Category: Photography

  • Tips to Help You Prepare for a Successful Portrait Session

    One of my favorite types of photo shoots is families with kids. It’s fun to spend an hour talking and laughing with people while taking photos. I enjoy being a small part of creating images that will preserve their precious memories for the rest of their lives. But these types of sessions don’t always work out as you might like, and even when you think you have all your ducks in a row something might pop up at the last minute that sends everything into a tail spin. Fortunately, with a bit of planning and preparation you can put a few things in place that will help your portrait sessions be freeing, fulfilling, and fun for everyone involved.

    kids-bridge

    Set Expectations

    Whether you are taking photos of friends, family, clients, or even your own kids, one of the most important things you can do is make sure you are going to deliver what they want. Your subjects will have their own preconceived notions of what types of pictures they are looking for, and they might not always be the same as what you have in mind. If you can make sure everyone is on the same page before you even take out your camera, the entire process from posing, to shooting, to editing, will be much, much smoother.

    Whether you know your subjects or not, it’s important to make sure they are familiar with, and approve of, your own picture style and portrait process. Showing your subjects some of your existing work is a good way to give them an idea of your style and help them see if you would be a good fit. This can be as simple as sending them some sample photos by email, directing them to an online portfolio, or sitting down and having a conversation about the type of photo shoot they are wanting.

    Every photographer has a unique approach to his or her craft, and interacts with people in their own way. Do you take classic headshot portraits or do you like to experiment with various poses? Do you let subjects, especially kids, run around and play or do you like to control every element of the photo shoot? Do you shoot outdoors, in a studio, or a mix of both? Will they be able to share the photos online with a watermark, or do you require them to order physical prints? This might seem a bit too nitty-gritty, but dealing with these issues up front will save you a lot of hassle and headaches down the line.

    couple-sunset

    Not all photographers have their own website, but if you do you can include information such as the types of sessions you normally do, how much you charge, where you are willing to travel, etc. This information is good to know, but it often takes a little more to see if you are really the right person for your subjects. Think of the last time you went to a restaurant: did you just order right from the menu, or did you ask your waiter some questions about the food before deciding what you want? To address this, it’s good to have some sort of dialog with your subjects before you take a single photo. You can encourage people to contact you via email or a form on your website, send you a text or tweet, or post questions on a public Facebook page. It might seem like a lot of work to go through all this, but the more you work to set proper expectations for your subjects, the smoother the entire process will go.

    One of the best ways to safeguard yourself against liability in case your subjects are unhappy, is to use a contract. This is especially important if you plan on charging money, and critical if you are doing something big like a wedding or bar mitzvah. If people are paying big bucks for your services, it’s essential that everyone is on the same page upfront. Without a formal contract wherein all parties involved agree on the services to be provided, things can devolve into he-said-she-said after your clients get the photos. Don’t think of this as a punitive measure, though – approach the contract as an opportunity for both you and your clients to help safeguard against miscommunication and make sure what you are going to provide aligns with what they want.

    kids-flowerpot

    Scout the Location

    If you shoot indoors, this step is obviously not all that important. But if you plan on taking pictures outdoors it is critical that you know the area first. Just because you drove past a nice park or a friend told you about a rustic barn, doesn’t mean these places will be good locations for photo shoots. Go to the locations in person, get out of your vehicle, and walk around to see what things are like. If at all possible, do this at the same time of day you plan on taking pictures to make sure the light is similar, and ask yourself questions such as:

    • Where is the light coming from?
    • What features of the location are shaded?
    • What background elements can I use in the shots?
    • What existing features (fence, wall, bench, pond, tree, staircase, etc.) can I use for posing my subjects?
    • Are there lots of people around, and if so, what angle can I shoot from to avoid them in the background?
    baby-basket

    Normally this spot is full of people, but we picked a time to do the shoot when it was relatively quiet.

    Even if you have already been to a location such as a field, beach, or alley, it’s still a good idea to check it out before your photo session if you have never used it specifically for taking pictures. If you approach the location with a critical photographer’s eye you will notice many things that have probably escaped your gaze previously, but could severely impact the photo session if not taken into account. It’s also a good idea to have a backup location in mind in case of bad weather, but make sure your clients are well aware of this and are able to meet you there if you do have to change plans.

    Bring Blankets (and more)

    This last tip might sound trite, but it has saved me on many occasions. And every time I forgot to bring blankets, I wished I had. Since I do most of my photo sessions outdoors there are many things simply out of my control. Some of these can be mitigated, like using reflectors or a flash if the light is poor, or having your subjects wear warm clothes if a cold front comes through the night before, but it’s amazing how many times a simple blanket has saved the day when all hope seemed lost.

    Blankets can give your subjects something to sit on, wrap themselves up in, or just play with as you are snapping their photos. Blankets can comfort fussy children, diffuse a tense situation, or even (and yes this has happened to me more than once) cover up the mess left behind by a flock of geese the day before. They can also serve the practical function of adding a bit of color to your photos, or complementing the clothes that your subjects are wearing.

