroom catalog also resides on a WD My Passport Ultra, external hard drive. I understand you may have some concerns over running a LR Catalog on an external HD, because of potential LR speed issues. So far, I have not experienced any issues with LR in terms of speed by having the catalog on an external HD. But if you are concerned about speed then your LR catalog can be put on your computer’s hard drive, and keep a backup on the external HD.

    This is more portable than a Seagate and I carry it on extended trips, especially international travel. Once the images are imported into Lightroom (I retain the same name of the folder in Lightroom as well), I delete the folder containing the RAW images from my iMac hard drive. If you are keeping track, my RAW images are stored on two separate external hard drives – one that is a dump of the card and the other in a Photos catalog.

    After the shoot (on the road)

    When I am traveling for work or pleasure, I carry two WD My Passport Ultra external hard drives. One holds the RAW files from my CF cards, the other holds my Lightroom catalog. My original LR catalog is also backed up on one of my Seagate external hard drives. Once I copy the Raw files over, I follow the similar process as when I’m at home.

    When I get home, the raw files from the CF cards used during the trip are copied over to the Seagate that houses all my RAW images, and deleted from the WD Ultra so that it is ready for my next trip. I carry my Lightroom catalog only for extended travel trips, when I know I will be editing images and posting them on social media and/or my blog. For short weekend getaways, I either carry just the WD Ultra just for the raw files or nothing at all, based on the duration of the trip.

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    My portable hard drives are used to save my RAW files when I am traveling, as well as my Lightroom catalog when I am traveling for an extended period of time.

    Editing and delivery workflow

    80% of my editing is done in Lightroom. I use Photoshop sparingly if I have to make any advanced editing like head swapping, and or removing large objects from images. I have invested in the Adobe Creative Cloud for LR and Photoshop. It’s the bundle package deal for $ 10 per month for photographers (get both for only $ 7.99 as a dPS reader). I am able to use both on both my iMac, which is my primary editing device, as well as my MacBook Pro, which is my travel companion.

    After editing is complete, I export my client images onto the same WD Ultra external hard drive as my Lightroom catalog. The client folders are also arranged by date of the session. This time my naming standard is as follows: Memorable Jaunts_ClientName_YYYYMMDD – all images will have the same naming convention as the folder, along with an image sequence number. The images are also uploaded to my portfolio site, in a gallery which is password protected. I share the password with my clients, for viewing their images and ordering any prints. I use Zenfolio to host my client galleries. I have been with them since I launched my business in 2010, and have had a very good experience with them (and no, I did not get paid to say this about them, my views are my own).

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    My naming convention for my Lightroom Catalog – the folders are ordered by Year and then by date for each of my sessions

    When I am traveling, I follow the same process, and edited images are saved in the same WD Ultra external hard drive. Should I need to touch-up or re-edit an image when I am back home, I simply connect the same external hard drive to my iMAC, launch the LR catalog, and I am good to go.

    Client galleries are live online for two weeks, and then they are deleted. At the end of every year, I delete old client processed images from my external hard drive. I retain client session raw files for three years before I delete them from my Seagate external drives (both the original CF card download as well as the Photos catalog) to make room for new sessions. My personal images (images of my family and personal travel) follow the same process as my client sessions. Except these images are never deleted, they are too precious to me and live on forever on my external hard drives!

    Client galleries are live online at Zenfolio for two weeks, and are then deleted from that site. At the end of every year, I delete client processed images from my external hard drive. I retain client session RAW files for three years before I delete them from my Seagate external drives, to make room for new sessions. This is something that I communicate with all my clients when when they receive the link for their online gallery. If any of my clients request additional time to store and/or purchase their images, that is something I will most certainly accommodate 

    My wedding photography packages all include edited images on a personalized flash drive. Whereas my family portraiture clients have the option of purchasing digital images, if they want them for future use. If you don’t want to delete client images in the event that a client may come back to you after a few years (for example in case of death in the family, etc.), you can invest in a large external storage unit like Synology system for backing up, or use Amazon s3 in a cloud environment. 

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    The naming convention for my processed files

    Summary

    As you can see, my workflow and image organization is not too complicated. I tried a few different variations, both in terms of file naming conventions, as well as file storage options, but I find working off external hard drives is fast, easy, and safe. It does require investment in external hard drives, but I typically pick some up when they are on sale.

    I encourage you to use this, or some variation of this workflow, and tweak it to make it your own. Having a workflow will help you be better organized, spend less time in front of the computer, and more time out there doing what you love the most – shooting.

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    The post How to Create an Effective Workflow and Image Organization by Karthika Gupta appeared first on Digital Photography School.


    Digital Photography School

  • Weekly Photography Challenge – Neon

    Sign Sign Everywhere a Sign – check out these images of neon signs.

    Wbeem

    By wbeem

    Weekly Photography Challenge – Neon

    If you live in an urban center or city, chances are you can find some neon nearby somewhere. Look for old diners, city center squares, movie theatres (especially old marquees like this one).

