Category: Photography

  • Review – The ThinkTank Photo Airport Roller Derby Bag

    For those who know me, they know that I have a slight obsession with camera bags. There are just so many varieties; roller bags, backpacks, shoulder bags, etc., so it gets a little hard to get bored of them!

    IMG_4880

    Recently though, I’ve been using a ThinkTank Photo Roller Derby bag as my everyday roller. Now, using a roller bag may not be ideal for everyone. But for people like me who need to transport a lot of kit, they are lifesavers! This isn’t the only roller bag I have, though. I also have a ThinkTank Airport Security V2.0 which is absolutely fantastic, too.

    But why did I jump to a slightly smaller bag? The answer to that is simple: the ThinkTank Photo Airport Roller Derby bag has four wheels, whereas the Airport Security only has two. This doesn’t seem like a big deal, but it makes moving the bag around that much easier.

    So before we begin the review, let’s take a look at the Roller Derby’s features as from the ThinkTank website:

    OVERVIEW

    Materials: Exterior

    • 3D air mesh
    • 3-ply bonded nylon thread
    • Polyurethane coating
    • 1680D ballistic nylon
    • 420D velocity nylon
    • Durable water-repellant (DWR) coating
    • YKK® RC Fuse (abrasion-resistant) zippers
    • Custom-designed, replaceable wheels with sealed steel bearings
    • Rubberized laminate reinforcement

    Materials: Interior

    airport-roller-derby-5-750

    Image courtesy ThinkTank

    • 210D silver-toned nylon
    • Polyurethane backed velex liner & dividers
    • 2x polyurethane coated nylon 210T seam-sealed rain cover
    • Closed cell foam & PE board reinforced dividers
    • Belly-O mesh pockets
    • 3-ply bonded nylon thread

    Specifications:

    • Internal Dimensions: 12.6” W x 18.5” H x 5.5–7.5” D (32 × 47 × 14–19 cm)
    • Exterior Dimensions: 14” W x 22” H x 9.0” D (35.6 × 55.9 × 22.9 cm)
    • Tablet Compartment: 10.5” W x 10.3” H x 0.6” D (26.7 x 26.1 x 1.5 cm)
    • Laptop Compartment: 10.5” W x 14.5” H x 1.0” D (26.7 x 36.8 x 2.5 cm)
    • Weight: 9.5–11.5 lbs (4.3–5.2 kg) depending on accessories used.

    Additional Features:

    Cable Lock

    • Lock & cable to secure lockable zippers and tether the bag
    • airport-roller-derby-9-6003-ways to roll: upright at your side, back wheel tilt, or side wheel tilt
    • Seam-sealed rain cover included
    • Bottom handle for easy over head lifting
    • Tripod mount and water bottle pocket on side
    • 2-position locking handle extends to 39–42” for better ergonomics when pushing
    • Interior zippered pockets for batteries, CF cards, filters and accessories
    • Top zippered pocket for wallet or cell phone
    • Rapid access side pocket for travel essentials
    • Reinforced back panel for increased durability
    • User replaceable wheels
    • Seam sealed rain cover included
    Image courtesy ThinkTank

    Image courtesy ThinkTank

    BUILD QUALITY

    If you have used ThinkTank products in the past, you are most likely already familiar with the overall quality of their products. The ThinkTank Photo Airport Roller Derby bag is no exception. I have been using this bag almost everyday for the last eight weeks. It has been dragged through mud, wet grass, over gravel, been pulled in and out of my car, and been shoved around on public transport. Through all of this, not once have I had any issues with any of the wheels (they just keep going, no matter what!), and most importantly, my equipment has come out of it completely unharmed.

    Wheel:wear.2

    Wheels showing wear but mostly just scratches.

    It’s been dragged a bit over concrete and other hard surfaces, and other than a few little scuff marks on its exterior, it’s perfectly fine and shows no sign of giving up any time soon. The telescopic handle feels more sturdy than the one on my other roller, and is easily pulled up and down for use. Most bags’ weakness appears first with the zippers; especially if you’re packing a lot of kit into the bag. However, the zippers used on this bag are no different to that of any other ThinkTank product. The zippers are easily opened and closed no matter how much equipment is packed in. In fact, I’ve yet to see any of the zippers across all my bags (yes, I have a few!) even begin to show any sign of strain.

    Lockable Zipper

    At the base of the bag, extending up the back a little way, is a tougher nylon cover which is perfect for protecting the material of the bag as you pull along; such as when going down stairs or whatnot. Internally, the bag is no really different to any other ThinkTank bag. The removable inserts provide ample protection for all of my kit. The rollers on the bag have also proven to be very durable. I’ve taken my bag through puddles, mud, wet grass, gravel – you name it – and all without a single problem.

    What really helps the wheels is that there are actually eight wheels in total; two wheels on each castor. This helps spread the weight of the bag and its contents out more effectively, thereby reducing the strain on each individual wheel.

    airport-roller-derby-6-750

    Image courtesy ThinkTank

    Wheels

    DESIGN

    The design of the Roller Derby is very well thought out. The main camera compartment is easily accessible. The opening hinges across the bag, not up/down. This does make it easier to work with in smaller spaces, or out of the trunk of your car, as you don’t need much space to open it.

    On the inside of the opening are three compartments where you can put extra items like memory cards, cleaning tools etc. On the front of the bag you’ll find there’s also a handy compartment to fit your laptop/tablet and other little bits and bobs too.