    There are other items that come in handy as well. Recently I was photographing a couple and their infant son, and though I had already scouted the location at the specific time the shoot was to take place, I did not take into account one critical element: dew on the ground. I wanted to get some shots of their son holding his head up and looking around, but since the grass was all wet it nearly turned our fun photo shoot into a chore for the parents as well as the child. Thankfully I brought an old piece of canvas along, which not only gave the boy a soft dry surface to lay on, but was also big enough to accommodate the whole family on some wider shots.

    baby-canvas

    The ground was too wet to lay on, so I asked his parents if we could use a simple piece of canvas. They obliged, and the final result turned out quite well.

    If you are taking pictures of children, bring some toys that they can play with, or kid’s books for them to read. Better yet, contact their parents beforehand and have them bring their own favorite toys and books from home. I also like to have some sundry joke items like fake teeth or googly eyes to help make kids smile, which tend to work well for teens and adults too. If your subjects are a bit older, they might want to wear a favorite jacket, bring an artifact such as a football or set of golf clubs, or even have their photo taken with a pet. While you might not be able to provide all of these yourself, a little bit of preparation beforehand will give you an idea of what they want and help you go about planning for the shoot so you are not caught off guard.

    child-book

    This boy’s favorite book not only gave him something to do while taking photos, but it will be a nice reminder when his parents look back on this picture years later.

    These tips are things that have worked for me, but are there other tips you have for successful photo shoots? Share your ideas in the comments section below.

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    The post Tips to Help You Prepare for a Successful Portrait Session by Simon Ringsmuth appeared first on Digital Photography School.


    Digital Photography School

  • Go Au Naturel: Shooting Portrait in Natural Light

    When I first bought my little Canon AE1 back in 1993 and started shooting, I couldn’t afford a flash. I shot everything in natural light, and I think I made every mistake known to mankind, so for those who would like to learn from my mistakes, this one’s for you!! Backlight When I was a little girl, my mother would Continue Reading

    The post Go Au Naturel: Shooting Portrait in Natural Light appeared first on Photodoto.


    Photodoto

  • The 19 Most Popular DSLRs Among our Readers

    Every few months we like to report back to the dPS community which cameras (and other gear) are most popular with our readers. Today we’re going to take a look at the highest selling DSLRs among our readers over the last 4 months (as ranked by the reports that Amazon gives us*).

    As usual you’ll see it is largely a battle between Canon and Nikon (who dominate this class of camera) and that at the top of the list we see entry level DSLRS most popular (mainly due to their price). Further down the list we see more serious (and expensive) contenders.

    Note: Amazon currently have some great specials at the moment on cameras and gear as part of their Holiday Promotions.

    1. Nikon D3300

    81aLEVAFXnL._SL1500_.jpg

    2. Nikon D3200

    91WSe2OKasL._SL1500_.jpg

    3. Canon EOS Rebel T5

    71tz63oxXqL._SL1500_.jpg

    4. Nikon D7000

    918RKSCRpBL._SL1500_.jpg

    5. Canon EOS 5D Mark III

    51a0nRQhFzL.jpg

    6. Canon EOS Rebel T3i

    71hurE69ltL._SL1000_.jpg

    7. Nikon D7100

    d7000.jpg

    8. Canon EOS Rebel T5i

    t5i.jpg

    9. Nikon D5300

    5300.jpg

    10. Canon EOS 70D

    70d.jpg

    Here’s the next 9 most popular DSLRs.

    1. Nikon D5200
    2. Nikon D3100
    3. Canon EOS 7D Mark II
    4. Nikon D750
    5. Nikon D810
    6. Canon EOS 6D
    7. Sony A77II
    8. Sony SLT-A58K
    9. Pentax K-5 IIs

    *Note: this list was compiled from reports supplied to us from Amazon.com where we are affiliates. One of the ways dPS is able to cover its costs and be a sustainable business is that we earn a small commission when readers make a purchase from Amazon after clicking on our links (including those above). While no personal details are passed on we do get an overall report from Amazon about what was bought and are able to create this list.

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    The post The 19 Most Popular DSLRs Among our Readers by Darren Rowse appeared first on Digital Photography School.


    Digital Photography School

  • Tips for Posing Men

    In this video clip from a full course, Lynda.com instructor Natalie Fobes talks about, and demonstrates flattering poses for men. Her subject has concerns about his weight and skin, both of which she handles. Watch and find out how!

    She does a lot of things I do and recommend to my students as well, such as:

    • Gets permission before adjusting his clothes
    • Gets permission before touching him in any way
    • Explains why she is asking him to do things that might feel odd
    • Tells him that it looks good, he looks good
    • Helps him relax his hand by lightly shaking it

    In this second video by Creative Live, instructor Jeff Rojas talks about body language and things to watch for, and also to avoid when posing males. Do you know what clenched fists or hands below the belt line mean? Watch this clip and find out.

    Do you apply any of these posing tips in your photography? Do you have any others to add? Please do so in the comments below.

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    The post Tips for Posing Men by Darlene Hildebrandt appeared first on Digital Photography School.


    Digital Photography School

  • How to Create Dramatic Portraits in Your Garage

    The setup

    1

    If I want to take dramatic portraits on a black backdrop (without even needing a single light), a garage is your new go to spot. This is the simplest (and most makeshift looking) setup that I use. As you can see in the image above, all I am using is a piece of black foam core, folded into a “v,” set inside a garage on a sunny day.

    While you can accomplish this setup on overcast days, having a sunny day helps to increase the brightness of everything outside the garage, thus increasing the catch light in the model’s eyes. The sunny daylight scene outside the garage essentially acts as a giant reflector, which hold under the subject’s chin to soften shadows.