    Mike Boening Photography

    By Mike Boening Photography

    There are a number of ways you can approach this subject, but if you choose to shoot it after dark you will most likely need a tripod and a long exposure, you may also want to incorporate some bracketing and do some HDR or exposure blending to help combat the contrast problem (the dynamic range between night sky and neon is very high, hard to keep detail in all areas).

    You can also add in some extra things like car trails (as seen above) or do a zoom during your exposure. Perhaps shoot just a portion of the sign even. Those are just a few ideas to get you started.

    Tip: if you want some color in the sky and background try shooting just after sunset at dusk, during the blue hour. The sky will be a dark rich blue and not totally black yet, and the lights should start to come on and show up better. It’s about finding the right balance for your exposure.

    Oz Dean

    By oz dean

    Hernan Seoane

    By Hernan Seoane

    Charlie Essers

    By Charlie Essers

    Jeremy Brooks

    By Jeremy Brooks

    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 favourite 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.

    Patrick Brosset

    By Patrick Brosset

    Roadsidepictures

    By Roadsidepictures

    Tim Carter

    By Tim Carter

    Brett Monroe

    By Brett Monroe

    Jeremy Brooks

    By Jeremy Brooks

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


    Digital Photography School

  • Sign Sign Everywhere a Sign – 21 Glowing Images of Neon

    As the song goes, we are bombarded by signs on a daily basis. Traffic signs, store signs, window signs, it’s never ending. But what if those signs are extremely photogenic like neon ones?

    See what these photographers have created by shooting some neon signs (some lit up, some not).

    James Marvin Phelps

    By James Marvin Phelps

    Joel Bedford

    By Joel Bedford

    Pete Zarria

    By Pete Zarria

    Anthony Citrano

    By Anthony Citrano

    Jim Maurer

    By Jim Maurer

    Thomas Hawk

    By Thomas Hawk

    Cgc76

    By cgc76

    Thomas Hawk

    By Thomas Hawk

    Franck Michel

    By Franck Michel

    Thomas Hawk

    By Thomas Hawk

    Peter Miller

    By Peter Miller

    Gilda

    By Gilda

    Pete Zarria

    By Pete Zarria

    Adrian Snood

    By Adrian Snood

    Jim Maurer

    By Jim Maurer

    Vitor Machado

    By Vitor Machado

    Thomas Hawk

    By Thomas Hawk

    Kamal Hamid

    By Kamal Hamid

    Jim Grey

    By Jim Grey

    Roger

    By Roger

    Andrés Nieto Porras

    By Andrés Nieto Porras

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    The post Sign Sign Everywhere a Sign – 21 Glowing Images of Neon by Darlene Hildebrandt appeared first on Digital Photography School.


    Digital Photography School

  • Gear Guide Update: Phottix Ares Remotes

    At $ 55 a set, the Phottix Ares remotes bring a ton of value to the table, making them our recommended pick for photographers building out a beginner’s lighting kit. For many photographers, in fact, these are the only remotes they will ever need.

    See the newly updated Gear Guide: Remote Triggers post for more info.
    Strobist

  • Tips for Photographing Wedding Decor Details

    Wouldn’t we all love to be the photographer for lavish, perfectly detailed weddings? It’s discouraging sometimes to follow the work of famous wedding photographers and feel like we’ll never measure up. The truth is that for most of us, we’re photographing weddings of average everyday people, who can’t afford those over-the-top perfect weddings.

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    That doesn’t mean that the wedding we’re photographing is any less special, or any less important. The bride and groom have put so much time, effort, and thought into every detail of their wedding. Even if their budget is a fraction of some of those perfect weddings, they’ve most likely spent what amounts to a small fortune for them.

    When I am hired to photograph a wedding, I want to treat each wedding as if it were the glamorous wedding of royalty. Whether you are the hired wedding photographer, or just a friend of the bride with a camera, I have a few hints to help you photograph the decor details of any wedding, and make it look like everything the bride and groom hoped it would be.

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    Get There Early

    Arrive at the wedding or reception about half hour before it’s supposed to start. You will most likely have a small window of time where the decorations will be finished, but the guests have not arrived yet. You can photograph details with the guests there, but it’s harder to get clean photos without people in them, and sometimes the decorations have been moved or ruined later in the day. There are some things that you’ll need to photograph later, like if you want to show guest signatures on the guest book (or globe!), but try to get most of the details shots before the guests arrive.

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    Arrange the Details

    Sometimes you can move things around a little bit to get more of the story of the wedding theme. In the photo above I wanted to capture the mass amounts of origami cranes that the bride and groom had folded themselves, but I also wanted to pull one out to photograph with the sign telling the guests to “please take a favor”. Often I will open a favor box to photograph the contents inside, artfully arranged.

    Sometimes you can photograph a centerpiece arrangement better if it’s moved slightly closer. You can borrow the bride’s bouquet if she has set it down for a bit (ask first), or borrow one of the bridesmaid’s bouquets to photograph. As long as you don’t do anything that can’t quickly be put back into place, you’ll be fine. Make sure to return everything how you found it when you’re done capturing that particular detail.

