Category: Photography

  • Grab Our Best Selling Landscape Photography eBook for $7 – Today Only

    On the seventh day of Christmas dPS gave to me …

    The biggest discount on the sale on our biggest-selling eBook of the year!

    Living Landscapes today is yours for just $ 7. Grab it here.

    Landscapes cover

    When we released it earlier this year Living Landscapes sold like hotcakes.

    Not only that – the feedback we’ve received from readers and reviewers has been phenomenal.

    We’re going to let this eBook and price stand for itself and simply say … If you like taking landscape photos – Don’t miss this one!

    Get It by itself or Bundle it With 4 More Great eBooks from Jay Patel

    Now if you’re really wanting to take your outdoor photography to the next level then you’ll want to check out this 2nd deal today because you can also get Living Landscapes bundled together with world renowned photographer Jay Patels’ workflow series.

    NewImage

    This collection of 5 books will transform your outdoor photography.

    In this bundle you get Living Landscapes plus:

    • The Workflow Series: Coastlines
    • The Workflow Series: Waterfalls
    • The Workflow Series: Mountains
    • The Workflow Series: Details and Macro

    All for just $ 24.99 — that’s $ 5 a book!

    Day 7 of the dPS 12 days of Christmas is going to be big. Do not miss out.

    Whether you’re just getting Living Landscapes or you want the full bundle of 5 eBooks – Grab them here fast because this deal is available today only.

    The post Grab Our Best Selling Landscape Photography eBook for $ 7 – Today Only by Darren Rowse appeared first on Digital Photography School.


    Digital Photography School

  • Five Minutes to Realistic HDR using Lightroom and a 32-Bit Plugin

    Easy Peazy HDR in Adobe Lightroom to make realistic HDR images!

    HDR photography used to be time consuming, difficult to learn, and required expensive software. Recent new technology now allows anybody, even beginners, to make perfect HDR in less than 5 minutes – while eating a bowl of ice cream. It’s that easy!

    Cuddeback_DSC5809_10_1132-bit-HDR-2

    Using Adobe Lightroom for HDR

    Just wait until you see how awesome this is!

    The Perfect HDR Workflow takes place completely within Adobe Lightroom 4 or 5, a very robust, yet inexpensive, state of the art software. There is also an inexpensive plugin you will need. It’s made exclusively for Lightroom by the smart Photomatix people and is the secret sauce which makes this workflow possible and so elegant. It’s called “Merge to 32-bit HDR plugin” and is available for $ 29. They also have a trial version available so you can test it out first. These are the same people who make the world’s leading HDR tone mapping software, Photomatix Pro. So, take comfort, there’s no smoke & mirrors in this HDR workflow and you’ll be working with the best software available today. At the same time, your photography will now blow away 95% of the HDR images which are still being made using the old, harder to learn, HDR tone mapping process.

    Notice, you don’t need to own Photoshop or endure the pain & suffering of learning how to use Photoshop to do this method! This, in itself, is huge and a welcome departure from the way HDR photography is typically done.

    Advantages of 32-bit HDR Processing

    The process I’m going to show you is technically called 32-bit HDR processing. The Perfect HDR Workflow is just my name for the particular workflow I designed with the beginning photographer in mind. My criteria was that total cost be under $ 150 US, which immediately rules out Photoshop in the workflow. Another requirement was that it be so easy that even a beginner can learn to make extraordinary HDR photos in minutes.

    The advantages of the 32-bit process are:

    • It’s fast
    • It’s inexpensive
    • It yields realistic looking images
    • It’s very easy to learn

    HDR doesn’t have to be complicated anymore. In fact, the Perfect HDR Workflow obliterates the complex technical barriers of making outstanding HDR which used to exist. Now, anybody with a digital camera and the desire can play a much bigger game when it comes to HDR photography, can do this!

    Are you ready to see how it’s done?