    2 copy

    The reason why a garage is great for this kind of setup is that it allows you to place your subject closer or further away from the bright, outdoor light, depending on how much light you want in your subject’s eyes or how even you want the light to appear. For example, if the subject is right at the edge of the garage, just out of the sun, the exposure will be very bright, requiring a very fast shutter speed and/or a small aperture, but they will have large catchlights in their eyes. Note that the smaller aperture will cause the image to be sharper from the front to the back. Also, the closer the subject is to the bright outside, the darker the background will be once you’ve adjusted your exposure for their skin tone.

    Alternately, if the subject is placed deeper into the garage, it allows you to use a wider aperture or slower shutter speed, which can create a flattering, softer, depth of field, though the catch light and overall light quality will change.

    3 copy

    Shooting in a garage is the equivalent to a one-light studio portrait since the only light source is the open garage door. This increases the appearance of the image being a studio portrait, as it mimics a large softbox or octabank (though an open garage door is larger and less expensive). If you want to have more light, such as hair light and rim light to create separation between a subject and the background, there is another option available to you. Simply place your subject on the shaded side of the garage, allowing the sun to light just the edges of your subjects hair and shoulders, as seen below.

    3

    The one downside to having a huge wall of soft light in front of your subject is that it can flatten out the subject, which can make the lighting appear flat or boring. One remedy for this is flagging off portions of the light, as seen in the image below. Note that any object you place in front of the model to flag the light will also change the shape of the catch lights in their eyes.

    4 copy

    For portraits like this, you will want to use a focal length of at least 50mm or longer. Anything wider angle will lead to distortion of the subject’s features. Since you are shooting outdoors, you have unlimited space to back away from the subject. So I like to use my 70-200mm lens for these type of head shots.

    5 copy

    The other perks that come with shooting outside or in a garage is that you have a free hair fan and plenty of ventilation, which comes in handy when you’re shooting smoke.

    My buddy Colin is a drummer in the band House of Heroes. He approached me to shoot the cover of their latest EP, Smoke. He wanted a dramatic, close-up of a girl’s face with smoke all around. I knew that my garage would be the perfect spot to conduct the shoot (open air with bright light). I placed white boards on either side of Courtney, which helped to not only fill in any shadows under her jaw but also add catch lights to her eyes. In addition to the images of Courtney, I also shot several frames of smoke, being exhaled by Colin (try doing that inside a studio), isolated on the black backdrop, which was later overlaid on the final image of the model in post-production.

    6 copy

    Have you tried doing portraits in your garage or other makeshift location? Have any additional tips? Please share in the comments.

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    The post How to Create Dramatic Portraits in Your Garage by Nick Fancher appeared first on Digital Photography School.


    Digital Photography School

  • DSLR versus Mirrorless: Guide to help you decide which is right for you?

    Recently there has been a great deal of buzz in the photographic community regarding a few terms that might sound a little odd or strange, like “mirrorless” or “micro four thirds.” These refer to different types of cameras that might not be as popular as standard DSLR models right now, but many think are the future of photography. However, just understanding what everything means can be an exercise in frustration, especially when all you likely want to do is buy a camera you can enjoy using.

    Nadir Hashmi

    By Nadir Hashmi

     

    To that end, I’m going to try and dispel a bit of the confusion regarding mirrorless cameras and hopefully give you some information so as to make an informed choice the next time you are in the market for a new piece of photography gear. We’ll explore some of the history of how cameras are constructed, as well as discuss some of the benefits and drawbacks to this new technology, but I’m going to stop short of making the subjective judgement call about whether mirrorless cameras are better than DSLRs. For me it’s not about which camera is better than the other, it’s about finding one that works with your style and lets you shoot the photographs you want. You can debate all this in the comment section if you like, but what I’m here to do is simply present information and try to be as unbiased as possible.

    a6000

    The Sony a6000 mirrorless camera has all the features of most standard DSLRs, but is much smaller and weighs far less. (Image courtesy Sony)

    What is a mirrorless camera?

    To understand the word mirrorless it helps to know a bit about the way most DSLR cameras are built. Almost all Canon, Nikon, Sony, and Pentax interchangeable-lens cameras share a similar industrial design: light enters through the lens and gets bounced off a mirror, through a special prism, to end up at the viewfinder. When you click the shutter button, the mirror flips up, which allows light to hit the actual image sensor on the camera, and voila your photograph is taken. This process might seem like a high-tech solution, but it’s actually a bit of an anachronism. Long before digital cameras existed, most of their film-based counterparts employed this same method to get light to the viewfinder, because it was a useful way to compose your photo before clicking the shutter. But thanks to advances in modern technology, this flip-up mirror method is no longer necessary, and a whole new breed of cameras is beginning to make inroads into modern digital photography. These new models have no flip-up mirror, and thus the term “mirrorless” was born.

    There are many different types of mirrorless cameras on the market: some have interchangeable lenses, others offer a single built-in lens, and some with their own types of image sensors and other characteristics that are suited to more niche markets. But the one thing they all have in common is the absence of a flip-up mirror.