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    Shoot Wide Open

    I like to photograph most wedding details with my lens almost wide open (with my aperture set between f/1.4 and f/2, usually). This can give the photograph more of an artistic feel, and help the focus be on exactly what you are photographing. If the wedding doesn’t have a lot of fancy details, or attention to perfection, you may want to blur out a lot of background.

    I use a 50mm 1.4 lens, or an 85mm 1.4 lens, but most prime lenses will do. Be especially careful that your focus is exactly where you want it to be, and hold very steady. Your focus has to be tack sharp, or the whole thing will just look like a blurry mess. Shooting wide open is, of course, a matter of style and preference, and some may like an entirely different look.

    Find Different Angles

    I will often stand on a chair to get the angle I want when I’m photographing details. (This is where it’s definitely better to get there before the guests!) You have to get creative with your angles, so your photos don’t look like every other guest’s pics. (This is especially important if you are the hired photographer.) Pay attention to what you can see in the background, where the light is coming from, and which parts are the most important. Even a slightly different angle can transform a photo from “meh” to “wow”, so try lots of different angles to see which one looks the best.

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    Work With Difficult Lighting

    Many weddings and receptions are held indoors, and sometimes they’ve created a specific mood with low lights. This can be a challenge as a photographer, but it’s completely doable. I prefer not to use flash, because I very much prefer the look of no flash in this instance, so I’ll be sharing how I work in dim lighting without flash.

    Remember how we are shooting wide open? Not only does this give us an artistic look, but it really helps when there isn’t much light. Sometimes I’ll photograph an entire reception with my aperture at f/1.4 to let in as much light as possible. You will also need to crank up your ISO; keep going higher until you can shoot with a shutter speed that can safely be handheld (for me, that’s about 1/80th, but you may have a steadier hand and be able to go even slower than that). You may have quite a bit of noise in your photos when your ISO is that high, but I like that look, especially when there’s a moody low-light ambience.

    In a pinch, if the lighting is extremely low, try shooting in RAW, underexposing to allow your shutter speed to be as fast as you need it to be, and then bringing the exposure up in post-processing.

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    Photograph Everything

    It’s guaranteed that there was a lot of thought, time, and money put into creating the bride and groom’s perfect wedding and reception. I want to capture every detail for them, because although all of the food and flowers will be gone a few days after the wedding, my photos will be there forever.

    So I recommend that you photograph the food, the drinks, the centerpieces, the flowers, the favors, the guest book, and every single decor grouping around the room. It might seem silly to photograph a bowl of blueberries, but it will be so much fun for them to look back through the photos later, and remember all the little details of their wedding. If they want to make a book out of the photos, pretty detail photos can make the book have the same feel as the whole wedding did, and they really add to a collage. When in doubt, just take the photo. If their centerpieces are all the same, I’ll just photograph one of them, but if they are all different, I photograph most, or all of them.

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    Get the Whole Picture AND the Close-ups

    As you can see with the above photo, you can photograph the exact same thing, but get a whole different feel by stepping back, then getting in really close, focusing on one little detail. Get the surrounding setting, and then focus in on the parts that make it special.

    If there’s a decor grouping in a corner, I’ll photograph the whole thing, and then pick parts of it to get in close. I’ll do the same thing with the centerpieces, floral arrangements, cake, food table, etc. This is a great way to really tell the story, and make your photos a lot more interesting.

    Edit the Wedding Consistently

    Make sure that all the photos from the same wedding or reception are edited consistently. My weddings each look different from each other, because every wedding is a different lighting and coloring situation, but each wedding is consistent with itself.

    Batch editing can help with keeping things consistent, or using the same actions or presets on every photo can help too. Do not edit one photo with a “vintage” action, one photo with bright colors, and another matte. This will make them look unprofessional, and make it hard to put together a book or collage of their big day.

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    As you photograph any wedding or reception, remember that every little detail is important to the bride and the groom. They thought everything through from top to bottom, start to finish. Even if it’s not a picture perfect wedding, it still represents what they love, and everything is important to them. Help them remember their special day with photos that will last long after the last crumb of cake is eaten, and the final flower is withered.

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    The post Tips for Photographing Wedding Decor Details by Melinda Smith appeared first on Digital Photography School.


    Digital Photography School

  • Photographing People: To do Styled Portraits or Not?

    When I was a senior in high school, there was one local photographer that nearly everyone went to for their portraits. Part of her process included each person bringing in a bag of clothing to model for her. She would then help select the outfits that would ultimately be worn for the portraits. She also gave specific instructions for hair, makeup, and grooming. Quite often, the photographer hired a makeup artist to be present for the portraits – in effect she was doing styled portraits.

    styled portraits two girls

    The end result was portraiture that was extremely consistent in style. Even to this day, I can look through my high school yearbook, and pick out exactly whose portraits were taken by that particular photographer. Parents loved her because her output was high-quality, consistent, and you knew exactly what you were getting aesthetically when you booked a session. Essentially, the photographer was offering what has since become known as a “styled session”.