    Image courtesy ThinkTank

    Image courtesy ThinkTank

    If you need to leave your bag unattended, ThinkTank has you covered there, too. They have provided a cable, which is attached to the bag, and a lock which will enable you to lock the bag to an object so it’s more secure. The zippers to the main camera compartment are also lockable, so all your kit is safe; this is also perfect for air travel or public transport, for that little extra peace of mind.

    The bag also ships with a rain cover which, I might add, is one of the easiest rain covers to put on bag! It covers the bag nicely and gives your equipment that extra level of protection from the elements.

    Rain cover on

    Image courtesy ThinkTank

    Image courtesy ThinkTank

    IN USE

    This has now become my go-to bag for day-to-day use. It’s smaller than my other roller bag, which makes it easier for fitting in to cars, on trains, etc., and is also easier to fit under a table in a media room. The four castor design makes it easier to put the bag under a table, and take it out again; without having to move myself about to maneuverer it. I can just simply push it under, or grab it out.

    Boot

    Here it is in the trunk (boot) of my car.

    I’ve found the compact design of the bag to be very helpful when working in tighter spaces (some of the media rooms here in the UK are very ah….cozy!) as it doesn’t get in the way when I am unpacking my kit from it. Yet, despite its compact nature I can still fit my everyday required kit.

    In this bag I can fit:

    • Two EOS 1-D series cameras
    • A 400mm f/2.8 lens
    • A 70-200 f/2.8 lens
    • A 16-35 f/2.8 lens
    • A 1.4x Teleconverter
    • Two 600-EX RT Canon Speedlites
    • Other little bits and pieces

    IMG_4882

    CONCLUSION

    I love roller bags, they work perfectly for my requirements. For me, this bag is a winner. It’s compact design, yet high carrying capacity, make this bag ideal for people who want to carry larger amounts of equipment easily. Here are my thoughts:

    Who is this bag for:

    This bag is ideal for people who want a bag that they don’t have to carry around. The wheels make transporting equipment so much easier. It’s particularly ideal for travel on public transport, as its compact design will easily fit in the luggage area of many trains, or next to you on the seat.

    Who is this bag NOT for: 

    If you’re someone who needs to travel with a bag with them all the times, you may want to look outside roller bags. If you want to carry more equipment, this particular model may be a little too small as well.

    Pros:

    Empty, the bag is quite light for a roller bag, weighing in at 5kg (11 pounds). Its compact design makes it easier to store when you’re in transit and at home, and the wheels make it a lot easier to move around. A well thought out design makes the most of its compact size to fit a generous amount of kit inside.

    Media

    Cons:

    I wouldn’t say this is necessarily a con; rather just something to be aware of, but the 4-wheel design can mean the bag can tend to roll away if it’s left on a slope, so be careful of this! When using a large lens (such as a 400mm f/2.8 or 600mm f/4, etc.) with the hood on, you are no longer able to put a laptop in the laptop compartment in the front of the bag. The price may be a con for some if you’re not in the market for a bag that’s almost $ 400.

    If you’re on the market for a good quality, durable, and ergonomic roller bag, I would strongly suggest you take a look at the ThinkTank Photo Airport Roller Derby!

    googletag.cmd.push(function() {
    tablet_slots.push( googletag.defineSlot( “/1005424/_dPSv4_tab-all-article-bottom_(300×250)”, [300, 250], “pb-ad-78623” ).addService( googletag.pubads() ) ); } );

    googletag.cmd.push(function() {
    mobile_slots.push( googletag.defineSlot( “/1005424/_dPSv4_mob-all-article-bottom_(300×250)”, [300, 250], “pb-ad-78158” ).addService( googletag.pubads() ) ); } );

    The post Review – The ThinkTank Photo Airport Roller Derby Bag by Daniel Smith appeared first on Digital Photography School.


    Digital Photography School

  • How to Use Photoshop to Enhance Details in Your Photos

    Do you think that your images lack details? Here is the way to extract the extra details that are already present in your photos, but are not visible, using Photoshop. Some methods like high pass sharpening will either give you a way too crunchy look or create halos around the edges of the different elements in your image. However, this Continue Reading

    The post How to Use Photoshop to Enhance Details in Your Photos appeared first on Photodoto.


    Photodoto

  • 5 Life-Saving Tips on How to Back Up Photos

    Everyone’s heard the horror stories about people who’ve lost their photos, and everyone knows that – no matter what they’re of or what they’re for – losing your pictures can be devastating. Whether it’s a folder of precious family photos, a portfolio, or a project for a client, replacing what was lost can be time consuming, expensive, and even impossible Continue Reading

    The post 5 Life-Saving Tips on How to Back Up Photos appeared first on Photodoto.


    Photodoto

  • Finding Comfort with Off-Season Photography

    When you are learning photography you read so much about golden hours, the right time of the day to take photos, and other rules. What about the sort of photos to take depending on the weather? People tend to think that you need good weather to get good photos.

    leannecole-winter-photography-razorback-gor

    What happens when all there is only rain, fog, overcast skies, and all you want to do is sit inside, keep warm, and drink coffee? However, what if you disregard all that, and decide that you like the image you get in the winter or just bad weather?

    There is no question that the images you get in the off-season (that could be snow, monsoon, or heat wave depending where you live), when you would rather stay indoors, are going to be very different. It should be considered as opportunity to see nature in a different light, and a challenge to be brave, to try new types of images. It is also important to take steps to make sure you and your gear are protected from the elements.

    LeanneCole-winter-photography-008

    A winter sunset at Port Arthur in Tasmania made even bigger by all the rain and the puddles creating fantastic reflections.