    CameraDiagramDPS

    Believe it or not, you probably already own a mirrorless camera. All smartphone cameras are mirrorless, as are most point-and-shoot models. Instead of a tiny little viewfinder that you hold up to your eye, you can see a preview of your image right on the phone or on the back of the camera itself. And if you like shooting your DSLR in “Live View” mode, where you look at the rear LCD screen to compose your shots instead of the viewfinder, you are essentially using it as a mirrorless camera already. (The click you hear when you enter Live View is the mirror flipping up. It stays like that until you exit Live View.) In fact, many of the higher-end mirrorless cameras have even gone so far as to replicate the traditional eyepiece viewfinder, but instead of reflecting incoming light from a mirror, it simply shows a very tiny version of what would normally be displayed on the back of the camera.

    OMD-EM1

    The Olympus OM-D EM-1 is a mirrorless camera that also includes a traditional-style viewfinder. (Image courtesy of Olympus)

    Sensor size

    Another component of mirrorless cameras that is a bit more technical in nature, but just as important to understand, is that of sensor size. In digital cameras the image sensor is essentially a piece of digital film that captures light, in much the same way actual film does. Full-frame DSLR cameras have image sensors that are the same size as a piece of 35mm film, but most consumer-grade DSLRs, and virtually all mirrorless models, are crop-sensor cameras. This means that the image sensor is smaller, which has two notable implications:

    1. They are not as sensitive to incoming light as full-frame cameras.
    2. They affect the way lenses behave when it comes to focal lengths and depth of field.

    The most common format of mirrorless cameras are in a category developed by Olympus and Panasonic called Micro Four Thirds, which refers to the size and shape of the image sensor itself as well as the types of lenses that can be used on these models. Other mirrorless cameras use an APS-C sensor, which is the same size sensor used in common DSLRs such as the Canon Rebel T5i and Nikon D3200 (however, even Canon and Nikon use slightly different image sensor sizes), but there are some models such as the Sony A7R that use full-frame sensors as well.

    SensorSizeDPS

    In terms of surface area, full frame image sensors reign supreme. But cameras with smaller sensors are still quite capable, and there is more to a camera than the size of its sensor.

    While it’s doubtful we will see crop-sensor cameras (whether micro four thirds or APS-C) reach the same high ISO sensitivities as full-frame models, many of them today are perfectly capable of shooting at values such as 3200 or 6400 without too much degradation in image quality.

    As for the lens behavior, shooting on a crop sensor camera means that your focal lengths will not look the same as on a full-frame camera. For example, on a micro four thirds camera a 30mm lens behaves similar to a 60mm full-frame lens. A 100mm lens acts like a 200mm, and so on. For most people this is fine, and they learn to adapt to the differences in lens behaviour over time. For some photographers this a significant detriment that, combined with how depth of field behaves a little different on crop versus full frame cameras, ends up being a deal breaker.

    As I mentioned earlier, it’s not about finding out which type of camera is better – that question is unanswerable. Instead, it’s important to simply know the various details of micro four thirds and other mirrorless cameras, in order for you to make an informed decision if you are thinking about purchasing new gear.

    lumix-gh4

    Even though the Panasonic Lumix GH4 is uses a smaller micro-four-thirds sensor, it produces photos on par with most APS-C sensors and even shoots 4K video. (Photo courtesy of Panasonic)

    However, one benefit of crop sensor cameras that is important to note is their price; they are significantly cheaper than their full-frame counterparts. The cheapest full-frame camera costs around $ 1500 and they can easily cost many times that amount. On the other hand, some micro four thirds models start at a couple hundred dollars which makes them much more affordable for most people. It’s important to know that mirrorless cameras are not just for beginners, or those who like to shoot in Auto. Many photographers are buying these cameras, and some professionals have even switched entirely from heavy, expensive, DSLR models to their much lighter and more portable mirrorless counterparts.

    As you can see, thanks to advances in modern technology the age-old flip-up mirror design in most cameras is not really needed anymore, but we are still a little way off from mirrorless replacing traditional DSLR designs entirely.

    Benefits of mirrorless cameras

    These new types of cameras offer some significant benefits over traditional DSLRs, but come with some important limitations as well. Remember, we’re not here to discuss which one is better – that’s something that only you can answer, given your unique needs as a photographer. It is important to know that mirrorless cameras do have some notable selling points, but also some drawbacks as well.

    Size

    K?rlis Dambr?ns

    By K?rlis Dambr?ns

    Perhaps the most significant difference between mirrorless and traditional DSLRs is their size: because the flip-up mirror mechanism, combined with the light-reflecting prism, are no longer needed these cameras are typically much smaller in size and weigh less too. This can be important if you are someone who likes to take your camera with you wherever you go, especially if the weight of your DSLR starts to drag you down after a day of shooting. It also means the lenses are smaller too, so you can fit several in your camera bag whereas before you might have only had room for one or two.

    More accurate image preview in the viewfinder

    Another benefit that mirrorless cameras enjoy over DSLRs, is a viewfinder that displays a more accurate representation of what your final photograph will look like. If you look through the viewfinder of your DSLR and adjust settings like ISO, aperture, and shutter speed, you might notice that the image in the viewfinder doesn’t change. It’s not until you actually take a photograph that you see what effect your alterations had on the photograph. At that point you can look at the picture on the rear screen and judge whether you need to change things for subsequent pictures. Because mirrorless cameras use electronic viewfinders, you can see in realtime the effect that things like aperture and ISO adjustments will have on your pictures before you press the shutter. This can have a dramatic effect on how you shoot, as it removes some of the guesswork with your camera settings.