    Similar to debating how much (or how little) to post-process images, whether or not to style sessions when photographing people is hotly debated. Let me make one thing very clear – the point of this article is not to take an ultimate stance as to whether or not you should style your own sessions. Rather, this article will discuss circumstances in which it may be beneficial to style sessions, as well as some of the possible disadvantages. Hopefully, this will also start some discussion about what works well for you.

    styled portraits newborns

    A styled newborn session. I provided the blanket, flowers, and newborn wrap.

    Styled Portraits – Definition

    In general, a styled session can be defined as being any time the photographer selects the clothing, hair, location/backdrop, and props for a particular session. In other words, the photographer has control and decision making power in all aspects of the session, and controls the end aesthetic look or style of the session.

    Pros to Styled Portrait Sessions

    • As the photographer, you have complete control over all the sessions with your name on them.
    • It’s easy to create a signature style or look to your photography.
    • Clients (paid or unpaid) know exactly what to expect when they book a session with you.
    styled portraits - A styled child portrait session.

    A styled child portrait session. I selected the dress, flower crown, location, and lightly curled her hair.

    Circumstances That Lend Well to Styling

    In my experience, some types of photography lend themselves to styling more than others. For example, newborn photography is one genre of photography in which the clients often have a desired aesthetic that may be difficult (though not impossible) to capture organically in the client’s home. Many times, newborn photographers have a studio setup with all their blankets, posing bags, and backdrops. If they shoot on location, they often bring blankets, hats, headbands, and various other props to style the sessions to fit their individual style of photography.

    styled portraits couples

    An image from a styled session with a 1940s theme. I provided the hat, and helped select the makeup and outfits to fit within the theme.

    Another instance in which photographers may elect to offer a styled session is when they’re trying to break into a new genre of photography. For example, it’s not uncommon for a photographer looking to break into the wedding business, to hold a styled bridal session in order to create images to use for advertising. The photographer will arrange for various vendors to provide a wedding dress, flowers, a cake, furniture, and other prop items for the purpose of photographing, as if it were an actual wedding. This allows the photographer (and other vendors) a way for their work to be seen via social media and similar venues, before they’ve even booked their first wedding. It’s also a good opportunity to try something new and push yourself in a relatively low-risk scenario.

    A third instance in which styling can be appropriate is when you’re trying to create (or recreate) a specific artistic vision. If you’ve been tasked with photographing a 1920s themed engagement session, or one based on a particular book, painting, or movie, then providing a styled session may be the best way to ensure an end product that is consistent with the desired aesthetic.

    A senior portrait session that was not styled.

    A senior portrait session that was not styled.

    Cons to Styling Sessions

    On the other hand, going back to the initial example of the senior portrait photographer, the drawback to selecting that one photographer was that the end portraits all looked basically the same, and in some cases, the portraits looked very little like what the person looked like in real life. This anecdote perfectly captures two of the potential drawbacks to offering styled sessions:

    • Sessions can tend to look very similar to one another.
    • Sessions do not always adequately capture the person’s or family’s personality.

    Child portrait session that was not styled.

    Circumstances That May Not Lend Well to Styling

    Although children can be photographed well in any scenario, I prefer not to photograph kids in styled sessions. In my own experience, when I try to style children’s sessions I can become so focused on the outfits, props, and the look of the session, that I can easily overlook capturing the genuine emotion and personality of the child, which is really where my passion lies.

    I don’t have this same issue with newborns, engagements, senior portraits, or other types of people photography, but have noticed it particularly when photographing children. As with any genre of photography, there are no absolutes – I’ve seen styled children’s sessions that are unique to each child, and absolutely do capture their personalities, but in my personal practice, I’ve found that my preference is not to style children’s sessions.

    style-not-style-8

    An newborn photo that was not styled – I used their own blanket, swaddle, and knit rabbit.

    When I’m talking with clients prior to a session, if I hear them say the words “candid” or “lifestyle”, it’s a good indicator for me that they probably aren’t interested in a styled session. There’s definitely a range of what people are really asking for when they use those terms in regards of photography, but regardless of where they fall on that particular spectrum, they are probably not looking for images in which every aspect has been carefully curated. This is where knowing your client – whether they’re paid or unpaid – and understanding their needs, is absolutely key to a successful portrait.

    Meeting in the Middle

    Most often I find that clients really want something in between a styled session and photojournalism. These clients want me to capture the best version of themselves and their lives, which requires a bit of guidance, but not necessarily styling.

    They may need some guidance regarding what to wear, but they don’t want or need me to select their outfit for them. They may need me to suggest moving a group of bottles and pacifiers visible on the coffee table during a newborn session, but they don’t need or want me to bring a box of books and succulents to completely stage their home. There’s a balance between the two ends of the spectrum that seems to meet the needs of most of my clients, while also allowing me to have some creative control as the photographer.

    styled portraits

    For this session, we talked about having each girl wear a white dress and a flower crown, but their moms ultimately selected both the dresses and the crowns. This is an example of “meet in the middle” styling.