    Five Minutes to Perfect HDR

    Here we go. Start with the three bracketed RAW images right out of the camera (you can download these for free if you want to follow along):

    Easy realistic HDR in Lightroom

    -2 shot at: ISO 200, F8, 1/1500

    Easy realistic HDR in Lightroom

    0 exposure shot at: ISO 200, F8, 1/350

    Easy realistic HDR in Lightroom

    +2 exposure shot at: ISO 200, F8, 1/90

    In less than 5 minutes you’ll end up with an HDR photo looking like this:

    Cuddeback_DSC5809_10_1132-bit-HDR-2

    Start your stopwatch:

    The first thing you want to do is create the 32-bit image. With the three RAW files selected in Lightroom, right click and in the dialog box which appears, select “Export>Merge to 32-bit HDR” as shown below.

    Screen Shot 2013 11 23 at 10 17 57 AM

    A new dialog box opens up where you choose your options for merging the RAW files (see image below). Always choose to “Align Images” and then one of the alignment options. If your three photos were taken handheld, select the alignment option “by matching features”. When you shoot on a tripod, you would chose the other option, “by correcting horizontal and vertical shifts”.

    If there are moving objects in your scene such as: cars, people, clouds, trees, or anything else – select “Remove ghosts” and the software will usually do a great job of producing a non-blurry merged image, with no ghosts. For this landscape photo, nothing was moving so this option was not selected.

    Noise reduction is usually necessary in HDR photography, however, I recommend not using the “Reduce noise” option which the plugin offers up. Instead, you are better off using the noise reduction built into Lightroom. So, leave that unchecked, as well.

    Moving down to where you choose how the resulting 32-bit file is saved. I recommend simply combining the file names and adding a suffix like “32-bit HDR” so that, at a glance, you know that is the 32-bit file you want to work with in Lightroom.

    The final dialog box selection you want to make is; “Stack with selected photo.” It’s so easy and elegant how this plugin makes your HDR workflow when this is selected. After the 32-bit file is created, the plugin automatically imports it right back into Lightroom and places it neatly next to the original RAW files. This keeps my OCD mind happy. Leave the final two options unselected then click the “Merge” button.

    Here’s what the dialog box should look like

    Screen Shot 2013 11 23 at 10 18 08 AM

    In a few seconds, your newly created 32-bit file appears in Lightroom and looks something like this:

    Screen Shot 2013 11 23 at 10 20 14 AM

    Okay, well that’s not too pretty! That’s because this is a 32-bit file which your computer monitor can’t correctly display. But Lightroom 4 or 5 can process it, so let’s do that.

    We’ll be working mostly in the Basic panel of the Develop module in Lightroom. The first step is to simply click the “Auto” button which gives you Lightroom’s best guess at the right setting for the image:

    Screen Shot 2013 11 23 at 10 20 25 AM

    It’s already looking much better. But let’s take it a step further!

    Adding Your Artistic Touch

    Now it’s time to add your personal artistic mark on your photo! At this point, you take over the processing manually to create an HDR image that is most pleasing to you. There are no right or wrong settings. However, my 5 minute process to Perfect HDR does follow some general guidelines so let me show you how this image evolved for me.

    Working in the Basic panel, you first will reduce the “Highlights” (slide it left) and increase the “Shadows” (push it to the right) sliders until the image looks best to you. Then you might adjust the “Clarity” to a slight positive value, which adds local contrast between pixels. It makes the HDR photo “pop.” Please be careful not to push clarity too far right. My advice is to keep it below 30, for now anyway. Now let’s jump out of the Basic panel.

    For just a couple of quick automatic adjustments, open up the “Lens Correction” panel. I recommend that you always check the box to “Remove chromatic aberration.” Also, you may want to straighten your horizon and/or vertical lines using the “Upright” adjustment tool. Here is what the “Lens correction” panel looks like when you make these simple adjustments:

    Screen Shot 2013 11 23 at 10 24 24 AM

    Now, go back to the Basic panel to finish. Set the white and black points as shown in the video below. The other sliders in the Basic panel can then be fine tuned to your taste and that’s it! Woooo Hooooo, done in less than 5 minutes! You’ve just made your first Perfect HDR photo! Send it to Mom and your friends and be ready to receive their adoration!