    Here are a few reasons why off-season is a great time to take photos:

    Not many people around

    If you are anything like me, you dislike people who walk into your shot, or just won’t leave an area you want to photograph. During the popular vacation times you will be surrounded by people, and many other photographers who think that taking photos in popular places is also a good idea. It can be very crowded.

    Winter (or off-season) is a time that most people decide not to travel, they don’t want the weather ruining their trip. This makes it the best time for you to go out and take photos. You may find that many spots are devoid of people, or there won’t as be many.

    leannecole-winter-photography-richmond-bridge

    It is an opportunity to take photos that others will not

    As most people will stay indoors when the weather is bad, you will be able to get out and take the photos the others miss out on. Rain, fog and snow can all give you incredible images. Even overcast grey days will give you a different look. There are some of us who would go for an overcast sky any day, over a beautiful blue one with no clouds.

    Making the most of breaks in bad weather

    During bad weather there are going to be breaks where the rain (snow, or whatever you get there) will stop and if you are lucky the sun might even come out. In southern Australia that often happens. You might only get 10 minutes of it, or a few hours, so you have to make the most of it.

    You can’t be lazy. If you see the weather improving, you need to get out there fast. Visit all the places on your list and see what you can get. In some instances, it may be the only opportunity you get to shoot some spots.

    LeanneCole-winter-photography-009

    A break in the rain at Strahan, Tasmania, so we spent four hours getting what we could before it started again.

    Water in winter

    There is something quite magical about water in the winter or off-season. When it isn’t raining, the stillness can create some magical landscapes where the water will be so calm, that everything reflects in it. Often after light rain you can get that flat reflective surface.

    LeanneCole-winter-photography-003

    Reflections in the water can be wonderful, especially when you get an overcast sky reflected as well.

    Rain gives a natural vibrance

    Have you ever noticed how a dry seashell is dull, and the vibrancy that you saw in it on the beach is gone? That is, until you wet it again! When I was a child we used to paint shells with clear nail varnish so they would keep that wet look.

    The landscape is not that much different. You can’t paint it with varnish, but you can look for rainy days that make it all wet. Colours are saturated and just pop out. Grass appears a lot greener, and warm tones like red and yellow stand out a lot more. You get a landscape that is grey, but in it there are also saturated colours that are accentuated to make the image more interesting.

    LeanneCole-winter-photography-010

    Colours can appear saturated during and after rain.

    Moody landscapes

    Off-season gives you so many more opportunities to get moody landscapes. Nothing says mood like a scene drenched in fog. It has a way of isolating your subject, and making it the most important thing in the image. The mist is also great for getting silhouettes of objects, especially around water.

    Overcast skies can do the same. Dark foreboding clouds can create darkness in landscapes, and give a sense of dread, tinged with some scariness. The absolutely best scene is the one with a dark overcast sky, then the sun peeks through a break in the clouds, and highlights an aspect of the image. It’s like hitting the jackpot, you get the best of everything. It is one of my favourite things to capture.

    If you are out and see fog, frost, or lots of clouds, try to figure out how to make them work for you in your image. See if you can get lots of different angles, and what you can do with them.

    leannecole-winter-photography-hellsgate-lighthouse

    LeanneCole-winter-photography-004

    Fog can create moody landscapes and isolate areas.

    Light

    Photography is full of rules, how to take photos, when to take photos; it is said that you shouldn’t take photos between 10am and 4pm. Is this true? Perhaps in the summer, and those places that don’t really have winter, but if you live a long way from the equator this rule may not apply to you. The further you are away from it the less it applies.

    leannecole-winter-photography-queenstown

    Winter (off-season) light is quite beautiful. There is a softness to it that makes photographing wonderful, and you can get some incredible images. The shadows are soft, meaning the edges aren’t hard and sharp like they are in the summer. The sun doesn’t get as high in the sky so the shadows are always long.

    Living in a country like Australia where the summers are hot and harsh, I look forward to winter every year. It means I can go out and take photos for as long as I like, when I like. The clock doesn’t dictate when it is a good time. Winter is my absolute favourite time for photography here.

    LeanneCole-winter-photography-007

    On an overcast day the sun could suddenly come out and give your landscape a spotlight effect.

    Equipment you need to take with you

    When you are travelling in the off-season you have to be prepared for wet and cold weather. It’s likely going to mean that you will have to take more gear with you so that you can protect your gear.

    In your kit it’s good to have a plastic raincoat cover for your camera; a sleeve that will fit over your camera, but the end is open for your lens so you can still take unobstructed photos. Many cameras can take a certain amount of water, the more high end ones more so, but you don’t want to push it much. If you are out in the rain constantly, then protect it as much as you can.

    LeanneCole-winter-photography-006

    Riding in a boat in open water in inclement weather is a disaster waiting to happen, so make sure you protect the camera and keep it covered up.

    A lens hood is one of the best ways to protect the end of your lens when it is misty and raining. The sides of it can help prevent water from ruining your photos, unless you are shooting straight into the wind.

    Having a lens cloth close by is an absolute must. As much as you try to keep the lens dry if there is any breeze, you will get drops of water on the end. It is good to keep it in your pocket for quick access. Nothing spoils a photo more than water drops on the lens.

    LeanneCole-winter-photography-002

    Waterdrops on your lens can ruin your images, and can be very hard to remove in post-production, especially if there are lots of them.

    Making the most of it

    You shouldn’t think of the off-season as a time to hibernate, but make the most of weather that other photographers don’t consider. Think about how you can get the weather conditions to enhance your images, and give you a final photo that is unique. Good luck with it and remember to rug up and keep warm.