    Just like any area of photography, there’s a range of beliefs and practices in regards to styling sessions. Some photographers elect to exclusively style sessions, because it gives them the most control over the final image. Other photographers prefer to take more of a photojournalism approach and capture their clients exactly as they show up. Still others land somewhere in the middle.

    What about you? Do you offer styled sessions, a photojournalism approach, or are you somewhere in between? What works well for you? Please share your thoughts in the comments below.

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    The post Photographing People: To do Styled Portraits or Not? by Meredith Clark appeared first on Digital Photography School.


    Digital Photography School

  • The #1 Reason Why New Photographers Struggle with Camera Settings

    You have spent a lot of time studying photography and how to use your camera. You feel confident that you’re starting to figure things out. You understand camera settings like: shutter speed, aperture, ISO, and exposure compensation.

    camera settings light on bushes in NYC

    Brooklyn Weeds, New York

    Can you relate to this?

    Then you go on a trip or walk out the door with your camera, see an amazing moment, and you freeze. “What do I do? What settings will be best for this situation?” You return home to find too many of your shots are blurry, exposed incorrectly, you were often too slow to catch the moment, or the photographs don’t look like you saw the scene with your eye. It seems like you did everything wrong.

    Does this sound familiar?

    camera settings backlit black and white image

    High Heels, SoHo, New York – backlighting can trick your camera meter.

    The biggest newbie mistake is . . .

    When working with photographers, I see this happen frequently. They understand everything they need to know about their camera, but yet they still freeze and do not know what to do when it counts. I believe this is due to one major issue. When they come across a beautiful scene, the first thing that they do is look at their camera to figure out what to do.

    Do you see anything wrong with that last statement? It might seem logical to look at the camera, but it’s not, and it’s the reason that they (and possibly you too) are freezing up.

    camera settings and light

    Grand Central Terminal, New York – high contrast light can trick your meter, what will you expose for? 

    Consider the light before thinking about your camera settings

    Before you even think about your camera, you need to first look at the light, and understand it. How can you know how to set your camera settings, if you don’t first understand the light?

    How strong is the light? Are you in bright sunlight, in light or dark shade, or is it dark out? Are you dealing with artificial light? Is there back lighting, front lighting, or side lighting?

    Does the scene have both dark shadows and bright highlights? These are situations where most newer photographers screw up, because this can confuse the camera light meter. In these moments, you need to figure out whether you want the shadows or the highlights to be exposed correctly. Do you want to raise the exposure compensation so that the shadows are exposed correctly? Or would the scene look better if you exposed for the highlights and had really dark shadows?

    camera settings shadows and light

    SoHo Cobblestone, New York

    Use your eyes not the camera

    These are all the thoughts that should go through your head before you begin to tweak your settings. When you walk out the door, immediately look at the light. Pay attention to the times when you go from sunlight to shade and vice versa. Make sure to change your settings to work with that light. It can help to even stop taking photos for a while and just look around, especially as you are learning. Try to see the light, and to improve at noticing how it affects your photographs. Your eyes are the most important factor here, not the camera.

    From this point, learning is trial and error. Many photographers use Aperture Priority, Shutter Priority, or Manual mode to get to the same endpoint. As the saying goes, there are many ways to skin a cat. So, while the different settings each have their advantages in specific situations, none is better than the others.

    camera settings back lighting

    Brooklyn Bridge Tower, New York

    Follow this plan

    Think about what aperture you are going to want. Do you want a large or shallow depth of field (or do you even have a choice due to the amount of light)? Are you photographing anything in motion, or using a long zoom such as 300mm (the shutter speed always needs to be at least 1 over the focal length to offset handheld camera shake)? If so, you will need a faster shutter speed. Based on this, and how strong the light is, you can then set your ISO accordingly, depending on how much light is available.

    Playing with your settings is important at first. If you are shooting in Aperture or Shutter Priority, pick your setting (e.g. f/5.6), but always pay attention to the other number (e.g. shutter speed 1/60th) that the camera is choosing for you. This will help you understand the settings (and how they work together) more than anything else.

    Manual mode is good for learning

    This is also a reason why spending a few days shooting in manual mode can be very good for your development. I usually prefer Shutter or Aperture priority, unless I have a long time to set up the shot, or if I’m in very consistent or studio lighting. But, learning in manual mode and reviewing the images as you shoot, can help you learn the light and your camera settings very quickly. This will improve your ability to shoot in Shutter and Aperture priority as well.

    camera settings sunset city back light

    Manhattan Skyline, New York

    Review during editing

    The last step is to review how you did during the editing process. This is very important to do early on. Go through your images and see which were blurry, exposed wrong, or where the depth of field could have been better. Look at the settings you used. You don’t want to just rely on Lightroom to fix your images. Try hard to improve when you are shooting, so you won’t have to fix images later. Your photography will be better for it, and you will be more comfortable with your camera settings the next time you are out shooting.