    Watch The Full Perfect HDR Workflow Video

    In the video below, I show the complete processing of this image including how to set the white and black points correctly. It’s easier to show some of the steps in a video, rather than try to describe it all in written form.

    Try the Perfect HDR Workflow

    If you want to give the Perfect HDR Workflow a try yourself right now, you can download my RAW files of this image for free. Get the free trial download of the merge to 32-bit plugin from the Photomatix website. The plugin you want is the last item on the page. Install the plugin with your copy of Lightroom 4 or 5. Then follow along to get the hang of the Perfect HDR Workflow and find out for yourself how easy this really is! If questions come up, I hang out on Google+ every day and you are welcome to circle & chat with me there or on my blog.

    Become an HDR Wizard

    Next time, in Easy Peazy HDR in Lightroom Part II, we’ll take this image further using the other panels of the Develop module in Lightroom. I think you’ll be amazed at the power and control you have using Lightroom to process your HDR photos. It’ll be like you’ve evolved into this unstoppable HDR Wizard!

    The post Five Minutes to Realistic HDR using Lightroom and a 32-Bit Plugin by Keith Cuddeback appeared first on Digital Photography School.


    Digital Photography School

  • Testing New Flickr Web Embeds Feature

    New Flickr format for blogged photos

    Flickr Web Embeds

    To The Open Arms of the Sea
    Old Flickr format for blogged photos

    I like the old format a lot better. The new format forces a title and Flickr logo watermark on your photo. I do love Flickr but I don’t want a Flickr watermark on every single photo I blog. I don’t want *ANY* watermark on the photos that I blog.

    Also, look how bad the watermark looks on a white background. White text on a white photo becomes unreadable. Also, why is the r in Flickr cut off on the right on the flickr logo with the new iframe crap code?

    As it stands right now, users on Flickr have an option to use the new embed feature or they can also still get the old html code. On the new Flickr beta photo page though users are only given the option of the new iframe code. I hope when the new beta photo page becomes default, we still have an option to choose between the old, clean and simple code instead of the new forced watermark code.

    More conversation on today’s change in the Flickr help forum here.

    Update: More from TechCrunch here:

    “But perhaps a logo with more transparency would be nice, or one that faded away with navigation controls, appearing on interaction or mouse-over. It’s a fairly minor complaint for me, though some photogs might have an issue with it.”

    Yep, I’m one of those photogs that probably has an “issue” with a forced Flickr watermark on every single photo on blog on my paid Flickr Pro account that is supposed to exempt me from advertising on my photos.


    Thomas Hawk Digital Connection

  • The Art of Black and White Photography: 75% Off Today Only

    On the sixth day of Christmas dPS gave to me, a chance to master Black and White Photography.

    You’ll save 75% on acclaimed Udemy course “The Art of Black and White Photography“.

    To take advantage of todays deal head here.

    NewImage

    In this value packed 6 hour course you’ll learn how to create dramatic and compelling black and white images using a range of powerful Photoshop techniques.

    What Students Are Saying About This Highly Rated Course

    This course is rated as the #1 Photography course on Udemy. Here’s a snippet of what students are saying about this course.

    “Extremely comprehensive, completely understandable and even enjoyable. Worth the money, probably double!” – Jeffrey Puritz

    “This course showed me simple and effective ways to convert any picture good or bad and improve the life of the picture….. easy to follow steps and fantastic tips …. worth a look!!” – Jillian Martin.

    There are many more great reviews just like these.

    Discover the Secrets of Taking Beautiful Black and White Images Today

    So if you are confused about which black and white conversion techniques to use, unsure about how to adjust the tonal range and balance of your black and white photos using curves and masks, want to make more of your black and white portraits, and you want to learn how to tone your black and white images, this course is for you.

    You can enrol right now for just $ 24. Normally this would cost you $ 99 so it’s an absolute steal.

