Category: Photography

More Ways to Create Better Images Without Buying More Gear

Jay Maisel has to be one of the most interesting photographers alive today. He is 85 years old and he still makes a point of carrying his camera with him every day, everywhere he goes. I recently watched a few videos where Scott Kelby spent a few days with Jay, just wandering through the streets of New York and later, walking through Paris.

In these two different videos, Jay imparts his photography philosophy, and how he makes his images. The remarkable thing I noticed is that Jay almost never talks about photography equipment. Rather, he speaks about technique, about getting it right in camera, and making sure you spend time getting the best shot possible.

This article is a follow on from an article I did a while ago, which had a similar title to this one – 5 Ways to Create Better Images Without Buying More Gear. I now want to expand on that and add 5 more things you can do to improve your photography without buying more gear.

#1 Show the viewer something different

This is something really important that, but we don’t often think about. There are so many things being photographed every day.

Think about this: if you go to Paris, you will no doubt want a photo of the Eiffel Tower. Of course, every photographer does. The challenge is, we have all seen photographs of the Eiffel Tower, so, how will your image be different from anyone else’s? Better still, how will you make the image look like it is taken from a new vantage point or angle.

These are the tough questions, the things that we need to think about as photographers. You could try a few things, go in really close and get some detailed shots of the metal structure, find an area of it that is looking old and grungy, maybe try and shoot it from a very extreme angle, work hard to show your viewer something they haven’t seen before.

Think of the photos you have seen of the Eiffel Tower. If your image looks like any of those shots, then you need to try something different. The goal here is not to be different for the sake of being so, but to try and be unique.

Of course, you should shoot the usual postcard shot, at least you have that, but then play around, walk around, lie on the ground, shoot straight up, put your camera lens against the structure, try anything to get an angle that you have never seen before.

Show me something I have never seen before. – Jay Maisel

Look for something you have not seen before

This is one of Jay Maisel’s key messages, “Show me something I have never seen before”. He is not being flippant, we have all seen a car, a tree, a glass building, and people on the street. What he is looking for is to be shown these everyday subjects in a different way, that’s the key to this principle.

#2 Practice patience

In the video with Jay Maisel, he mentions that he was once out doing street photography with another well known photographer. As a typical New Yorker, he was walking at a pretty quick pace. After some time, the other photographer turned to him and said, “Jay, do you know why you aren’t getting any good shots? You’re walking too quickly”.

That comment caused Jay to slow down. Not only did he slow down his walking pace, but he slowed everything. He would stop in a place for five or 10 minutes. He would find a scene he liked and then, like a theatre stage, he would wait for the actors to appear, the people on the street. So he stands in a particular spot sometimes, for up to 20 minutes, and just waits for something to happen.

Sitting and waiting can result in some great images

Give it a try. Next time you are out photographing in your city, stop for a while. Observe the scene in front of you. Make note of how people are moving through that scene, and start looking for an opportunity to make an image. It may take a while, if you can, sit down and just watch, pretty soon, the right person will enter your “stage” and you will have your image.

#3 Change your composition

We all know about the rule of thirds, very often it is our first introduction to composition. It’s a good starting point for creating good composition, but there are many other ways to make your images look compelling.

Composition is one area of photography that can make a vast difference in your images. Simply changing from landscape to portrait orientation for example. More than that, look a little deeper. There are some great techniques you can use to enhance your composition.

One of these is using depth of field. A shallow depth of field will isolate your subject and make the background less distracting. Speaking of backgrounds, make sure that you have looked at the background in your image and that there is nothing distracting that will take the viewer’s eye off the subject.

You could also try and frame your subject using a door frame, a window, or some overarching trees. The frame will point the viewer to the subject and, if done correctly, framing can be a very powerful compositional tool.

Remember to change your viewpoint. Lie on the ground, get as low as you can, or maybe get up as high as possible. If your viewpoint is unusual, your subject will benefit immensely.

Shooting from a different viewpoint can make all the difference

#4 Go out empty

Another piece of Jay Maisel wisdom is to go out empty, and let your images fill you up. What does that mean?

Very often, you may go out on a shoot and are “hunting” for a particular image. Maybe you are looking for a man with a blue shirt riding a red bicycle, which is pretty specific, and really difficult to find. The challenge is that if you are looking for only that one type of shot, you may miss all the others that are out there.

By going out empty, you are open to whatever comes into your viewfinder. You may get a shot that you never thought of before or have seen before, that’s the point. Sometimes it is good to shoot with constraints, it forces you to be creative.

By going out empty, you may be surprised at what you will see

At other times, go out without any limitations, simply look at what unfolds in front of you and shoot whatever you find interesting. That’s one way to get some great shots. Also, be open to what happens while you are out shooting.

I was photographing in an old area in the East Side of Vancouver. A lady came up to me and asked what I was doing, and I told her I was looking for some great shots of the homes in the area. She asked if I wanted to see inside her home, I am so glad she invited me. Her home was amazing, and it was a great opportunity to see inside a true heritage home.

#5 It’s not about cropping, but about framing

As photographers, we can become a little lazy. We will compose the shot, look at the scene, and realize we need to move a little to the left because there is something distracting in the shot. Many times, we might think, “It’s okay, I can crop that out later”.

Yes, that is true, you can crop it out later, but it may change the whole perspective of the shot. I might mean that you lose another important piece of information.

Jay Maisel reminds us that it’s about framing, not cropping. He says that it is the photographer’s responsibility for what is in the frame and, sometimes more importantly, what is NOT in the frame. Instead of assuming you can crop something out later, maybe move around the subject a bit, look at it from different angles, and then decide what needs to be in the frame and what doesn’t.

As Jay says, “The photographer is responsible for everything in the frame”. Make sure that everything that’s in the frame is there for a reason, otherwise, change it.