    So next time you walk out the door with your camera, take a step back from it all, and just look around at the light. Notice where the sun or artificial lights are in relation to you, look at the highlights and shadows, and even look at the color of the light. The more you do this, the better you will become at setting your camera, and the better photographer you will become.

    camera settings light dark shadow

    Chinatown Snowstorm, New York

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    The post The #1 Reason Why New Photographers Struggle with Camera Settings by James Maher appeared first on Digital Photography School.


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  • How to Size and Export Images from Lightroom for Facebook and Print

    One of the most confusing features of Adobe Lightroom for many users, is how to get your final results out of the software, to show them to friends or to send to customers. Different from other programs, there is only one way to “save” thing out of Lightroom – that is to an Export Images. This article will walk you through some of the options to help you demystify this often confusing function, so you can post your images on Facebook, and get them printed, all using the right sizes.

    Lightroom export images

    The reason is that Lightroom does not actually store your images, they are not really within its database. Lightroom merely keeps a list of locations where your original images are located, generates its own internal previews of those images to work with, and stores the changes you have chosen to make to the files. But until this stage all you are seeing in Lightroom is purely a visualization, there is no actual finished images created yet.

    For this, you will have to learn to use the Export feature. While it is one of the essential features of Lightroom, it seems to confuse many people at the start. Part of the confusion certainly comes from the huge amount of options Lightroom offers when trying to save images:

    Lightroom export images

    So let’s have a look at the most common cases for using the Export functionality to get the best results:

    Export an image for Facebook

    There are many discussions about how an image should be saved for Facebook. I trust Facebook’s own recommendations most and have had good experiences relying on that article. Typically I export images at the highest resolution Facebook will accept, the 2048 pixels mentioned in the help article.

    So, first of all, you have to tell Lightroom where we want to save your image. Lightroom offers a lot of choices, one of them being to save the new resulting image into the same folder as the original. Remember, until now only the original image exists somewhere on your hard drive, no changes have been made to it.

    Lightroom export images

    It can be a good idea to keep the original and your final copies in the same space. However, I typically save images into a subfolder to the original – named “For Facebook” for example – so when my original RAW image is in a folder structure by date “2016/05/06”, I would save my Facebook images into the sub folder “2016/05/06/For Facebook”.

    Lightroom export images

    Another option at this point that I regularly use, is to define a “Specific folder” for my outputs. This allows you to send all exported images to the same location on your hard drive, for example to keep a specific folder containing all the images you have uploaded to Facebook. This also works great to automatically save files into an online cloud storage such as into a Dropbox folder on your disk.

    File format

    Further down on the Export screen, you get to choose the file format you want to make the exported image. For internet purposes, you would mostly choose JPEG as the desired file format. JPG is a compressed format which allows faster transmission of images, so most internet based platforms use this format to store photos. PSD and TIFF will allow you to store images in full detail in with a wider range of colors (16 bit instead of 8 bit). Some printers (photo labs) will accept TIF files because of the additional details stored in the images, but you should make sure your printer does before trying to send files that can reach more than 100 MB.

    Lightroom Export 05 File Format

    With the JPEG format, you also have to choose the Quality level. As JPEG tries to find areas of similar colors to make the file size smaller, the quality setting defines how “different” a color section needs to be before a compression is being applied. The lower the quality, the more compression artifacts you might see in the final image, in exchange for a lower file size. In most cases, values around 80-90% will not show critical changes over the full 100%, and only in rare occasions (when file size is very critical) you should go below 60%.

    Color profile

    Besides the format and quality settings, there is another drop down box in this section showing the color profile to be used. In simple terms, the color profile defines how many (and which) colors can be accurately stored. The smaller a color profile is, the less color information it contains, but also the smaller the file sizes will also be.

    Lightroom Export 06 Color Space

    In general, sRGB is the best choice for all images that are meant to be displayed on electronic screens, from large computer monitors, to smart phones, on your website, or on Facebook. The other options (AdobeRGB and ProPhoto RGB) both contain more color information, which can be advantageous if you want to apply further changes to the images at a later stage, for example in Photoshop or in the pre-print processing.

    Just as with generating TIF or PSD files, you should only use these other color spaces when sending images when you know in advance that the recipient at the target location can work with them. Most online print services today are prepared to accept images in JPEG format and sRGB color space, as this is what most consumers produce with their cameras.

    Sizing your images

    The final section you need to address before exporting your images are the resizing options:

    Lightroom Export 07 Resize

    For images you plan to upload to the internet – be it your blog, to Facebook, or Instagram – you probably don’t want to upload the full resolution of 16 or 24 megapixels that your camera probably shoots. As mentioned in the linked help article above, Facebook only accepts up to 2048 pixels on the wide side, and if you upload larger images they will automatically be downscaled. So it is preferable to save the file in the recommended size, to save upload time.