    And whilst this deal won’t be gone in 60 seconds, it will be in 24 hours. Don’t miss out!

    Grab this deal here.

    The post The Art of Black and White Photography: 75% Off Today Only by Darren Rowse appeared first on Digital Photography School.


    Digital Photography School

  • Tips to Protect your Gear in Harsh Weather Conditions

    Do you live in a cold and snowy climate? Are you planning a trip to a desert or a tropical island? Although adverse weather or harsh environments can yield some of the best images, those situations can also play havoc with your camera gear if you don’t plan accordingly. Here are some simple steps to help you shoot without ruining your equipment.

    Tips to Protect your Gear

    Rain

    I love photographing in the rain. Of all adverse weather conditions, rain is one of the easiest to deal with to protect your camera. ©Valérie Jardin

    I love photographing in the rain. Of all adverse weather conditions, rain is one of the easiest to deal with in regards to protecting your camera. ©Valérie Jardin

    Don’t let a rainy day stop you from making amazing photographs. Just protect your camera, and yourself, and get out there! Although some of the most expensive DSLRs and lenses are weather sealed and can be used in the rain without protection, most cannot. The good news is that they can easily be fitted inside a rain sleeve specifically designed to keep them dry on rainy days. Rain sleeves will cost from a few dollars for a clear plastic model, to $ 30+ for a more durable water proof material. The more expensive rain sleeves come is different sizes to fit your lens. Note that they work best when you use a lens hood.

    It’s harder to find rain protection for smaller camera systems. A makeshift cover with a shower cap or a freezer bag will usually do the trick. Since I mostly shoot street photography with a mirrorless camera, I find that holding an umbrella is quite convenient if it’s not too windy. The camera is small and light, one hand to shoot is all you need!

    Snow and cold

    Again, what most would consider adverse weather makes for a photographer’s ideal playground. Heavy snow falls should be treated like rain and the same protection applies. Dealing with the cold, on the other hand, is a different story. When out in the cold, your camera doesn’t need any special protection as long as it stays dry. One of the biggest issues with shooting in cold weather is the moisture and condensation that can build up on your camera and lens when you go from cold, to the warmth of your home or car. Excessive moisture on your lenses can cause mold to form inside the lens, which will ruin it.

    To prevent damage from condensation, here is what you need to do: Before you go back inside your house or car, make sure you seal your camera in an air-tight plastic bag. This will allow the camera to reach room temperature while the condensation builds on the outside of the bag, not on your precious gear.

    Mirror lock-up can also happen in very cold temperatures when the lubricant that helps activate the moving parts freezes. Cameras can usually handle colder temperatures than stated in the manual, but be aware that this type of lock-up could happen if you end up in the arctic circle.

    Another thing to worry about when the temperature dips, the battery will drain much faster. So, make sure you carry a spare or two that you keep in a pocket, as close to your body heat as possible. Smaller cameras don’t have as many moving parts, and no mirror freeze up to worry about, but their batteries will drain even faster, so be prepared for that.

    Your camera needs some special attention in cold and wet conditions. ©Valérie Jardin

    Don’t hibernate with your camera in cold weather. Just take some special steps to protect it and yourself! ©Valérie Jardin

    Extreme humidity

    Besides the obvious inconvenience of your lens fogging up as soon as you leave your air conditioned room and step into the hot and humid environment, humidity can also lead to mold. You can alleviate the fogging up of the lens by placing your gear in a sealed plastic bag and letting it slowly adjust to the change of temperature. Avoid changing lenses as much as possible and remember that zooming in and out will pump humidity inside. Favor prime lenses!

    Keep sensitive equipment in sealed bags and keep small silica desiccant packets in your camera bag to absorb some of the moisture. Dry your hands before you change batteries or memory cards to prevent trapping moisture in the compartment.