You are responsible for everything in the frame.

Of course there are no rules in photography, there are only guidelines. These ideas are simply suggestions that can help you improve your images, and to see more clearly. Once you begin practicing these things, you won’t have to think about them as much. You will do them instinctively, and that’s when your photography will change and become more mature.

So get out there and give these ideas a try, practice one of these suggestions on each photoshoot or photowalk you do. Keep making the changes and slowly working on your craft, and you may look back in a year and be astounded at how much your work has improved.

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The post More Ways to Create Better Images Without Buying More Gear by Barry J Brady appeared first on Digital Photography School.

Digital Photography School

July 28, 2016
Don’t Delete Your Failed Images – Instead Learn from Your Mistakes with These Tips
I know you’ve done it. It’s okay to admit it. I’ve done it too! We all have! You’ve shot some terrible photographs.

Perhaps you shot the whole time in the wrong white balance, or you didn’t pay attention to shutter speed and everything is blurry. When this happens it’s incredibly disappointing. Frustrated and angry with yourself, you consider the experience a write-off, and delete the images. Then you head for the snack cupboard searching for some kind of solace.

But, everyone makes mistakes when they shoot, even professionals. There are times when we get excited and forget to check our settings, or make sure we are using the right lens for the right moment. It happens.

We were canoeing and in my rush to get an image of a small bird I underexposed the shot.

These failures don’t have to be a complete waste though. There’s nothing negative about making mistakes. Willie Nelson once said, “Once you replace negative thoughts with positive ones, you’ll start having positive results.”

So with that in mind, start looking at every photograph you take, as a step forward. Don’t delete those mistakes right away. You can learn a lot about taking good photographs from the missteps you make. I’ve met some photographers who have created a special file for all of their failures. Then when they have a little bit of time, they peruse through the collection and reflect upon them. This type of exercise can help you grow as a photographer.

There are lots of ways to reflect on your images. Some people make mental notes about their images. Others like to use a written journal format. I know of a few photographers who use the keyword section in Lightroom to make notes. I’ve even seen a detailed scrapbook in which the photographer printed out his failures and scribbled notes beside each. Just be sure to pick a format that works for you. Regularly reflecting on your work is important.

To start you down the path here’s a list of questions that you can use to help you reflect on your images.

Reflection Tips
- In the first few seconds of viewing the photograph, what was the first emotion you experienced? Why? Now let it go. Detach from the emotion and be critical.
- Why do you consider this image a failure? Don’t analyze too much just scribble down the first thought that comes to your mind. Try to make this part of the analysis a stream of consciousness.
- What were your goals or intentions when you shot this image? Why were you unable to meet those goals?
- If you could turn back time and reshoot the image what would you do differently?
- Think carefully about the image and come up with one key piece of learning that you can take away from this experience.
Now let’s practice your reflection skills. It’s not easy to analyze your own photographs; it can take some time to perfect. Let’s analyze some of my failures, and some successes.

View each image, and really look at it in a critical sense. You can use the guiding questions from above to help you. After you’ve finished your reflection, scroll down and take a look at my notes, see if you agree with my thoughts. Perhaps you noticed something different then I did.

What did you come up with? Keep in mind there’s no right or wrong to this whole process. Some people might argue the image isn’t a failure. I personally, hate it.

Notes about the image
- I cut off the hockey stick, it’s bad framing.
- She’s looking down at the puck, there is no eye contact.
- Loss of impact or connection with the viewer.
- The edge vignette makes it too dark.
Ways to improve
- Mark out the ice and give players a guideline for where to stop.
- Remind players to look at the camera at all times.
- Remove one complication by having kids skate without the puck (Photoshop the puck into the image in post-processing).
Compare the shot above, with the previous image. It was taken in the same arena a few months later. Do you think there’s a difference? The framing is certainly better and he makes eye contact with the camera. Have I improved over the first shot?

Let’s consider another mistake. This image was shot for a magazine article. Can you tell why it’s a fail?

Notes about the image
- Her face is slightly out of focus.
- The client wanted a unique angle for the shot but the focus is on the ball.
- The houses behind in the background don’t suggest or support that we are on a soccer field.
Ways to improve
- Ensure the focus is on the correct part of the scene by using back button focus.
- Always take the time to set up the scene. Remember that the background is as important as the foreground.
- Direct the player more to remain in a certain area.
Here’s the image the magazine chose to use for the article. You can see how the background gives this image more context than the previous shot.

The more you reflect upon your images, the more you will grow as a photographer. If you find you are stuck in a rut, this kind of activity may just be a way to move forward. Coming back to images after a few days, or weeks, is always a good idea. By separating yourself from the image it will help you to analyze it more carefully.

I’ve posted a few more images here for you to reflect upon below. Once you’ve finished analyzing my work, try it on some of your own shots. Leave some examples in the comments below, and include your reflections.

This is an opportunity to grow and become a stronger photographer. I expect that everyone who shares will be heartened by the fact that they are not the only ones to have taken a bad photograph. If you choose to reply to other people’s posts, please be kind and be constructive. This is all in the name of learning, we are not here to criticize each other.

Keep in mind, even geniuses have some failures!

“I have not failed. I’ve just found 10,000 ways that won’t work.” – Thomas Edison

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The post Don’t Delete Your Failed Images – Instead Learn from Your Mistakes with These Tips by Erin Fitzgibbon appeared first on Digital Photography School.

Digital Photography School
July 28, 2016
Tips for Taking Candid Portraits of People

Get Andrew’s ebook The Candid Portrait at 43% off, now over at Snapndeals, for a limited time only (August 9, 2016 AUS time).

A candid portrait is often defined as one which you take without the subject being aware that you have done so. The idea is to capture a natural moment, that shows the person’s character or something interesting about them.