    With these settings, you could now export your image for sharing on Facebook. There are a few sections below like Output Sharpening (you can choose “Screen” and “Standard”, and compare the results to a version without output sharpening to see the difference) or adding a Watermark to your images automatically, but those are topics for a another article in the future. But just wait a second before you press the Export button right now, there is something else we should look at first.

    Save your settings as an Export Preset in Lightroom

    Now that you have taken the time to understand the settings on the Export screen and have come to a result you’re happy with, you want to be able to use the same settings in the future without having to think about getting them all right for every new image. This is why Lightroom allows you to save these settings as an Export Preset. Just press the “Add” button below the list of saved presets on the left half of the window, to add your personal preset – you can even have them sorted in Folders for different purposes:

    Lightroom Export 08 Add Export Preset

    Once it is saved as an Export Preset, selecting the same settings is simply a matter of a single click. As you can see from the next screenshot, I have defined my personal Export Presets for different social media uses like my blog, Facebook, and Instagram, as well as usage as a new Desktop Background for my own computer.

    Lightroom Export 09 Use Export Preset

    Cropping images for desired format before the Export

    With all the settings, we have looked at in the first part of this article, there is one important part that has to be done before entering the Export screen: Cropping your images when you want to use them into a format (proportion) that does not match your camera’s output.

    Most modern cameras produce images in a 3:2 aspect ratio, so the long side of an image is 50 percent longer than the short side – in a 24 megapixel camera this translate to 6,000 x 4,000 pixels. However, traditionally there are different popular formats, especially when it comes to printing images:

    • From the age of large format cameras, the 5:4 format (or 8×10 prints) is still very popular in some regions.
    • Medium format cameras usually produced images in 6 x 4.5 (so a 4:3 ratio) or in 6×6 square format.
    • The square format has also been Instagram’s unique format until recently.
    • TV screens, and a growing number of computer monitors, come in the 16:9 standard defined by high definition TV.

    To print a full image in one of those different formats would cause distortion, as the image information would have to be squeezed to fit to the shorter sides. In general, printers will not distort the image but instead cut them off at the side. To avoid a random crop in print, what you need to do is to crop your images to fit the desired output format.

    Make Virtual Copies

    Bonus Tip: If you want to keep the original format for easy access and/or offer your customers different print formats, I recommend to create a Virtual Copy (keyboard shortcut is: Command/Control+’ or right click the image and select Create Virtual Copy, see screenshot below) from your image before doing the cropping. This way, you will have two (or more) versions of your images, one in original aspect ratio and others in the cropped format. Within Lightroom this will only take a minimal amount of space, as Virtual Copies do not duplicate the original file but are just an additional set of data within the database.

    Lightroom Export 10 Virtual Copy

    When you select the Crop tool in Lightroom’s Develop module, you will find a list of presets covering the most popular aspect ratios in a dropdown menu. Choose the desired format from the list, or choose a Custom Format if you don’t find the aspect ratio you are targeting.

    Lightroom Export 11 Crop Tool

    If you select a 5×4 crop, you will see the crop guides highlighting the parts of your image that will remain in the final result, and the darkened parts on both sides of the photo that would be cropped off. You can now move the crop area to your liking to the right or left – or drag one of the corners in case you want to close in to your main subject a little more. Reminder: As everything in Lightroom, this is a non-destructive process, you can change the chosen crop at any stage and even return to the original size.

    Lightroom Export 12 5x4 Crop

    To give you an idea how the different crops can impact an image, I have created five virtaul copies, in addition to my original 3:2 format image, and have applied the five most popular aspect ratios as follows:

    Lightroom export images Crop Comparison

    Image size settings

    Once you are happy with your crop, you can go back to the Export screen from the Library module. Now let’s have a look at the Image Sizing section again. As you can see, I have now chosen to make Lightroom fit the image to a 8 x 10 inch print format. Please note that I have changed the measure from “pixels” to “in” in the drop down box for this – if you prefer the metric system, there is a “cm” option for centimetres as well.

    Lightroom export images Print

    I have also set the Resolution to 300 pixels per inch which is the typical requirement for most printers. With these settings, Lightroom will now automatically save the image to the desired aspect ratio and file size. Remember to store these settings as another Export Preset if you are happy with the results, so you can use the same settings for future exports.

    Also, please note that I have changed the File Settings in this case to TIFF, and AdobeRGB with 16-bit, to show the settings that will save the most information with the file. As discussed in the first part, this is only recommended if you know that the printer can handle the resulting large file size. If you want to deliver printable files to your clients, I would recommend you stick with JPEG and sRGB, as you can’t say in advance which printers they will use and most services will be able to handle those images as well.

    Summary

    I hope this article helped you to understand the basics of exporting images to different formats from Lightroom. In case you have questions, feel free to leave a comment below this article or join the Digital Photography School group on Facebook where I am available to answer questions as well.

    lightroom-mastery.jpg

     

    For more training using Lightroom check out our new course Lightroom Mastery!

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    The post How to Size and Export Images from Lightroom for Facebook and Print by Michael Zwahlen appeared first on Digital Photography School.