    Tropical environments bring a lot of great photo opportunities, just make sure the moisture doesn't get inside your camera! ©Valérie Jardin

    Tropical environments bring a lot of great photo opportunities. Just make sure the moisture doesn’t get inside your camera! ©Valérie Jardin

    Heat

    Just like extreme cold, the opposite can also give you some gear trouble. Use common sense and avoid prolonged exposure to direct sunlight. Keep your camera cool, and in the shade when not in use. Cameras can overheat and this can cause damage to the internal components. You can use an empty cooler which will help keep your camera cool when you’re not using it. It’s also a good idea to carry one of those space blankets when you are out in the wild or extreme weather. You can use it to protect your camera from the sun as well.

    Sand and dust

    Have you ever been on a beach during a sand storm? I have! No matter what you do, sand will get everywhere! If you are going to be in an extremely dusty environment, I would highly recommend protecting the front element of your lens with a good quality filter. An occasional scratch from wiping some of the dust or sand off the front of your lens won’t hurt as much if it happens on the filter rather than the lens itself. Also, don’t set your camera bag on the sand! Camera bags are perfect sand traps.

    Salt

    If you shoot near the sea on a windy day, there will surely be some spray of salty water on your gear. Again, a UV filter will help protect the front element of your lens. Make sure your battery is full and your memory card is empty before you head out so that you avoid opening the battery or memory card compartment at all costs to prevent corrosion to form inside. It may not be a good time to change lens on the beach either.

    Never leave home without them

    A blower such as the Giottos Rocket blower. It’s such a small investment and one of the best accessories you can have in your camera bag at all times. I not only use it to blow any dust from the lens before I wipe it with a lens cloth. But I also blow the back of the lens before I put it on the camera to prevent dust from reaching the sensor. I also use it to blow air on the lens and camera before I wipe them clean.

    Microfiber cloths. Keep one separate that you will use for the front of your lens only. Carry extras to wipe the dust or water from your lens and camera body. The key is to remove as must moisture or dust as quickly as possible.

    Common sense when changing lenses

    Avoid changing lenses in adverse weather. If you absolutely have to, follow these simple steps: Do it in your car if you can. If not, turn your back to the wind and be ready to do it quickly. Place the new lens on a clean, flat surface. Unscrew the back cover but leave it on. While shielding your camera from the elements with your body, put the camera upside down and quickly switch lenses. This should only take a second or two to minimize the amount of dust that will get to your sensor.

    Protect yourself

    Protecting your gear from extreme weather won’t do much good if you don’t make it back alive! Whether you are dealing with extreme cold or heat, don’t mess with extreme weather if you’re not prepared. No picture is worth risking your life for!

    I hope you found some of those tips useful. Please share your own with the community in the comment section below.

    More reading on this subject

    • How to protect your gear in extreme conditions
    • Storm jacket cameras cover – a review by Valérie Jardin
    • 7 digital camera predators and how to keep them at bay
    • Camera insurance – assure peace of mind

     

    The post Tips to Protect your Gear in Harsh Weather Conditions by Valerie Jardin appeared first on Digital Photography School.


    Digital Photography School

  • Without Reservation: A Recommended Gear List

    This is something I get asked about a lot, and its inclusion on the site is far overdue. The following is a list of gear in which I have complete confidence, and would recommend wholeheartedly to any photographer.

    The Without Reservation list will be kept up to date going forward, so these are all subject to change at some point in the future. But as of now, this is the go-to gear that I rely upon day in and day out.

    Read more »
    Strobist

  • Excel at Underwater Photography Like You’re Part Fish

    Underwater photography is an acquired taste that is both an art form and a means of obtaining data. Usually, scuba divers are the ones taking underwater photos, but this art form can also be carried out while diving on surface supply, just swimming, snorkeling or safely inside a submersible. While underwater photography can be understandably difficult to successfully carry out, Continue Reading

    The post Excel at Underwater Photography Like You’re Part Fish appeared first on Photodoto.


    Photodoto

  • The 10 Most Popular Compact System Camera Systems among Our Readers

    Over the last few weeks we’ve featured lists of the most popular DSLRs, DSLR Lenses and Camera Bags among our readers. Today we’re turning our attention to compact camera systems.