Wedding and portrait photographers often strive to capture candid portraits, so do street photographers. It is the latter form of candid portrait photography that I will concentrate on in this article.

I prefer to take candid portraits when I am travelling, it is rare that I do so at home. There is something about the excitement of travelling and seeing a new place with fresh eyes, that makes me want to take photos that capture life in the streets.

The question is, how do you take photos of other people safely when you are travelling, and how do you create evocative images that capture the spirit of that place? Good photos aren’t taken, they are made by the photographer. The following tips will help you create candid portraits.

All the photos in this article were taken while I was traveling, but you’ll find the principles hold true when you are working close to home as well.

1 – Think about your equipment

Part of the craft of photography is selecting the most appropriate tool for the job. There are two approaches you can take here. One is to use a telephoto lens and take photos from distance. You are unlikely to be spotted by your subject, especially if you are quick, but your photos may also have a lack of involvement in the scene as they are taken from some distance away. Having said that, you can use a telephoto lens to create a cinematic look that pulls the background in closer to the subject, or throw it out of focus.

I took this photo with a 50-150mm Sigma lens. It’s an enormous lens that I no longer own, but it enabled me to take photos like this from a distance, without being noticed.

The second approach is to use a small camera with a small lens, and get in much closer to the action. The idea here is that the small camera gives you the perception that you are less intimidating, than somebody using a large digital SLR and lens setup. You are much more likely to be able to take photos without being noticed, or to be ignored if you are.

I used a small 35mm lens on a Fujifilm camera to take this photo. The smaller size of this gear lets me get much closer to people than I ever could with the Sigma 50-150mm lens.

The ideal small camera could be a small digital SLR (such as the Canon EOS 100D), a mirrorless camera (such as the Fujifilm X-T1, my personal favorite), a compact camera (like the Ricoh GR II) or a smartphone.

If you are using an interchangeable lens camera, then a prime lens may be a good choice. Primes are usually smaller than zooms, and the wide apertures come in handy in low light.

2 – Slow down and explore

Become an observer of life. Go somewhere interesting and just watch what happens. Every city and town have their own rhythms. The tide of people ebbs and flows as the hours pass by. Where are the most interesting parts of the city? The most picturesque? Where is life lived on the streets?

What are the unique aspects of that city? A photo of somebody taken in front of a shop could be created almost anywhere, but a photo taken with a well known landmark or typical building in the background (such as the Eiffel Tower in Paris, or the Forbidden City in Beijing) has the potential to be much more evocative.

The key is to relax, take things slowly, and enjoy yourself. A small camera helps because it is easier to carry around all day than a large system.

This photo could only have been taken in Beijing. The ancient buildings in the background are unique to this city.

3 – Enjoy the process

Don’t put too much pressure on yourself. An empty memory card can be as terrifying for a photographer as a blank piece of paper (or empty computer screen) is for a writer.

One way to get started is to take a photo of anything remotely interesting. It doesn’t really matter what it is, but I find that taking the first photo gets my creativity going and puts me in the right frame of mind to start seeing other images. Remember that you are there to enjoy the day, the sights, and the process of exploration and meeting new people, as well as photography.

4 – Don’t be afraid to talk to people

Talk to people, not necessarily only the people that you want to photograph, but anybody, particularly in shops, markets or working in cafes, who may be open to a conversation. You may have to forget about this option if you don’t speak the language. But don’t let that stop you from using non-verbal communication. Smile, and be open and friendly.

Talking to people lets you get to know the area, and the people who live there. Afterwards, you may be able to ask the person you spoke to if you can take a photo of them, or if there is anywhere that is a good place to take photos. Local people often like to make recommendations, especially if they are proud of their city.

If you can’t speak the language don’t let that put you off even rudimentary attempts at communication. Last year in China, I came across a group of men playing a game of Xiangqi (Chinese chess). I stopped to watch, and held up my camera with a questioning look. One of them nodded to say yes, and I took a few photos before saying thank you and moving on. This is my favorite photo from the set.

5 – Use a wide-angle lens

The beauty of wide-angle lenses is that you can get in close and photograph somebody, without them even being aware that you are doing so. How? Simply place them at the edge of the frame, or on one of the thirds. The camera will point away from them and they may not even be aware that they are being photographed.

As long as you don’t look at them or make eye contact they will think you are photographing whatever is behind them. This works best when there is something interesting there that a tourist would naturally take a photo of.

I was taking a photo of the church when I noticed the man was about to walk in front of me. The wide-angle focal length (14mm, APS-C camera) meant that he became part of the photo without realizing it.

6 – Find a rich environment

Sometimes all you have to do is find an interesting location, and observe how the local people behave as they pass through. While in Beijing last year, I became fascinated at the different ways that the local people interacted with the city’s historical buildings. All I had to do was wait, observe, and take photos of interesting moments.

While visiting Prince Gong’s mansion, a historical building in Beijing, I noticed that people like to walk by these Tibetan style prayer wheels. I stayed there for a while and took photos as people passed by. The incongruous message on the woman’s bag adds a little extra to this photo.

7 – Go when the light is beautiful

Beautiful light is key to creating evocative portraits that capture the spirit and atmosphere of a place. You’ll increase your chances of creating beautiful images exponentially by going out when the light is beautiful. That means getting out at the end of the day during the golden hour. There is also lots of potential during dusk, especially with the mix of artificial and natural light that you find in urban environments.

The orange light cast by tungsten light bulbs adds atmosphere to this photo taken in Xi’an, China.

Can you think of any other tips for taking candid portraits of people in the street? Please let us know in the comments, I’d like to hear your thoughts.

Get Andrew’s ebook The Candid Portrait at 43% off, now over at Snapndeals, for a limited time only (August 9, 2016 AUS time).