    LeanneCole-winter-photography-005

    Waterfalls can be full of water from lots of rain.

    leannecole-winter-photography-newstead-railwayshed

    googletag.cmd.push(function() {
    tablet_slots.push( googletag.defineSlot( “/1005424/_dPSv4_tab-all-article-bottom_(300×250)”, [300, 250], “pb-ad-78623” ).addService( googletag.pubads() ) ); } );

    googletag.cmd.push(function() {
    mobile_slots.push( googletag.defineSlot( “/1005424/_dPSv4_mob-all-article-bottom_(300×250)”, [300, 250], “pb-ad-78158” ).addService( googletag.pubads() ) ); } );

    The post Finding Comfort with Off-Season Photography by Leanne Cole appeared first on Digital Photography School.


    Digital Photography School

  • How to Enhance Portraits Using Gray Layers to Dodge and Burn in Photoshop

    What is dodging and burning?

    The techniques of dodging and burning are hand-me-downs from the days of the darkroom. The idea was to manipulate parts of an image while the paper was being exposed to light from the enlarger, where the negative was fitted. In order to decrease the exposure (lighten) on parts of an image, the paper had to be exposed for less time, which was dodging. To increase exposure (darken) it needed to be exposed for more time, which was burning.

    Before dodging and burning

    Before dodging and burning

    After dodging and burning (it’s subtle, look at her hair and cheeks – don’t overdo it with this technique)

    One way of doing this, was by holding bits of paper or card over the parts of the image that didn’t require manipulation. Because these adjustments only applied to certain parts of an image, it required a certain amount of dexterity (as well as a lot of paper) to get right. Because of this complexity and precariousness, dodging was used primarily to lighten dark areas. Burning was then used to darken highlight areas.

    The Photoshop version of the technique; however, is far more forgiving. Photoshop allows very fine control over an image and even allows pixel by pixel retouching. The versatility this provides turns the traditional darkroom method on its head. It allows you to use small brush strokes to brighten and exaggerate small areas of highlights, or darken shadows, instead of applying to only broad areas.

    This technique is very easy to learn, but it does require some practice to get down, as it’s very easy to go overboard with it, and overcook your images.

    Why dodge and burn?

    Tools like curves and levels give you control over the tonality and contrast of an entire image (excluding the use of layer masks). This is called a global adjustment, but they aren’t always effective for most images.

    Dodging and burning allows you fine control over the tonality of your images in small, concentrated areas. These are called local adjustments. This allows you to pick out small parts of an image to work on, while leaving areas that need no work untouched.

    While useful in all genres of photography, the use of local adjustments comes into its own in portraiture. If you think in terms of contrast alone; hair, eyes, skin, and clothes all require very different treatments in order to look their best. For example, if you pump up the contrast in an image to make a pair of jeans look punchy, that will wind up destroying the skin tones in your portrait. One of the easiest ways to overcome this is using a local adjustment technique like dodging and burning.

    This tutorial will get you started with a two layer dodging and burning technique, that will give you far more control over your images than you would have with global adjustment tools alone. This is an intermediate technique and you need to have a basic understanding of how to use layers in Photoshop.

    For this demonstration, I am going to go beyond what I would normally consider acceptable and overcook the image, to ensure that it is visibly clear what is happening at various stages of the process.

    Setting up the layers

    Before you start this technique, I suggest that you first finish any blemish removal in your image.

    That said, the first step in Photoshop is to create a new layer by going to Layer>New Layer or by pressing ctrl+shift-n. Rename this layer, “Highlights”.

    dodging-and-burning-with-grey-layers-newlayer

    With this new layer selected, go to Edit>Fill or shift+f5 and choose 50% gray from the menu. Press OK. Your image should now be entirely gray.

    dodging-and-burning-with-grey-layers-fill

    dodging-and-burning-with-grey-layers

    The next step is to change the blending mode of your gray layer. From the drop down menu in the layers palette, choose Overlay or Soft Light. Either choice is fine, but using Overlay will result in a far more pronounced effect than Soft Light. Experiment with both, see how it works for you, and which you prefer. Once the blending mode is changed, you should be able to see your image again.

    dodging-and-burning-with-grey-layers-softlight

    Next, create another new layer. Layer>New Layer or ctrl+shift+n and rename it to “Shadows”. Again, fill it with 50% gray. Edit>Fill>50% Gray or shift+f5

    dodging-and-burning-with-grey-layers-layers

    Set this layer’s blending mode to the same as the one you chose for your Highlight layer.

    That’s the preparation work done. Once you’re used to it, this whole process only takes a few seconds. It’s also possible to set it up as an action, so Photoshop will do it for you at the press of a button.

    Dodging

    To start, select your Highlight layer and choose the brush tool. Pick a large, soft brush (Hardness number is low and edges are fuzzy). You can change the brush settings by right clicking within your image.

    dodging-and-burning-with-grey-layers-brush

    With the brush selected, look for the tool settings at the top of your screen. You’re looking for a pair of sliders labeled opacity and flow. Set your brush’s opacity to 15% and the flow to 10% (see below circled in red). You can change them later, but this is a good starting point.

    dodging-and-burning-with-grey-layers-brushopacity

    Make sure that your brush colors are set to white and black. You can press D (default) on your keyboard to do this. Also, you can press X to swap between them. Knowing these shortcuts will save you an incredible amount of time.

    Now you’re ready to dodge.