    The mirrorless Fuji XT1 uses an APS-C size sensor but is much smaller than traditional DSLRs, making it a compelling option for photographers who value portability along with excellent image quality.

    The mirrorless Fuji XT1 uses an APS-C size sensor but is much smaller than traditional DSLRs, making it a compelling option for photographers who value portability along with excellent image quality. (Photo courtesy of Fujifilm)

    Focus peaking and sound

    There are other benefits to mirrorless cameras as well such as focus peaking (the ability to see, when focusing manually, the exact pixels on your image that are in focus), quieter operation due to the lack of a flip-up mirror, and fewer overall moving parts which means a longer theoretical lifespan. But in order to get an accurate view of the situation, let’s take a look at some of the disadvantages as well.

    Drawbacks of mirroless cameras

    Things are looking quite promising over in Mirrorless Land, but it’s not all sunshine and roses just yet. There are some notable drawbacks to this technology, and if you don’t look at all the details you might end up with a camera that is ill-suited to your needs as a photographer.

    Battery life

    Currently one of the most significant limitations is that of battery life: they just don’t last as long. The only time a traditional DSLR draws power, when not in Live View mode, is when it is actively metering the scene or writing picture data to the memory card. No power is used at all if you hold the camera up and look through the viewfinder, and because of this it is fairly common to get up to a thousand pictures or more on a single battery charge. Power usage is a bit different on mirrorless cameras for two reasons. First, batteries are smaller because the cameras themselves are smaller, and second they essentially operate in live view mode 100% of the time. Mirrorless cameras generally get a couple hundred shots on a single battery charge, which is nothing to sneeze at, but nonetheless a significant difference between them and their old-school brethren.

    Canon7DMarkII

    DSLRs might be based on old technology, but don’t count them out just yet. They are preferred by many photographers, and still have some advantages over mirrorless cameras. (Photo courtesy of Canon)

    Focusing system

    Another limitation that is worth mentioning is the focusing system. Most mirrorless cameras use a technology called contrast detection, which is simply not as fast as the traditional phase-detection method used in DSLRs. While the former gives you access to a wider area of the frame in which to focus, it simply cannot match the speed of the latter which limits the appeal of mirrorless camera for things like sports and fast-moving wildlife photography. Some manufacturers are starting to utilize phase detection in their mirrorless models, as well as hybrid systems that offer the best of both worlds, but for now it’s safe to say that standard DSLRs are generally better suited for sports, wildlife, and other types of action photography.

    Other

    Of course there are other limitations such as fewer lens options, LCD screen refresh rates that can’t always keep up with DSLR viewfinders, and more, but as technology advances much of this is being addressed.

    Which is best for you?

    Will mirrorless cameras ever reach full parity with DSLRs? Some think so, but others are not fully convinced. The important thing to remember is it’s not about what other people think; it’s about what matters to you. If you find a camera you like, and it serves your purposes as a photographer, then it really doesn’t matter whether it’s a DSLR, micro four thirds, full frame, medium format, or plain old 35mm film camera. If it can take the pictures you want to take, then it’s probably the right camera for you.

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    Digital Photography School

  • Digital Photo Editing Workflow – Better Images From Capture to Output

    Better images from capture to output

    A comprehensive look at the essential steps and principles in an effective photo editing workflow with highlights of key tools.

    Have you ever tried to find a digital photo you know you worked on, but couldn’t remember where you saved it, or even what it’s called? Do you find yourself re-editing photos you’re sure you finished before? Or are you stuck, staring at an image you know could be made better, but not sure which adjustments to make, or even where to start?

    We’ve all been there: hundreds of images to sort through. Files scattered all around your hard drives; photos missing, others duplicated in unnecessary versions, who-knows-what lurking in mysterious places with confusing names. And prints coming back from the lab looking, well, crappy. All the while, knowing you have photographic gems just waiting to be discovered and brought to life.

    Nat coalson digital photo editing workflow image 1 diagram H

    If you’re feeling overwhelmed by digital photography, you’re not alone. Capturing digital images has become so easy in recent years that it’s easy to get stressed, if only because of the sheer volume of pictures you’re making.

    For every serious photographer, capturing an image is only the beginning of a complex process with numerous pitfalls. So how can you streamline this tangled mess? The key to keeping your digital photography fun and productive is to adopt, and adapt, an effective, consistent workflow.

    Why workflow matters

    The concept is simple – your photography workflow is the sequence of steps and actions you take to edit your photos, work them up to a result you consider finished, and share them with the world. Editing photos can be like baking a cake or assembling flat pack furniture. You start with raw ingredients, or loose parts, and use an ordered sequence of steps to put the thing together. In a good photography workflow, the end result is a perfectly crafted image, securely stored for future use, all with the least possible effort.

    Efficiency is important. Without a good workflow, at minimum you’re wasting time. Worse, you run the very real risk of losing your most precious photos. Forever. A couple of years ago I knew a wedding photographer, then aspiring to become professional, who lost an entire wedding shoot because of relatively simple errors in her workflow. (In short, the mistakes derived from a convoluted importing method and totally inadequate backups.)

    Maybe you’re only taking pictures for fun? If you’re planning to continue with photography, you still need to use an effective workflow. If you don’t, your photo archive will become a beast, very difficult to tame. And your images won’t look as good as they could. No fun.