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The post Tips for Taking Candid Portraits of People by Andrew S. Gibson appeared first on Digital Photography School.

Digital Photography School

July 28, 2016
How to Use Upright Guided Tools in Lightroom’s New Transform Section

In their latest release of Lightroom 6.6 (or CC 2015.6 if you are using the Creative Cloud subscription package), Adobe has added a new feature, allowing us photographers to straighten our images even easier than before.

The image above is a typical example of a photo that can use some straightening. A tall building, shot from the ground, will always look tilted or skewed (unless you have the budget to buy a tilt-shift lens, designed to overcome these issues right in camera).

The latest update of Lightroom comes with a new Transform section

For these purposes, Adobe Lightroom had already offered an Upright feature within the Lens Corrections tab in its Develop module. In the newest version 6.6/CC 2015.6, this feature was extended, and is now in its own section called Transform.

In this new Transform section, some of the known Upright features from the old Manual section can be found again. The image shown below is a good and easy sample to test the new features. I shot it slightly tilted against the wall, and there is also a slight barrel distortion visible, due to the mild wide angle lens used.

Most interesting for us is the new Guided button, that allows us to show Lightroom which lines we want to have straightened. When you click on this button, Lightroom allows you to draw lines on the image, that show the software where and how you think your image is supposed to look straight.

When you turn on the Show Loupe checkbox below the image (if you don’t see that on your screen hit T on your keyboard to toggle the toolbar), you can now move the mouse over the image, and Lightroom will close in on the details you are hovering over. This can help you find the perfect spots to click on, and make your lines.

The first click (click and hold it down) starts a new line that now moves along with your mouse. Move the line to a second spot in the image (and let go of the mouse) and Lightroom will have drawn the first line. You can click on both of the endpoints of this line if you want to correct it.

As soon as you draw a second line, Lightroom starts correcting the image. The best way to use this tool is to draw one vertical, and one horizontal line at the start. You may notice the improvement already in this but if you look closely, not all of the tilt, nor the distortion, has been corrected yet.

You can then draw two more lines (it accepts up to four guide lines in total) to help Lightroom catch the last perspective issues and resolve them.

Bonus tip: To make the lines more visible, I have temporarily reduced the Exposure value for the image, as you may notice in the last image (above). As the lines are thin and white, I found it easier to use when I darkened the photo to allow for good contrast with the tool.

Example image – correct a building tilt

Now, I will show you how I used the guides in the architectural image I showed on top of this article. Once again I have lowered the exposure to show the lines. As you can see, I have used two vertical and two horizontal lines, each of them way off the center of the image, to get the best results of this new feature.

Finally, you might want to use the sliders to change the Aspect, Scale and the X and Y Offset to compensate for the changes in perspective that might turn the objects in your image into looking slightly wider or slimmer form, than would be seen in real life.

Additional tool tips for using Guided Upright

Adobe found the Guided Upright tool to be valuable enough to define a keyboard short cut for it. Shift-T will bring you to this tool directly from either the Develop module or even from the Library.

If you ever wish to reset the upright guides, or the whole Transform section, you can right-click into the image while using this tool. Lightroom will show two settings on top of the context menu offering you the option to reset the guides only, or all Transform settings.

Do you shoot architecture? Has this been a feature you’ve found useful? How have you applied it to your images? Let us know in the comments below. If you have any questions post them there as well.

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The post How to Use Upright Guided Tools in Lightroom’s New Transform Section by Michael Zwahlen appeared first on Digital Photography School.

Digital Photography School

July 27, 2016
How to Use Your On-Camera Speedlight to do Bounce Flash Effectively
An on-camera flash (or speedlight) is the tool many photographers own, but few know how to use. Every day I see this amazing piece of equipment go to waste, slamming harsh light into a subject, when it could be caressing it with soft, directional illumination. The flash is a sculptor’s chisel, not a sledgehammer. You just need to know some basic technique.

In the 400-plus weddings I’ve photographed over the years, much of what I shoot indoors is lit with a speedlight. I have a trunk full of studio lights that I’ll set up and use sometimes at events, but more often than not, I end up preferring the photos from my little on-camera flash (not to be confused with the built-in one). You can create beautiful light bouncing your flash off of walls, ceilings, mirrors, professional wrestlers or herds of sheep.

Let me illustrate with a few examples, using my favorite model, my wife Karen. Every photo below is taken with the same lens (50mm), shutter speed (1/180), and aperture (f/4). We also don’t move at all. We are about 10 feet in front of a gray paper backdrop, white walls to the left and right are about seven feet away. The ceiling is also white. The only thing that changes in these photos is that I am spinning my flash head into different positions.

WHAT NOT TO DO

In our first example, I’ve photographed Karen with direct flash. (She is laughing because she thinks I’m incompetent for having my flash in that position).

This is harsh, flat light. There is a nasty shadow on the background. This is the opposite of bounce flash, and typically a last resort flash position. Let’s move on.

A SLIGHT IMPROVEMENT

Here I’ve improved things a bit by bouncing my flash off the ceiling. This has softened the light, but it is still coming from overhead, creating unattractive shadows under her eyes, and a lack of catchlights. We can do better!

LOOKING GOOD

Here I’ve pointed my flash to the side, so it bounces off the wall to my left, giving me some softness and better directionality and volume of light. I think this is a keeper!

WHAT HAPPENED HERE?

Just for fun, I turned my camera upside down here and pointed the flash at the floor, so the light is coming up from below. We call this Franken-light (monster lighting). Not something you are going to do a lot, but if you ever get hired to photograph a vampire, this is a good one to have in your toolkit.

All of these photos illustrate the two main factors I think about when shooting bounce flash: light direction and light quality (softness).