    Assuming you’re working on a portrait, find a highlight area on your subject’s skin that you would like to emphasize. With white set as your foreground color, paint into that area (make sure you are on the Highlight layer not your image). Because the brush’s opacity is so low, you may not notice a difference at first. Just keep brushing into it, and build up strokes until you have the desired effect. Do this for all of your highlight areas.

    With the blending mode set to normal, your highlight layer may look something like this.

    Note: If you decide that you’ve gone too far, just fill the layer with 50% gray again and start over.

    Burning

    With your highlights done, select your Shadow layer by clicking on it in the layer palette. Select black as your foreground color and paint into the shadows in the same manner you did for your highlights (make sure you are painting on the Shadow layer not your image).

    With the blending mode set to normal, your shadow layer may look something like this.

    After dodging and burning is complete, you may have something that looks like this.

    Add Gaussian Blur

    The next step is to smooth out your brush strokes. Select your Highlight layer and select Filter>Blur>Gaussian Blur. Choose an amount between 20 and 40 pixels, and press okay.

    dodging-and-burning-with-grey-layers-gaussian

    After the Gaussian Blur filter is applied.

    Do the same for your shadow layer.

    Final Steps

    The last thing to do is is change the opacity of your layers. It may not seem like it, but at this point the effect is probably way too strong.

    Select one of your painted layers. Find the opacity slider in the layer palette, and drag it to the left. Watch your image as you move the slider and stop once you’ve reached the desired effect.

    dodging-and-burning-with-grey-layers-layeropacity

    Do this for the second layer, and that’s it! You have dodged and burned.

    The final image after the opacity of the dodge and burn layers has been reduced.

    It's really easy to overcook an image with this technique. Use low opacity brush strokes and take your time to avoid having your images look like this one.

    It’s really easy to overcook an image with this technique. Use low opacity brush strokes and take your time to avoid having your images look like this one.

    From Left to right: 1) Before 2) Dodge and burn with no blur. 3) Gaussian Blur filter applied. 4) Opacity of dodge and burn layers reduced.

    Tips and Notes

    • Like most retouching techniques, subtlety is key. At first, overcooking your images with this technique is inevitable. Keep practicing and you’ll figure it out in no time.
    • Always zoom in to 100% or closer when working on small areas like eyes.
    • A graphics tablet will help with smooth, natural brush strokes. If you can only use a mouse or trackpad, experiment with more liberal use of Gaussian Blur to mask the brush strokes.
    • When painting shadows or highlights, try to match the light in the image. You can paint white (dodge) into your shadows, but this will probably look very strange in the end.
    • Change the brush size often, and appropriately, to the area you are working on. Keyboard shortcuts make this a breeze (use [ and ] to increase and decrease brush size).
    • Experiment with different brushes until you find one that suits your taste.
    Before dodging and burning

    Before dodging and burning

    After dodging and burning

    More Tips and Notes

    • It’s all too easy to concentrate on the face, but try not to forget other parts of the image like your subject’s hair, clothes, and the rest of their body.
    • Both dodging and burning can be done on a single gray layer. Feel free to do this, but the two layer technique grants you even more control, without much extra effort.
    • Consider setting up a keyboard shortcut for Gaussian Blur. This saves a lot of time.
    • You can create as many sets of gray layers as you want. For example, if you want to use very small brushes to dodge and burn the eyes, you might choose to do this on a separate set of layers in order to use less blur at the end. If you use a lot of layers sets like this, consider using layer groups to keep them organized and don’t forget to name your layers.
    • If the shadows and highlights you are working with have very hard edges, try using a harder brush and a lower amount of Gaussian Blur.
    • Consider watching and trying some digital painting and sketching tutorials for Photoshop. These can really help to increase your brush control and lend to more natural results.

    googletag.cmd.push(function() {
    tablet_slots.push( googletag.defineSlot( “/1005424/_dPSv4_tab-all-article-bottom_(300×250)”, [300, 250], “pb-ad-78623” ).addService( googletag.pubads() ) ); } );

    googletag.cmd.push(function() {
    mobile_slots.push( googletag.defineSlot( “/1005424/_dPSv4_mob-all-article-bottom_(300×250)”, [300, 250], “pb-ad-78158” ).addService( googletag.pubads() ) ); } );

    The post How to Enhance Portraits Using Gray Layers to Dodge and Burn in Photoshop by John McIntire appeared first on Digital Photography School.


    Digital Photography School

  • A Beginner’s Guide to Minimalist Photography

    Minimalism is splitting the world in two. Love it or hate it, it’s a style with a very defined outline, one that has its roots in in the painted arts of the 20th century and that continued to branch out in other domains. These days, minimalism is especially present in design, fashion, and photography. A simple scout around websites such Continue Reading

    The post A Beginner’s Guide to Minimalist Photography appeared first on Photodoto.


    Photodoto

  • Why Off-Camera Flash Isn’t as Scary as you Think

    Flash

    The word alone has the potential to cause dread, even among experienced photographers, bringing to mind images of overexposed faces and red eyes. Because of this, many photographers avoid flash altogether, keeping a safe distance at all times. I think that’s too bad.

    It’s a missed opportunity. Sure, flash may not always be applicable to your situation – but it’s very helpful to have another tool in your bag of tricks if and when it is needed.

    Portrait

    Off-camera flash gives you an incredible amount of control. Yes, understanding natural light is an important part of being a photographer – but working with off-camera flash lets you create your own lighting conditions. You can even mimic the elusive golden hour.

    This guide will explain off-camera flash in its simplest components, giving you the knowledge to begin to experiment, and to explore how it could help your photography.