    This last 3 months has seen a bit of a surge in purchases of and interest in this class of camera as an increasing number of our readers seem to be looking for smaller cameras that still have interchangeable lens options. Particularly of interest is Sony’s release of the full farm A7 and A7R cameras which have only been available for a short while but which already feature in our best seller list.

    With manufacturers like Sony, Olympus, Fujifilm and Panasonic continuing to develop and improve their offerings in this class I suspect we’ll see it continue to grow.

    Here are the the 10 most popular compact camera systems among our readers (we’ve kept it to those with interchangeable lenses) bought in the last 3 months (ranked in order of what our readers bought at Amazon in the last few months*).

    10 Most Popular Compact Camera Systems among Our Readers

    1. Olympus OM-D E-M1

    NewImage

    2. Sony NEX-3NL/B

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    3. Olympus E-PM2

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    4. Sony a7R Full-Frame

    NewImage

    5. Sony NEX-6L/B

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    6. Panasonic Lumix G Series DMC-G6KK

    NewImage

    7. Panasonic LUMIX GX7

    NewImage

    8. Samsung NX300

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    9. Sony a7 Full-Frame

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    10. Fujifilm X-E2

    NewImage

    *Note: these lists were 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.

    The post The 10 Most Popular Compact System Camera Systems among Our Readers by Darren Rowse appeared first on Digital Photography School.


    Digital Photography School

  • Get our ‘Making the Shot’ Portraits eBook today for $7 only!

    Portraits_coverOn the fifth day of Christmas dPS gave to me, the deal we know a lot of you have been waiting for …

    Save 65% on our smash-hit eBook Portraits: Making The Shot

    Snap up a copy here for just $ 7

    Making The Shot is an amazing eBook that will help you say goodbye to dull and lifeless pictures of people forever. It’s Jam packed with 25 years of portrait photography perfection and we think it’s the best portrait photography eBook you’ll find …

    And 10′s of thousands of our readers who’ve picked up a copy agree.

    If people are what you’re looking at through your viewfinder, you do not want to miss this eBook at this never before offered price.

    Now on one hand we’re really excited about sharing this deal – it’s the cheapest this brilliant portrait photography eBook has ever been.

    … and we know you all love $ 7 eBooks!

    But on the other hand we’re a little worried

    … let’s hope our servers hold up!

    Grab your copy of Making The Shot before the deal closes or our servers go into meltdown!

    It is available right now for only $ 7 ($ 19.99RRP) for the next 24 hours only!

    The post Get our ‘Making the Shot’ Portraits eBook today for $ 7 only! by Darren Rowse appeared first on Digital Photography School.


    Digital Photography School

  • Working with Off Camera Flash and TTL

    Working with Off Camera Flash and TTL

    To be able to create a portrait of someone is a wonderful experience. To do so in an interesting location is even better. To be able to make use of lighting techniques that allow your imaginative ideas to come to life and bring out the personality of the subject and the location environment… is where it really gets exciting!

    Working with Off Camera & Remote Flash

    Step one – analyze the natural light first

    The natural, or ambient light, even though it may seem to be everywhere all at once, actually has the same qualities of direction, intensity, colour and softness that are so easily seen in studio conditions. Taking a moment to observe and think about these ambient light qualities is the first step in determining how you can best make use of additional lighting from off camera flash.

    You might find it helpful to think of your location portrait setting as a clock or compass with your subject in the middle, and the camera and light sources arranged around the subject in a circular manner, through a 360 degree arc.

    The first example below shows a natural light style portrait, with differing qualities of light on the subject and the background. The ambient light direction comes from slightly behind the subject, through the trees, without being too distinct, but enough to provide interest to the background.

    005-Natural-Style-Portrait

    Adding more light – main light placement moulds the portrait

    The diagram below shows the lighting setup with the added a reflector and flash to our scene, in a circular arrangement with the subject in the centre. Light sources have been placed at 45 degree positions, relative to the subject and camera.