LIGHT DIRECTION

This just refers to the direction the light is coming from, something that is very easy to control with a bounce flash. If you point your flash up at the ceiling, it will hit your subject coming from above. If you bounce your light off a wall to the right, the light will come back from the right, etc.

Check out this simple portrait of a wedding guest (above). She was looking to her right in the photo, so I bounced the light off a wall on that side to get some beautiful light into her face. If the next person I want to photograph is facing the other way, all I have to do it spin my flash 180 degrees and bounce it off the opposite wall. This sort of versatility is wonderful when shooting live events.

In this photo of a just married couple walking down the aisle, I bounced my flash off a wall to the left again, to get some wonderful light on them. If you look at the people in the background, you can get an idea of the ambient illumination in the room.

The nicest light often comes more from the side than from above. If you fire your flash 90 degrees to your left, the light will come back from the left at 90 degrees. Incidentally, this is a similar angle to the great light you can get at dusk and dawn.

LIGHT QUALITY (SOFTNESS)

The softness of your light is mainly affected by the size of your light source. With bounce flash that is the section of wall or ceiling illuminated by your flash. I think this is the hardest concept for people to get with bounce flash. Just think of your light source as the surface that is illuminated by your flash (rather than the flash itself).

The bigger the light source, the softer the light. In other words, the larger the area you cover with your flash, the softer the light coming back. To cover a larger area with bounce flash, simply move farther from your bounce surface, to allow the light from the flash to spread out more. A lot of flashes also allow you to zoom the flash head in and out, creating a narrower or wider beam (a wider beam allows the flash to spread out faster, and vice versa).

This can be a little hard to visualize, so I’ve taken a couple of photos to help illustrate how it works. In the first photo (above), I have my flash head zoomed all the way out, to create the widest beam possible. I then fired it at a wall in my studio about 10 feet away. As you can see, the flash lights up most of the wall. This would makes for some nice soft light bouncing back towards us.

In the second photo (below), I have moved my flash closer to the wall with the same amount of zoom. As you can see, it is lighting up less wall now, meaning the light source is getting a bit smaller (more harsh/hard – less soft).

In the third photo, I’ve kept the flash in the same position, but zoomed in the flash head all the way. So the light source is now smaller still (the area on the wall which is reflecting light is the light source).

What you may not realize is that you can send your light all the way across a massive hotel ballroom, for example, and have it come back nice and soft. In the photo below of adoring parents listening to a wedding speech, the light from my flash is traveling 20 or 30 feet to the wall and back. The farther it goes, the more it spreads out, and the softer the resulting light. Beautiful!

POWER ISSUES AND TRICKY LOCATIONS

Now there is a limit to your flash power, and therefore, to how far away you can be from your bounce surface. Fortunately with digital cameras it’s easy to do some quick tests to see what you can get away with.

For example, let’s say you find yourself in a huge convention space photographing the keynote speaker at the annual prune sellers convention. The lighting in the room is from horrible overhead spotlights, and if you don’t improve upon it you’ll never get another job from this plum client. So you try bouncing your flash off a wall to the speaker’s left, but your flash just isn’t powerful enough. Your image is underexposed and your camera batteries are straining to recharge the flash.

In this situation, you can try a couple of different things to fix your problem:
1. Ramp up your ISO as high as you can.
2. Open your aperture up as much as possible.
3. Zoom your flash head in as far as it will go, to narrow the light beam you are firing at the wall.
If nothing works, you may have to resort to shooting direct flash, but that should be a last resort.

Off course you won’t always be in white-walled rooms, but you can usually find something to bounce off if you look around. White ceilings and dark wood walls? Bounce off that ceiling (but try to point your flash slightly to one side or the other to give some better directionality to your light). You can also bounce off of darker surfaces. If the surface isn’t black, that means it is still reflecting some light and you can bounce a flash off it.

I’ve bounced off of everything from brick to wood paneling, though admittedly these surfaces do suck up a lot of your flash output and drain your batteries faster, so they aren’t ideal (they will also add a color cast to your image).

When I walk into a space where I’m going to use bounce flash, I immediately look around and think about what my bounce surfaces (light sources) could be. I’ll identify the surfaces that look good (generally light colored/reflective things), and position myself so I can use them to my advantage.

Let’s look at some more examples:

This wedding couple is having their first dance at the Peabody Library in Baltimore, a very large space that doesn’t even have complete walls to bounce off, just columns, because of the way the library stacks are arranged. But I cranked my ISO up to 4000 and was able to bounce my flash and get some nice light for the photo.

I’ve also included a photo above showing the entire space so you can get a better idea what I was dealing with.

This sleepy little girl was photographed at a wedding reception at a country club in Virginia. I bounced my flash off a wall about 30 feet to my left, and got a little help from the purple lighting in the background.

This wedding portrait was made at night at Camden Yards baseball stadium in Baltimore. This was outside and there was nothing to bounce a flash off, so I had an assistant hold a white reflector behind me to camera left, and I bounced my flash into that.

As I write this article, I’m sitting in a dark restaurant with a black ceiling, dark walls, dark carpet and dark furniture. It’s a real light-sucking pit, but there are a bunch of framed photos on the wall, and also a mirror. I’m pretty sure I could bounce a flash off of those and get some decent light if I needed to.

You can get really good at bounce flash fast. Once you are aware of the possibilities, it’s just a matter of experimenting, and refining your technique. Look around your environment and ask yourself what you can use as a bounce surface. Look at your subject and think, “Where do I want the light to come from?”

Then experiment, point your flash to the right, to the left, behind you. Before you know it, you’ll be a bounce flash master!

Please share your bounce flash tips and images in the comments below.

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The post How to Use Your On-Camera Speedlight to do Bounce Flash Effectively by Dennis Drenner appeared first on Digital Photography School.