    When you’re starting out in digital photography, you need to develop good habits early. Even if you’ve been shooting for years, it’s never too late to improve your process.

    Nat Coalson Within the Great Cloister 600px

    Now it’s personal

    You can craft your digital photography workflow to suit your own situation and preferences. But every effective workflow shares common tasks, proven techniques and best practices. These established methods have evolved with real-world use across all genres of photography. They apply equally to beginning enthusiasts and seasoned pros.

    I first began editing photos in the early 1990s, working in a magazine publishing environment. Under tight deadlines and managing many thousands of digital assets, a good workflow was crucial. As a working photographer, I’ve been refining my own workflow for over a decade and I still make little tweaks now and then.

    Continually finding ways to tighten the screws helps eliminate the risk of disaster, while also making the practice of photography more fun and rewarding. You can master your own photography workflow, too. You first need to understand the most common problems and tasks you’re likely to encounter. Then learn the best tools and techniques for dealing with them. A good photo editing workflow:

    • Uses the fewest steps possible.
    • Is non-destructive and allows you to change your mind or redo steps without losing image quality< ./li>
    • Protects your images now and for the future.
    • Provides the best looking photos.

    So let’s review the essential parts of a practical photo editing workflow.

    Nat coalson digital photo editing workflow image 1 diagram V

    Stage 1. Capture

    Whatever the end result you’re envisioning, great digital photographs begin with good data. You should always strive to make the best capture you can, and in most cases, try to finish the photo as much as possible in-camera. Work carefully to make the most accurate exposure with the ideal level of sharpness for the given scene or subject. Regardless of your capture format, you should always be working to master your camera techniques.

    Stage 2. Import

    Copying files from removable media onto more permanent storage is also variously called downloading, ingesting, transferring, etc., but the result is the same. Right after a shoot, copy all your images from the memory card into a new folder on at least one hard drive, then back up everything right away.

    Backup. Backup. Back Up!

    Every computer user knows the importance of backing up data. But too many people don’t do it, or don’t do it often enough. This isn’t a single step in the workflow; it’s something you should do frequently throughout the process. You should have your image files saved on at least three separate media sources:

    1. Your master working drive
    2. A current backup of the master drive
    3. A complete historical archive, preferably stored in a separate physical location from your master and working backups

    (The topic of digital photo storage and backup is so important that we’ll revisit it repeatedly in the future!)

    Stage 3. Organize

    After your photos are copied onto your working storage media (and backed up!), sort through the pictures to separate your favorite images from the rest. The best way to do this is with ratings (e.g. stars) or other ranking methods (colors, flags, etc.).

    Nat coalson digital photo editing workflow Image 2 selections

    Whichever system you prefer, keep all the photos from a single shoot together in one folder and use the ratings attributes to annotate your selections. During this stage you should also apply and enhance the metadata associated with your files. Keywords, copyright notices and contact information are just a few of the many types of textual information you can embed within a digital image.

    Escaping folder hell

    In the early days of digital media, it was common practice to move files from one folder to another during the editing workflow. For example, all the original images, often scans from film, would first be put into one folder. As individual photos were selected, processed and output, the files would be copied again (or moved) into other folders representing the stage of the workflow it was in. DON’T DO THIS! It creates a very unwieldy hierarchy of files and folders and makes good organization all but impossible.

    Modern imaging software, and more specifically, metadata—allows you to more effectively organize files using virtual methods (such as Lightroom’s Collections and virtual copies) without the need to ever copy or move your original images on the hard drive. In an efficient workflow, there is no need to use separate folders for different types of files.

    Stage 4. Develop

    This is where you apply digital processing to make each image look as good as it can to fulfill your creative vision for the picture. Like Import, this stage has different names depending on who you’re talking to. Developing is the term most often used by Lightroom users. Enhancing, adjusting, post-processing, and simply editing are other common terms to describe this stage, which itself is comprised of several distinct steps.

    The ideal order of operations for developing a photo depends on the characteristics of the original capture; some images will need very different enhancements than others. Still, it’s possible to define a typical sequence of steps as below.

    TIP: Work global to local

    Make the biggest changes first, then work your way to smaller details. In photo editing, this means first making global adjustments (those that apply to the entire image) before working on the local adjustments. And, earlier in the workflow, apply any changes relevant for large batches of images before moving on to fine tune individual photos.