    What you need to start

    When I talk about off-camera flash, you might be picturing something like this:

    ? ?? / Chris Lim

    By ? ?? / Chris Lim

    If that’s the case, I don’t blame you for being a bit nervous. In reality, all you need to get started with off-camera flash photography is:

    • A camera
    • An independent flash unit
    • A way to make them fire simultaneously
    • Something to hold your flash, like a light stand or a friend
    light-stand-1 light-stand-2

    Once you take your flash unit off of the camera, it won’t know that it is supposed to fire when you hit the shutter button. Fortunately, there are several ways that you can sync your flash.

    Built-In Flash Control: Some cameras have a built-in setting that uses the pop-up flash to tell your off-camera flash to fire. Most flash units have a sensor on the front that recognizes the sudden burst of light (optical sensor), and fires accordingly.

    pop-up-flash

    Flash Sync Cord: This is a cord that runs from your camera to the flash. Think of it like an extension cord. These are useful and reliable, but it also limits how far away the flash can be from your camera.

    Wireless Radio Transmitters: The preferred option, radio transmitters can sync your flash to your shutter even if they are at a significant distance away.

    bts-6855-edit

    Cactus brand remote triggers

    bts-6859-edit

    One remote goes on the camera, the other attaches to the flash. When the camera fires the one on the camera sends a signal to the other remote to fire the flash.

    Editor’s note: for more great tips read, A Beginner’s Guide to Working With Flash Off-Camera

    The basics – controlling your off-camera flash

    When you use a flash on-camera, it can determine the correct power settings and fire accordingly (TTL). Once you take the flash off the camera, however, you’re going to need to tell both the camera and the flash what to do manually.

    bts-6851-edit

    M is Manual mode, and 1/1 is full power. Zoom level shows 35mm. Read the user manual for your flash to see how to adjust these items.

    If that sounds scary, just take a deep breath – we’ll get through this together.

    Fortunately, controlling flashes is quite simple. In manual mode (on the flash), you choose the amount of power at which the flash fires. This is expressed as a fraction: 1/1 means the flash is firing at full power, ¼ means the flash is firing at a quarter of its total power, and so on. Easy, right?

    Alright, so now we know how to control the flash. What about the settings on your camera?

    This is the cool part. You can control the effects of the flash using your ISO and aperture. Adjusting these two settings controls how sensitive your camera sensor is, and how much light it can collect.

    So here are the four ways to make the flash in your image stronger (more flash):

    • Turn up the flash power
    • Move the flash closer to your subject
    • Turn up the ISO
    • Make the aperture wider (smaller f-stop number)

    Piece of cake! Is your flash in your picture too strong? Well, simply do the opposite of one of the criteria mentioned above (turn the flash down, move it away from the subject, turn the ISO down, use a smaller aperture).

    You’ll notice that I haven’t mentioned shutter speed yet. That’s because your shutter speed doesn’t affect flash at all.

    Well, almost not at all. Every camera has a flash sync-speed. This is because if the shutter speed goes too fast, it won’t sync perfectly with the flash (the shutter will open and close before the flash goes off). As a result, part of your picture won’t see the effects of the flash – resulting in a black bar across part of the shot. For most consumer cameras, your maximum flash sync speed will be around 1/200 or 1/250. Keep your shutter speed under that (slower like 1/125th or 1/60th) and you’ll be fine.

    flash-sync-1

    Correct sync speed used the flash lights the entire image

    flash-sync-2

    If your shutter speed is too fast (higher than the sync speed) you will get something like this, where part of the image is not lit by the flash and is dark, or even black.

    Two exposures: Ambient and flash

    This is the key to understanding off-camera flash photography.

    Think of every picture taken with flash as being two exposures, overlapped on top of each other. The way you decide to balance the ambient lighting and the flash, sets the tone for the image. Let’s take it one layer at a time, and you’ll see how easy it can be to build an image using off-camera flash.

    THE FIRST LAYER: AMBIENT LIGHTING

    Ambient light is that which is already available in the area from the sun, window light, street lights, etc. At certain times of the day, your ambient light is going to be quite nice, like at Golden Hour. Other times, you may not be so lucky.

    Sunsets, for example, are especially tricky. This is because in order to bring out the colour and texture of a sunset, you need to keep the exposure dark – and as a result, your subject will be completely silhouetted.

    Here’s the first step for taking your off-camera flash picture – ignore your flash altogether. Turn it off.

    Find the normal, correct exposure for the existing (ambient or available) light, and then adjust your settings to intentionally make your image too dark. The darker your ambient exposure, the more dramatic the light from your flash will be.

    1 ambient

    Here is my exposure for the ambient light (above). We’re off to a good start! For this shot, I want to keep the dark, dramatic sky in the background, and I will rely on my flash to light up the tennis player.

    THE SECOND LAYER: FLASH

    Alright, now turn on your flash. By using flash to light my subject, I can get the best of both worlds – my sky remains dark and dramatic while my subject is well-lit.

    It will probably take a few shots to get your lighting right. That’s perfectly normal! Use the tips mentioned in the previous section to add more or less power to your flash.

    1 flash

    When we add the flashes, we get to keep the dramatic background, with the benefit of crisp lighting on our subject. This shot simply isn’t possible without flash.

    You can use what you know about ambient and flash lighting to set the tone of the image.

    If you keep your ambient light levels high, the flash will add just a kiss of light. If you start with a very dark ambient image (like the one above), your flash will sculpt and define the image much more strongly.