Digital Photography School
July 26, 2016
5 Tips for Getting Started with Wildlife Photography for Beginners

There is just something about the natural world that seems to touch us humans to the very core of our being, especially when it involves wildlife of any form. When we hear the words “wildlife photography”, wide open planes of the African Savannah with herds of zebras, wildebeests and antelope come to mind.

But that is just one part of the natural world pie! Don’t get me wrong, visiting Africa and going on safari are really high on my bucket list of places to visit and things to photograph, but I get equally excited when I am hiking in a national park that is frequented by bears, bison, eagles and pronghorn deer. There are several brilliant wildlife photographers out there, and every image they produce has a jaw-dropping reaction from most of their fans and followers. If you spend some time and really study their work, you will notice a consistent method to their approach. There are some simple basic guidelines that budding wildlife photographers can follow to creating their own Kodak moments!

Here are a few things to keep in mind for a safe, productive, and exciting wildlife photography trip.

1 – Research and planning

I spent three hours of the afternoon exploring the wonderful forest lodge at Jim Corbett National Park in India because the park roads closed in the afternoon hours to allow animals to move about freely in the jungle without the noise created by countless jeep safaris – something that is not mentioned in most guide books.

Traveling itself is one of those tasks that needs an incredible amount of planning and research. So it is no surprise that when you are planning a wildlife photography expedition, you need to add a lot more to the mix. Scope out the best places to photograph animals, the best time of day, travel times to and from, as well as any permits and paperwork needed, well ahead to time to avoid any disappointments once you get to the location.

Once we were back in the park on our safari, I was able to see this juvenile elephant walk across the path on his way to the deep jungle.

2 – Selecting the right gear

This is a very important part of any photographic expedition and quite possibly an article in itself. Choosing the right gear for your wildlife excursions is key. A lot of factors will determine what lens and cameras you need to carry with you.

Are you primary going to be traveling in a car? If so, you could bring more than one camera, and a long telephoto lens. Are you going hiking/camping, and will you be constantly on the move while looking for animals? If so, then maybe you’ll need to limit yourself to one camera, and a medium telephoto lens to reduce your load. Is there a possibility for you to get up-close and personal with the animals? Then, carry a smaller focal length like an 85mm or 50mm lens.

Are you planning on photographing landscapes too? You may need a wide angle lens if so. Will you have access to your computer frequently? If not, you may need a portable external hard drive to backup your images. How many batteries do you need?

As you can tell, having a plan for where, and what you are looking to photograph, is really critical in determining what gear you pack.

Driving around in Yellowstone National Park one December morning found me face to face with this coyote (above) – who was simply enjoying his morning run. I was too surprised to remember the appropriate lens choice, camera setting, etc. I just took the snap, and while it may not be technically perfect, it is one of my favorite images. Just look at the trot in his paws.

On the other hand, a photographic expedition into Yellowstone National Park a few days later gave me a chance to use a 400mm super telephoto lens to capture this moose feeding along the hillside.

3 – Safety

When doing wildlife photography, it is very important to keep safely in mind. It doesn’t matter if you are going on safari, or hiking alone in national parks. Wild animals by nature are unpredictable, and it would behoove us to remember that we are in their space, and we need to be respectful of that.

Rules and guidelines in wilderness areas are there for a reason – your safety and security. Make sure you follow them so that you, or others around you, don’t get hurt or injured. Whenever possible, travel in a group, or at least with one other person. There is security in numbers, and that can work to your advantage.

Seek help from experts who have made the journey before you and listen to their advice. Hiking a nesting area or denning area is never a good idea, for a reason! Take care of your gear. Especially if you are away in remote locations, you don’t want to be careless and risk your gear malfunctioning just when you need it. Dust and dirt are difficult to clean when you are out in the field.

On a 10 mile alpine hike in Glacier National Park in Montana, USA, the only gear I could comfortably carry was my 24-70mm lens and I was able to snap this picture. Not the closeup I really wanted, but this conveys a message unlike any closeup shot I could have gotten. Bonus points for spotting what everyone was looking at!

4 – Practice and patience

Wildlife photography, like most other genres, needs a lot of practice, and an even greater amount of patience. People spend hours and hours to get the perfect shot – often in less than perfect conditions like the cold, rain, and even overnight in a bind waiting for the sunrise shot. So depending on what you are looking to photograph, be prepared to be patient and wait it out.

Practicing is a little harder to accomplish unless you happen to live close to a national park or wildlife frequented area. A good alternative may be to spend time at the local zoo and try to capture photographs of animals there. A lower cost alternative to testing out your gear as well as playing around with settings.

You could also try this – Guide to Attracting Critters to Your Garden for Backyard Wildlife Photography

A pond close to my house is a watering hole for many birds during the spring and summer months. I am always out there practicing trying to get a clear shot of these cranes feeding. Perhaps one of these days, lady luck will be on my side!

5 – Enjoy the experience beyond the camera LCD

I don’t know about you, but I absolutely hate experiencing my vacation through the back of my camera. My life is quite busy and hectic with kids, family, and a full time business. Vacations are always a welcome, and much needed break to get away from it all, and time to do the things we all enjoy.

Yes, I absolutely want to capture moments through my camera, but I also want to be physically, and emotionally present with my family. I am just as happy seeing that exotic bird or that elusive wild animal with my own eyes, as I am getting a shot of it – I don’t need to prove it to the world!

While we were hiking in Glacier National Park in Montana, we saw a wolverine – yes, we truly did! About 10 minutes after this photo was taken, the path turned really narrow with a steep incline, so I did the most sensible thing I could do, and put the camera away. A few minutes after that, we saw a brown patch of fur run along the path! A ranger later confirmed that a wolverine was frequenting the area we had just hiked. Yes, I have no photographs to prove it, but I have the most wonderful memory of seeing one of the rarest (to see) animals in the wild! Wolverines are a shy species, so don’t expect to see one out in the wild. They live in dens made out of snow tunnels, rocks and boulders and can be found in remote forests and tundra.