    Develop steps

    1. Crop and straighten. Since it changes the composition, cropping can be the most significant change you can make to a photograph. It’s best to do it early in the process, but you need to use a method that allows you to go back and refine the crop later if you change your mind.
    2. Correct distortion. Most camera lenses introduce various amounts of distortion to a picture; some more than others. Fix distortion as one of your first, regular steps.
    3. Adjust exposure and tones. The tonal range of an image refers to the various levels of brightness of each pixel, from pure white to solid black. Tone is independent from color. Simply setting the white and black points can have a huge impact on the overall appearance of an image, so you should normally do this before moving on to color. Tonal contrast should also be handled during this step; the variation between light and dark tones determines how much impact (or punch) a picture has. Naturally, some pictures will look best as low contrast.
    4. Adjust white balance and color. White balance plays the biggest role in the color of a photo. If the photo has a strong color cast — for example, an indoor photo captured using outdoor white balance settings — you should fix it before addressing tone. But for images with white balance that seems fairly accurate, set the tone before refining the white balance. After setting white balance, consider making other color adjustments, most notably saturation and vibrance, which affect how pure and vivid the colors appear. Alternatively, convert to black-and-white or apply special color effects during this step.
    5. Apply local adjustments. These are edits you make only to small areas of the picture. Examples are dodging and burning (lightening and darkening, respectively) and selective color adjustments. In general, you should try to make local adjustments after you’ve finished the global adjustments.
    6. Apply noise reduction. Noise appears in digital images as soft colored blobs or grainy speckles. Most images can be improved with varying amounts of noise reduction. Photos captured at high ISO, made in the dark, or ones that are significantly underexposed, will need more aggressive noise reduction. You’ll normally want to deal with noise reduction after you set tone and color, because those global adjustments will affect the appearance of noise. Zoom in for larger previews when adjusting noise reduction and sharpening.
    7. Apply sharpening. Sharpening is all about contrast. The appearance of sharpness in a digital image is based on the relative lightness or darkness of neighboring pixels along the edges of lines within the picture. More contrast along the edges equals more sharpness. As such, you shouldn’t try to refine the sharpening levels until you’ve already set the global tone range, because the overall contrast of the image will have a major effect on the appearance of sharpness. Do your sharpening a bit further into the workflow.
    8. Perform retouching. Many pictures contain elements that you want to remove altogether. In some cases, these are artifacts — undesirable results of digital processing or camera characteristics including noise, chromatic aberration, fringing and sensor dust spots. Other times, there’s something ugly in the frame, like a telephone pole sticking out of your mother-in-law’s head. Retouch your photos using Lightroom’s Spot Removal tool or Photoshop’s Clone Stamp and Healing Brush.Other processing can reduce or eliminate the need for retouching, so it can be a waste of time and effort to retouch photos earlier in the workflow. For example, you could spend twenty minutes removing dust spots around the edges of a photo and then decide you want to crop the picture tighter anyway.Do your retouching toward the end of the workflow.
    9. Apply special effects. All the previous developing steps will apply to most of your photographs. After you’ve corrected the technical issues and processed the photo to an acceptable baseline quality, consider applying further stylistic adjustments and special effects.

    Nat coalson digital photo editing workflow image 3 barcelona

    Stage 5. Output

    After you edit photos to a level of perfection you’re happy with, think about sharing and reproducing them. In the digital realm, output generally refers to the many ways you can bring your images into the real world. To do this, from your finished master image, export derivative files, specifically for each intended purpose.

    Sharing online is a great start. Most web sites have some important parameters you need to know for your images to look their best (and all web site specs are not the same). Take the time to research the best file settings for your file uploads.

    High quality printed reproductions — photo books, notecards, calendars, fine art prints, etc. – also require you to follow specific parameters for exporting image files from your editing software.

    TIP: About resizing photos

    When you’re editing photos, you should always process your master images at their native resolution. In other words, whatever the pixel dimensions of the image as it came off your camera, do all your editing at that size. Any resizing should be done at the very end of the workflow and only on copies of the master file, each exported to the specifications for the output destination. Don’t resize your master files! (Lightroom keeps this simple – since there are no controls for resizing during the editing process, you can only do it only during an export.)

    Nat Coalson Flow III 575px

    Conquer your photo editing workflow

    When you don’t follow a good system, digital photography can become stressful. Losing pictures, redoing steps, and not getting the quality you’re hoping for are all side effects of an ineffective workflow. Who wants any of that?

    Remember that everybody who’s mastered their personal photography workflow had to start somewhere. You’ve likely mastered some parts of the process already. Now, identify specific bottlenecks and key areas for improvement in your own photo workflow. Pick one aspect of the workflow that seems unfamiliar or challenging, and start there.

    Crafting your ideal workflow doesn’t happen all at once, nor is it a purely linear process. With so many steps and potential traps, you’ll need to study and practice each of the different stages independently, then tie them together into a cohesive sequence.

    TIP: The main reason Adobe Photoshop Lightroom is widely considered the best photo editing software is that it provides most of the capabilities you need to handle the complete photo workflow as describe above.

    When you follow an optimized process for working with your pictures and develop a clear understanding of the principles behind your decisions, you’ll have more fun working on the things you enjoy, rather than struggling with tedious tasks.

    Practicing good workflow techniques helps you make great photos – easier!

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    The post Digital Photo Editing Workflow – Better Images From Capture to Output by Nat Coalson appeared first on Digital Photography School.


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  • Weekly Photography Challenge What Winter Means to You

    Earlier I shared a set of frosty images to get you in the wintery mood.

    Now it’s the time for the weekly photography challenge, so it’s your turn to get out and shoot winter. Since winter means different things and looks different depending on where in the world you live – this challenge is about winter and what it means to you.

    If you’re in the northern hemisphere that might mean:

    • Snow
    • Ice
    • Frost
    • Fog
    • Winter sports
    • Frozen things
    • Cold

    Here are some examples:

    @Doug88888

    By @Doug88888

    Sharon Mollerus

    By Sharon Mollerus

    Mathias Erhart

    By Mathias Erhart

    Samuel John

    By Samuel John

    Alexey Kljatov

    By Alexey Kljatov

    Dorena-wm

    By dorena-wm

    Dorena-wm

    By dorena-wm

    If you are in the southern hemisphere or close to the equator (as I am currently writing this from warm and sunny Nicaragua where I’m living and working for two months) that might mean the beach, sand and sun.