    1 behind the scenes

    Here’s the behind-the-scenes of our setup. Since the light is hitting the subject from an angle, it is dramatic and shows shape much more effectively than if the flash had been on the camera. One flash is to camera right, bouncing into an umbrella to soften it, the other is to camera left (and behind the subject) to add an accent light.

    Putting it into Practice

    Here’s another example, this time using flash to give a simple kick, to a liven up a portrait.

    2 natural

    This was shot with no flash, exposed for the skin tones.

    2 ambient

    Ambient light only, darkened for the background.

    The first step was to push the “correct” exposure down, making the overall image darker, so that we could use flash to highlight the subject.

    2 flash 2 double flash

    In the image above (left), the flash is coming from just left of the camera. It brightens the subject up (compared to the background), and makes the image seem more three dimensional. The background also pops more than it did with the “correct” exposure.

    If we want to, we can play around with the effects of a second flash (above right), maybe letting it aim directly toward the camera to create some lens flare?

    2 behind the scenes

    Here’s the simple setup.

    Shaping and modifying your light

    Well done! You’ve made it through the basics of off-camera flash photography. Next, you can push your newfound skill to a whole new level by learning how to modify the light.

    If you’re familiar with how the light on a cloudy day is softer than the light on a sunny day, then you already know nearly everything you need to know about flash modifiers.

    The basic rule is this: the larger the light source, the softer the light.

    A flash unit is a small light source that creates harsh shadows. That isn’t always so flattering.

    The purpose of umbrellas, soft boxes, and other light modifiers, is to make the source of light larger. This softens the light, which is especially useful for portraits.

    flash-3

    Learning how to modify light lets you build a style that matches your image.

    Looking for a gritty photo? Shoot with a bare flash (no modifiers) and get sharp shadows. Looking for softer, more flattering light? Use a softbox.

    Practice, practice, practice

    Once you’ve got a feel for how to use your flash off-camera, you’ll have a whole new world of photography to explore. Try it. The worst thing that can possibly happen is that you’ll learn something.

    Using digital equipment gives you the ability to try things without any financial repercussions. Learning flash photography through trial and error was probably pretty expensive back in the days of film; today you can fire as many shots as you need in order to learn, without breaking the bank.

    Nobody ever got off-camera flash right on their first try – experiment and stick with it, and you’ll add a valuable new tool to your bag of tricks.

    flash-2

    More articles for you to read on dPS about off-camera flash:

    • How to Create Compelling Wide-Angle Portraits Using One Off-Camera Flash
    • 9 Steps to Get Over Your Fear of Off-Camera Flash
    • Supporting Your Off-Camera Flash – Tripods, Monopods or Light Stands?
    • Beginners Guide to Using TTL Off-Camera Flash
    • How to Get Started with Off-Camera Flash Photography – Start With One!
    • Getting Started with Off-Camera Flash
    • How to Balance Off-Camera Flash and Ambient Light on Location
    • A Beginner’s Guide to Working With Flash Off-Camera
    • The Ultimate Flash Photography Guide FAST FLASH FOR PORTRAIT PERFECTION a dPS ebook

    googletag.cmd.push(function() {
    tablet_slots.push( googletag.defineSlot( “/1005424/_dPSv4_tab-all-article-bottom_(300×250)”, [300, 250], “pb-ad-78623” ).addService( googletag.pubads() ) ); } );

    googletag.cmd.push(function() {
    mobile_slots.push( googletag.defineSlot( “/1005424/_dPSv4_mob-all-article-bottom_(300×250)”, [300, 250], “pb-ad-78158” ).addService( googletag.pubads() ) ); } );

    The post Why Off-Camera Flash Isn’t as Scary as you Think by Frank Myrland appeared first on Digital Photography School.


    Digital Photography School

  • 5 Tips for Taking Better Portraits in Nature

    I can’t get enough of being outside in nature.

    I often go out on trail runs with my friends, and we spend most of the run grinning from ear to ear, exclaiming how lucky we are to be here on this earth, and how beautiful every single thing is. I love to go camping with my family, where we set up hammocks in the trees, listen to the birds singing, and the leafy wind sounds as we gaze up into the sky.

    900

    So it makes perfect sense to me to take photos of people in the great outdoors. Nature elevates the whole photo to something much more interesting than a simple studio backdrop. People are my favorite subjects, and nature is my favorite setting, so I’d love to share a few ideas to help your nature portraits be even more exciting.

    1 – Nature’s Colors Can Complement Perfectly

    300

    Sometimes you may notice that your subject’s hair, eyes, lips, or clothing matches some floral blooms, leaves, sky, or rocks perfectly. Photographing your subject with colors in mind can bring out some of those things beautifully, and make a gorgeous photo. Sometimes the colors may match exactly, or they may be opposite on the color wheel, and make your subject just pop.

    For example, if your subject is wearing purple, keep an eye out for yellow leaves. If you are doing your photographs in a place with lots of green, pops of red can really stand out. If your subject has startling blue eyes, use water or the sky to bring out that blue even more. Start paying attention to the colors in your photos, along with composition, light, etc., and your photos will have a whole new dimension to them.

    700

    2 – Focus on Nature and Let the People Blur into the Background

    600

    For a new perspective, try focusing your camera on nature in the foreground, and letting the people in the background be out of focus. This is especially effective for photos that feel like you’re getting a glimpse of something private, like a kiss, or a mother with her newborn baby.