What are some of the most interesting wild animals you have photographed? Share your experiences in the comments below.

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The post 5 Tips for Getting Started with Wildlife Photography for Beginners by Karthika Gupta appeared first on Digital Photography School.

Digital Photography School

July 26, 2016
Stylized Techniques for Editing Portraits Using Lightroom

This is the promised follow-up to my article on Creating Compelling Wide-Angle Portraits Using One Off-Camera Flash. While part one discussed equipment, composition, lighting and posing, this article focuses exclusively on post-processing.

Let me start by stating the obvious. Everyone has their own unique preferences regarding post-processing. Just read the comments below a posted image that is somewhat heavy on processing and you will see the variety of opinions out there. Personally, I like creating portraits that look somewhat surreal. I achieve some of this look by lens choice and composition and the rest in Adobe Lightroom and Photoshop.

Rather than go through my entire workflow, I’ll focus on five steps in Lightroom that form the foundation for my portrait processing. If you also like portraits that look a bit surreal, my hope is that you will learn a technique or two here that you find helpful.

This article assumes that you already have some familiarity with the menus and tools in Adobe Lightroom or Bridge.

Let’s look at the work I did in Lightroom for the above portrait, shot in rural China. First, here is the image right out of camera.

Step 1. Move the contrast to the mid-tones

One of the first steps was to reduce the overall contrast in the image using the Highlights, Shadows, Whites and Blacks sliders. The image is fairly contrasty, but weighted more towards dark tones. I moved the Highlights and Whites sliders left (only a minor adjustment to Whites) to reduce some of the highlights (bright areas) in the background. I then moved the Shadows and Blacks sliders right (only a minor adjustment to Blacks) to make sure detail can be seen throughout the image, even in the gentleman’s hat.

These initial adjustments gave the image a flat (non-contrasty) look as a starting point. This was intentional, as I planned on building contrast back into the image.

Notice in the image below that the light area in the background is somewhat less distracting, and that there is more visible detail in the background shadows.

While I removed some contrast at the outer ends of the spectrum, I then added contrast into the midtones by pushing up the Clarity slider. This varies by image, but in this case I moved it to +60 in Lightroom, in order to accentuate facial features. The Clarity slider focuses on the mid-tones while mostly leaving the luminosity of the brighter and darker areas of the image as is. Here are the results:

Step 2. Reduce saturation globally

For my portraits, I always make an initial global reduction (applies to the entire image) to Saturation and Vibrance. In this case, I reduced Saturation to -10, and Vibrance to -5. The shirt is still too blue in my opinion, but I’ll target that in the next step.

Step 3. Make local adjustments using the Adjustment Brush

Using the Adjustment Brush, I made changes to luminosity, saturation and sharpness in targeted parts of the image:

Adjustments to Luminosity – Your eyes usually gravitate towards the brightest areas of an image. So, I used the Adjustment Brush to draw more attention to the subject, especially his face, and less attention to other areas.

I started by brushing over brighter areas that were competing with his face, and darkening them slightly using the local Exposure and Highlights sliders. I also brushed over some darker areas that were missing detail, and pulled the local Shadows slider up slightly. Lastly, I added some overall brightness to the face and a little more to the eyes.

Adjustments to Saturation – I used the Adjustment Brush and local Saturation slider to further desaturate the man’s t-shirt. In this case, I also darkened it, while de-saturating.

Adjustments to Sharpness – I added a bit of additional sharpness to the eyes, eyebrows, and hair using the Adjustment Brush with the local Sharpness slider.

After these local adjustments, here is the image at its next stage:

Step 4. Create a vignette using the Gradient Tool

In photography, when someone speaks of a vignette, they are usually referring to the darkening of the outer areas of the image, relative to the center of the image. The standard vignette darkens the outer edges equally, usually in an oval shape. However, using several gradients allows you to control the direction, size and strength of the vignette on each side independently.

I clicked on Lightroom’s Gradient Tool, then clicked and dragged from outside the image towards the center, overlapping the subject slightly. Then, I pulled the local Exposure slider down, until I created a subtle edge vignette. I then added a gradient from the opposite side, and a very subtle one from the bottom. Conversely, if the edge of your image is darker than you’d like, you can also increase exposure with the gradient.

Here is the image after adding a subtle gradient vignette:

Step 5. Create a virtual copy of the RAW file for the background

To add more dimension to this image, I used a different processing treatment between subject and background. I created a virtual copy of the file in Lightroom (Photo > Create Virtual Copy, or use the keyboard shortcut CMD/TRL+’) and named it “Background”. If you use Adobe Bridge, you can create a copy of the RAW file instead. Then, for this second copy, I simply pulled the Clarity slider back to zero, and backed off on the global Sharpness slider as well. No other changes were made.

I then opened both of these file copies into Photoshop as layers, with the sharper rendition as the top layer. With the top layer active, I made a careful selection of the subject and created a mask so that the less sharp bottom layer becomes visible in the background areas. This adds a bit more dimension and helps keep your focus on the subject, as seen below.

Background edits applied in Photoshop

Original out of camera for comparison

Note: If you do not have Photoshop, you can also use the Adjustment Brush inside Lightroom to paint in less Clarity and Sharpness to the background areas.

Although it is beyond the scope of this article, I continued on with processing in Photoshop, including additional adjustments to luminosity and contrast.

I hope this short overview of my five steps in Lightroom has been helpful and that there was a technique or two that will help you in your workflow.