    Share your winter images here:

    Simply upload your shot into the comment field (look for the little camera icon in the Disqus comments section) and they’ll get embedded for us all to see or if you’d prefer upload them to your favourite photo sharing site and leave the link to them. Show me your best images in this week’s challenge.

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  • 31 Awe Inspiring Majestic Winter Images

    If you’ve followed the news recently you may have heard about the crazy snow storm in New York state in the USA. Many feet of snow fell in 24 hours and whole cities were brought to a halt.

    But cold weather can make for some great photographic opportunities. Enjoy this series of frosty winter images, but stay warm!

    Photograph The Magic of Bled Island by Dan Briski on 500px

    The Magic of Bled Island by Dan Briski on 500px

    Photograph Ice on Fire by Javier de la Torre on 500px
    Ice on Fire by Javier de la Torre on 500px

    Photograph Sugar house by Andrey Chabrov on 500px

    Sugar house by Andrey Chabrov on 500px

    Photograph No End In Sight by Todd Shaffer on 500px
    No End In Sight by Todd Shaffer on 500px

    Photograph In Hiding by Robert Beideman on 500px

    In Hiding by Robert Beideman on 500px

    Photograph The Ice Mountain by Hougaard Malan on 500px
    The Ice Mountain by Hougaard Malan on 500px

    Photograph Broken Bubble by Charles Anderson on 500px

    Broken Bubble by Charles Anderson on 500px

    Photograph Legs of the ice beast... by Charles Anderson on 500px
    Legs of the ice beast… by Charles Anderson on 500px

    Photograph Blue Ice by Terence Leezy on 500px

    Blue Ice by Terence Leezy on 500px

    Photograph The Crystal Grotto by Christian Klepp on 500px
    The Crystal Grotto by Christian Klepp on 500px

    Photograph Anton «Banderas» Ivanov by Valentin Blokh on 500px

    Anton «Banderas» Ivanov by Valentin Blokh on 500px

    Photograph chipper chipped out by Scott Thuen on 500px
    chipper chipped out by Scott Thuen on 500px

    Photograph Frosty window by Petter Langeland on 500px

    Frosty window by Petter Langeland on 500px

    Photograph Frozen and Forgotten by Imageination on 500px
    Frozen and Forgotten by Imageination on 500px

    Photograph "Please leave water facets dripping" by Andrew Boen on 500px

    “Please leave water facets dripping” by Andrew Boen on 500px

    Photograph Angelus glacie by Carlton Belton on 500px
    Angelus glacie by Carlton Belton on 500px

    Photograph Alone on the Bridge  by Anthony Pitch on 500px

    Alone on the Bridge by Anthony Pitch on 500px

    Photograph The White Passage by Pyry Luminen on 500px
    The White Passage by Pyry Luminen on 500px

    Photograph The snow at ?stiklal ! by Mine Ertugrul on 500px

    The snow at ?stiklal ! by Mine Ertugrul on 500px

    Photograph Under Perfect Conditions by Kent Mearig on 500px
    Under Perfect Conditions by Kent Mearig on 500px

    Photograph FROZEN by Keenan Bracey on 500px

    FROZEN by Keenan Bracey on 500px

    Photograph Apostle Islands Ice Cave by Yinan Li on 500px
    Apostle Islands Ice Cave by Yinan Li on 500px

    Photograph St. Joesph Lighthouse in Winter by Craig Sterken on 500px

    St. Joesph Lighthouse in Winter by Craig Sterken on 500px

    Photograph Winter Fairytale by Vadim Balakin on 500px
    Winter Fairytale by Vadim Balakin on 500px

    Photograph Winter is coming by Daniel Metz on 500px

    Winter is coming by Daniel Metz on 500px

    Photograph Frozen time by Vincent BOURRUT on 500px
    Frozen time by Vincent BOURRUT on 500px

    Photograph V3 by  Moga on 500px

    V3 by Moga on 500px

    Photograph Ice King/King Theoden by Claus Jørstad on 500px
    Ice King/King Theoden by Claus Jørstad on 500px

    Photograph Unexplored Region by Takanobu Nushi on 500px

    Unexplored Region by Takanobu Nushi on 500px

    Photograph Ice Castle Windows To The Starry Night by Mike Berenson - Colorado Captures on 500px
    Ice Castle Windows To The Starry Night by Mike Berenson – Colorado Captures on 500px

    Photograph Polar Vortex: Ice Castles by Ron Risman on 500px

    Polar Vortex: Ice Castles by Ron Risman on 500px

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  • Kristina Zvinakeviciute: Winnner of Defrozo Portrait Photography Contest 2014

    About a week ago we posted the interview with the first winner of the Defrozo Photography Contest 2014. Today, we’re glad to introduce you to Kristina Zvinakeviciute, a photographer from Manchester, UK who won the Staff Pick Award in the photo contest held by Defrozo. Learn more about Kristina and her unique approach to photography inspired by the Renaissance art Continue Reading

    The post Kristina Zvinakeviciute: Winnner of Defrozo Portrait Photography Contest 2014 appeared first on Photodoto.


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