    Digital Photography School

  • How Having a Play Camera Can Boost Your Creativity

    In 2001, after many years as a film photographer, I bought my first digital camera. It was a Nikon Coolpix 995, and I still remember how excited I was when I opened the box and took my first pictures with it. I was really amazed with what those three megapixels were able to do. Since then, I followed the digital road, and never looked back.

    I took really good care of that camera, bought all the accessories and lens adapters for it, and took it everywhere with me. For a while it was my pet or play camera.

    Chung Chu

    Nikon Coolpix 995 – By Chung Chu

    I remember the feeling of falling in love with photography all over again, and I believe that some of the best pictures in my portfolio were made with that camera.

    Advances in technology

    After that, the first decent resolution DSLRs came on the market, and I decided to invest in one to keep up with the professional photography market demand. My Coolpix started being used less and less, in no time those three megapixels were just ridiculous compared to what DSLRs could do, and my play camera just got stored on the back of my equipment closet, never to be used again.

    I had a lot of compact cameras after that, but none of them replaced my play camera, the fact is that each time I downloaded the pictures and looked at them in a computer screen, they all just seemed to have a really poor quality compared to the files I was getting with my DSLRs. Sadly I had become a pixel peeper.

    One more try at having a play camera

    Recently my wife bought me a Canon EOS-M as a gift, which was the first attempt by Canon on the mirrorless market. Well, if you are into photo equipment at all, then you likely know that this camera was the biggest flop on the market of recent digital camera history. Besides having really bad focusing issues, it was no competition for what other brands had already launched, which is my wife was able to buy the kit for about $ 300, as everyone was dumping their inventory of it.

    I would never have bought this camera myself, but it was a present, so I decided to give it a try.

    01

    I opened the box and it reminded me of my beloved Coolpix 995. The EOS-M is a really good looking camera, with a great design, and the fact that it was just not a simple compact camera got me a lot more interested on it. The test shots I made after a firmware update fixed some focussing issues, got me back to that loving feeling all over again.

    Those were great images, and the pixel peeper inside me was happy with the image quality when I looked at them on the computer screen. The fact that everybody was considering this camera Canon’s ugly duckling, made me love it even more, because it had some kind of “misfit” attitude amongst all the other mirrorless camera out there.

    Why have a play camera?

    Pretty soon I was buying accessories, and taking it everywhere with me. At last I had a new play camera – the point of which is to have it and use it all the time! A grip and a thumb rest were the obvious first things to buy, as the camera seemed so small in my hands and it made me feel like I was going to drop it every time I photographed.

    02

    03

    An added LCD loupe helps block the ambient light on the LCD, and gave me a better sense of the exposure and focus.

    The fact that it didn’t cost a lot of money, made me comfortable using this camera in situations I would never use my expensive DSLRs, like underwater with a cheap protective bag.

    04

    There were no limits for what I could do with this camera, and even when I had a lot of commercial work, I made an effort to find some time to get back to my personal photography projects.

    I must say that my favorite feature on this camera, is the fact that it is able to use not only the dedicated EF-M series lenses Canon launched with it, but with a special adapter it is also able to use EF or EF-S lenses also, keeping all the automatic features.

    Over all these years as a Canon DSLRs user, I have collected some serious L-glass along the way, so the fact that I could use all those lenses on this tiny mirrorless body was a huge plus in my book. I must admit though, that it looks a bit ridiculous to see this camera together with an L-series lens, but the fact is that it works.

    Try new and whacky things

    It even got me carried away experimenting with some crazy extender combination with my EF 70-200 2.8L coupled with the Canon 2x extender and the Kenko 2x Teleplus Pro 300, giving me some serious telephoto ability for wildlife pictures.

    05

    200mm X (APS-C 1.6 crop factor) X (Canon extender 2x) X (Kenko 2x converter) = 1280mm equivalent.

    This telephoto ability also got me into moon photography, as it is the perfect focal length to capture great pictures from my bedroom window.

    06

    Another great thing is that you can even take it beyond EF lenses. With third party adapters you can make the camera body work with almost any lens you want, even though you lose autofocus ability. To me it’s great to again use old lenses I totally forgot I had, like this M42 50mm f/2.8 Carl Zeiss Jena Tessar that has a really fantastic image quality, and makes me go back to when I was a young kid using my old Pentax with a split prism focusing screen.

    07

    Bottom line

    So, the bottom line is that even though this camera was released in 2012 and the EOS-M2 and the EOS-M3 were released after that, I still have great fun with it and don’t feel any need to upgrade to a newer model.

    I guess I just feel really free experimenting with this camera without being worried about damaging it, or being bothered to carry it around. For me this is what a pet camera means despite of brand, model or type of camera.

    Photography is about taking pictures, and the best camera is the one you feel more comfortable with, for what you want to shoot.

    Do you have a play camera? One you take with you everywhere, one that you don’t worry about losing or damaging? Do you feel you are more creative with it than your regular camera? Share your experience in the comments below.

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