    Working with Off Camera & Remote Flash

    Working with Off Camera & Remote Flash

    Strong lighting positions

    On camera flash, is generally known to be harsh and often not that interesting, similarly, light sources from directly from behind and the side are equally strong and not used that often for traditional portraits. These positions of 0, 90, 180 and 270 degrees are shown in the diagram below. These are not “bad” light setups, you can consider them “strong style” positions that are not as flexible to make use of, so they are used less often than more “desirable” lighting setups.

    Working with Off Camera & Remote Flash

    007-Athlete-Portrait-Harsh-Light

    Working with Off Camera & Remote Flash

    Adjusting lighting positions

    Between these hard angle positions is where you want to position your primary or “Main” light sources. Doing so allows you to shape our subject with light in a natural manner and provides a more flexible set so that your subject can easily adjust their pose without “missing” the light. This is more comfortable setup for the photographer and will almost always provide more pleasing results of the subject. Photographs become more interesting as there is now more definition provided by the presence of highlights and shadows, which are also easier to control when working with this setup (003)

    Working with Off Camera & Remote Flash

    Adding secondary lights or reflectors

    Once you have identified your ambient light conditions, and placed your main light source, you can now determine where to best place your accent lighting with additional flashes or reflectors. These lights provide enhanced interest to the image, by bringing out the subtleties of texture, colour and form. Placing them too close to your primary light will cause them to wash out each other, so remember the desirable angles created by our light compass earlier. When you think of the compass, you’ll want to have your additional light sources at least 90 degrees away from each other. This allows them to be effective on their own, without overlapping the other lights and losing their intended effect.

    Working with Off Camera & Remote Flash

    Accent lights are always positioned relative to the main light and tend to provide the feeling of a skimmed light back to the camera. This is the most effective way to enhance the creative style within an image, and is surprisingly easy to do now that you understand how the lights work with each other, and how you can arrange them to work best with your subject and where you position your camera.

    Working with Off Camera & Remote Flash

    Working with Off Camera & Remote Flash

    Working with Off Camera & Remote Flash

    Working with Off Camera & Remote Flash

    TIP 1: To gain even more flexibility with outdoor flash, make use of the High Speed Sync feature, which will allow you to use shutter speeds that go beyond the traditional limits of 1/125th or 1/250th. Look to your camera manual for setting that up, so you can use speeds up to 1/8000th , it really works!.

    It may seem intimidating, but controlling the off camera flashes can actually be very easy, surprisingly intuitive, and very effective. Nikon have their way of remotely controlling the settings of their flashes, with their Creative Lighting System (CLS) using highly accurate Through The Lens (TTL) metering. You can use a separate flash on camera as the “Master” to control the Remotes, or even use the camera’s built-in pop up flash in “Commander Mode”. You can adjust the flash output, so the light portion doesn’t affect your image, or use it as additional fill. Nikon has a separate controller as well, called the SU-800. At half the price, it’s like a flash, but without the actual flash head.

    Canon has their equivalent versions available, and other manufactures also enable TTL options. These controls take the fear and pain out of the remote flash experience. Controlling the remote flashes can be as simple as deciding you want more or less light output, then bumping the dial up or down from the camera location.

    Tip 2: Setting your camera to under-expose the natural light by one or two steps, allows your flashes to take over the look of the image and dominate the lighting conditions.

    You can set your camera Manually or use Aperture Priority, either way the camera will “talk to the flash” to calculate the correct flash exposures as they appear in camera, on the sensor. With the internal technology that works so well, the simple camera and flash setups do the work, so you don’t have to.

    Yes, it can be that simple!

    More example images and diagrams

    013-Executive-Indoor-Portrait

    Working with Off Camera & Remote Flash

    Working with Off Camera & Remote Flash

    Working with Off Camera & Remote Flash

    The post Working with Off Camera Flash and TTL by Craig Minielly appeared first on Digital Photography School.


    Digital Photography School