    You can do this by setting your aperture wide (a low number, for example, between f/1.8 and f/2.8), setting your camera to let you choose the focus point, then making sure your focus point is on the flowers, leaves, or rocks in the foreground. Make sure your subjects are standing far enough behind your foreground, so they will definitely be out of focus. You want it to look like it was done purposely, not like you accidentally missed the focus on your subjects.

    3 – Be Playful and Interact With Nature

    400

    Nature is full of props to make your photos even more fun. You can use logs, rocks, and branches to perch on. You can use leaves or snow for your subject to blow on, or throw, in the air. You can have them walk through a stream, or throw rocks from the bank. Use a flower to tuck in the hair, or to smell. The ideas are endless, and if your subjects are really outdoorsy and they interact with nature regularly, make sure to capture that during your photo session with them.

    Be kind to nature around you, though, and try to leave everything the same or better than you found it. Remember that if everyone broke branches, picked a bouquet of wildflowers, or stomped on untouched fragile foliage, there would be nothing left for any of us to enjoy. Tread lightly, pick up any trash, and don’t leave a trace.

    200

    4 – Dress Mother Nature up a Little Bit

    800

    You can create a whimsical, unexpected photo, with a few unlikely props. Carefully hanging a chandelier from a tree, or a bench or couch in a field, can be a lot of fun. Try props like a retro typewriter in the middle of a forest, or balloons at the beach. It’s hard to look at a photo with something so playful and fanciful, without smiling.

    5 – Make Nature the Star of the Show

    100

    I love images of beautiful scenes in nature, but I love a photo of a person IN a beautiful scene in nature even more. It shows scale, and adds so much interest to the photo. Your human in the photo may almost be an afterthought, maybe even almost blending in to the scene.

    Look for beautiful scenes that would make pretty photos alone, then add your person into the shot. These types of photos work perfectly to print up gigantic and hang up on the wall. Close up photos are fantastic, but sometimes pulling way back, and getting more scenery than person in a photo, is the perfect thing to do.

    1000

    Summary

    I hope these tips give you some ideas to get out and take some portraits in nature.

    How have you used nature to enhance your portraits? I’d love to see your nature portrait photos in the comments if you’d like to share.

    500

    googletag.cmd.push(function() {
    tablet_slots.push( googletag.defineSlot( “/1005424/_dPSv4_tab-all-article-bottom_(300×250)”, [300, 250], “pb-ad-78623” ).addService( googletag.pubads() ) ); } );

    googletag.cmd.push(function() {
    mobile_slots.push( googletag.defineSlot( “/1005424/_dPSv4_mob-all-article-bottom_(300×250)”, [300, 250], “pb-ad-78158” ).addService( googletag.pubads() ) ); } );

    The post 5 Tips for Taking Better Portraits in Nature by Melinda Smith appeared first on Digital Photography School.


    Digital Photography School

  • 24 Fantastic Photos of our Fine Feathered Friends – Birds

    As we just wrapped up a week of nature photography related articles I wanted to round it out with a few images of our feathered friends, the birds.

    Birds are incredibly hard to photograph when in motion, luckily some stick to the ground or are slower than others. Let’s see some fantastic examples of bird photography (I’ll even throw in a few of my images) – enjoy!

    Irene Mei

    By Irene Mei

    Darlene Hildebrandt

    By Darlene Hildebrandt

    Darlene Hildebrandt

    By Darlene Hildebrandt

    Deven Dadbhawala

    By Deven Dadbhawala

    Amro

    By Amro

    Glasseyes View

    By glasseyes view

    Carolyn Lehrke

    By Carolyn Lehrke

    Sadie Hart

    By Sadie Hart

    Susanne Nilsson

    By Susanne Nilsson

    Ken Mattison

    By Ken Mattison

    Vikramdeep Sidhu

    By Vikramdeep Sidhu

    Alessandro Caproni

    By Alessandro Caproni

    Bee Thalin

    By Bee Thalin

    Rosanne Haaland

    By Rosanne Haaland

    Zach Stern

    By Zach Stern

    Christopher Michel

    By Christopher Michel

    Ian McMorran

    By Ian McMorran

    Teddy Llovet

    By Teddy Llovet

    Irene Mei

    By Irene Mei

    Smudge 9000

    By Smudge 9000

    Jon Dunne

    By Jon Dunne

    Matt Knoth

    By matt knoth

    RayMorris1

    By RayMorris1

    Daniel Schiersner

    By Daniel Schiersner

    googletag.cmd.push(function() {
    tablet_slots.push( googletag.defineSlot( “/1005424/_dPSv4_tab-all-article-bottom_(300×250)”, [300, 250], “pb-ad-78623” ).addService( googletag.pubads() ) ); } );

    googletag.cmd.push(function() {
    mobile_slots.push( googletag.defineSlot( “/1005424/_dPSv4_mob-all-article-bottom_(300×250)”, [300, 250], “pb-ad-78158” ).addService( googletag.pubads() ) ); } );

    The post 24 Fantastic Photos of our Fine Feathered Friends – Birds by Darlene Hildebrandt appeared first on Digital Photography School.


    Digital Photography School

  • 11 Amazing Photos Pokémon Go Characters Fit Perfectly In

    While Pokémon Go is quickly becoming a new fitness, it’s no wonder that Pokémon characters are now among the most popular photography subjects. Well, most of such photos are just screenshots meant to show the Pokémon rather than carry any photographic appeal. However, the game is just a few days old (right, days!), so it’s probably won’t be too long Continue Reading

    The post 11 Amazing Photos Pokémon Go Characters Fit Perfectly In appeared first on Photodoto.


    Photodoto