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The post Stylized Techniques for Editing Portraits Using Lightroom by Ken Koskela appeared first on Digital Photography School.

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July 25, 2016
Logos for Photography Business: 5 Trends to Use

A well-designed logo is a must-have tool for any photographer and studio wants to be seen on the market. According to many analysts, a logo plays an important role in entrepreneur’s success. Especially, if it’s a part of a brand identity. Use the following trends and ideas to create a powerful logo for your photography business and grab the attention Continue Reading

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Photodoto

July 25, 2016
Tips for Taking More Natural Engagement Portraits

Engagement portrait sessions can be awkward especially for couples who are expected to display their affection publicly and worse, in front of the camera. Often they feel uneasy and don’t know what to do, let alone how to pose. Left to their own devices, especially if they feel they are not naturals in front of the camera, the probability is that they won’t love their photos at the end of the session. They will look back at the session with regret.

Your job as the photographer is to avoid the above at all costs. Your main goal is for them up be thrilled with their photos, and delighted with the experience.

The benefits of engagement portraits are many. The couple able to practice in front if the camera before their big day, so they can throw off their inhibitions. But also, and more importantly, it builds trust with you, so that on the day if the wedding they won’t even have to think about how to look good in their photos. Instead they can concentrate on being with their guests and family, and enjoy their day.

Here are my top three tips in making your engagement session a breeze for your couples.

#1 Prepare them

Before the session, send them a guide offering tips on what to wear, what to bring, and how to decide on location. Assure them it’s going to be lighthearted and fun, and that it’s totally okay to laugh at themselves and be silly. Assure them that their photos will look natural, and that you have some secret tips for that to happen.

In the guide I give my couple I ask them to wear layers if it’s winter or autumn, then depending on the weather we can take a layer off and have another look. If there is a changing room nearby then they can bring extra outfits.

I encourage them to choose a couple of props that they both love, be that a picnic basket with a bottle of bubbly, balloons, bikes, books, etc. The aim is to make them feel at ease, using things that they already love and which come naturally to them. Some couples can’t easily think of props. I always suggest a bunch of flowers – they’re timeless and will suit any style.

Regarding locations, suggest choosing something meaningful to them. It could he their rendezvous spot when they were dating, where they got engaged, a spot they both have a great fondness for, or where something memorable happened.

Couples also appreciate if you ask them for their preferences to style, colors, and look. It makes them feel listened to and assures them you are open to their ideas.

#2 Direct them

This may seem opposite to the idea of candid shots and natural-looking photos, but let me tell you a secret. After having photographed numerous engagement sessions in eight years, I can tell you that natural shots are often posed. That’s right they are. Your job is to make the final image look natural, and to do whatever it takes to make that look happen.

Couples don’t know where to place their hands, where to put their weight and how to stand, what to do with their arms, where to look, what expressions to have on their faces, etc. Basically, compositions that look good and natural in front if the camera, even if that were to be a photo where they aren’t looking at the camera, and expressions that you elicit and draw out of them.

When I direct couples I give them 3 rules:

1. Connection – There always has to be a connection between them, be that a physical one where parts of their bodies are touching, or a non physical one such as gazing at each other, laughing at a shared joke, or thinking of a shared memory. Connections matter and show. The authenticity of your image rests on the depth and strength of the connection between the subjects.

2. Angles – Try to pose them at angles where you always see a bit of their faces instead of the back of their heads, unless your intention is to capture them from behind. Avoid straight lines, unless that again is your intention. I generally ask them to stand in a V position, at an angle instead of square on, with their weight on one leg so everything isn’t too even, or with a little body twist (for women) for some shape. Get men to not put their full hands in their pockets, just the thumbs instead, otherwise they look like cut off limbs up to their wrists.

Look for triangular and irregular compositions rather than straight and square. This adds interesting lines and dynamic to your images compared to a very flat and static look.

3. Laugh instead of talk – Two things to always avoid: taking photos mid-talk and mid-eat. Instead of talking to each other, ask them to laugh at each other’s silliness, and at how awkward they are feeling. That usually gets them laughing naturally. Getting them to think of special memories always puts a smile on their faces. This is not to say all the photos you take must be smiling ones, but this tip works every time. Laughter makes them warm up and shake off their inhibitions. Always a good trick!

#3 Encourage activity

This is where the props come in. An activity breaks the ice instantly, takes their focus off any awkwardness they may be feeling, creates an experience for them, and sets the scene for a memorable shoot.

Activities include having a picnic, popping a bottle of champagne, going on a bike ride, playing the guitar, reading books, having coffee at a favorite cafe or drinks in a favorite pub, going for a stroll by the sea, horse-riding, browsing flea markets, etc. If they can’t think of an activity, as mentioned above, having a bunch of flowers to hold always help. You can focus on posing them in ways that look natural, and making sure that they connect emotionally with lots of laughter and fun moments, like running and jumping, that don’t require props or any special preparation.

If you have a couple who are up for a shoot under any conditions – that’s awesome. You can capture unique photos in extraordinary weather conditions, like during a blizzard in the photos below, or perhaps freezing raindrops using flash, or in a downpour. The possibilities are endless!

I hope you find these tips helpful. Do share in the comments below if you have any more tips to add to the list.

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The post Tips for Taking More Natural Engagement Portraits by Lily Sawyer appeared first on Digital Photography School.

Digital Photography School

July 25, 2016
Fujifilm X70 User Review: Sweet for Street

Fujifilm x70 is the newest little beast in Fujifilm lineup of premium compact cameras. This camera is targeted towards enthusiast and professional photographers (thanks to retro styling and large APS-C sensor) who want to travel light and want image quality at the same time. Fuji x70 is a trade-off between the legendary Fujifilm x100T and more travel oriented point and Continue Reading

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Photodoto

July 25, 2016