We all like having different resources at hand, be it graphic design, getting inspiration or just plain images to embed into articles. It would be so good if we didn’t have to be looking for resources in different websites until we find what we want, wouldn’t it? Here’s where Freepik comes into our lives, giving us those much needed graphic Continue Reading
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When lighting a subject, one of the things you want to try to do is create drama, or a context, using the light. This often means modifying your light source. One of the easiest ways to modify your flash to create a context, or drama, is to use a gobo.
In this shot, the gobo was used on the background light, to create the illusion of light shining through window blinds. The off camera flash was a Canon 580 EX II, with the gobo positioned in front of it. The light on the model was a 580 EX II in a Westcott 18×42 strip box.
Gobos are templates that go in front of your light source (“Goes Between” your light source and the subject) that have patterns cut out that control the shape of the light. They can help add mood, create the idea of a setting or context, and add interest.
This is my homemade “windowblinds” gobo. It’s probably a bit larger (about 20×30) than it needs to be, but this helps ensure that it blocks out any unwanted stray light. You want to use flat black oak tag or mat board, as the black minimizes any reflecting light. Using a lighter colored material would reflect light that may not be wanted in the image.
Gobos can be purchased, but often times, the available patterns may not fit your need. In addition, they are relatively easy to make yourself and thus customize as needed.
Simply go to the nearest arts and crafts store, choose a piece of black oak tag, and a razor blade or exacto knife, and cut the desired pattern out. The pattern doesn’t need to be too large, keep in mind how large the flash beam is going to be at the point that it hits the gobo.
You may need to experiment a bit with the size and distance before getting the desired effect.
I will place the flash on a light stand, and then simply use a second light stand and use an A-clamp or two to hold the gobo in place. This way I can experiment easily with how far the gobo should be from the flash, and how far from the subject or background. A magic arm attached the light stand holding the flash will also work for holding the gobo.
For the accompanying photos, I wanted to create a night time mood, light projecting through the window blinds onto the wall from a street lamp. So I simply took the piece of black oak tag and cut a series of rectangles in it. When projecting flash through it, it resembles light shining through window blinds.
There are myriad other patterns that could be used to create various moods and effects. Play around and see what you come up with!
You can also use the gobo to modify light projected onto your main subject. In this instance, it creates an air of mystery about the subject.
Post originally from: Digital Photography Tips.
Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.
Using Gobos To Create Dramatic Lighting
Over the last few weeks we’ve run a competition to give away $ 1000 worth of lenses and personal mentoring with Gina Milicia – author of our Portraits: Making the Shot eBook.
Over the weekend this competition ended and we’ve now drawn and notified the winner!
The winner is….
Lizabeth Simonton.
Congratulations to Lizabeth – we’ve just sent you an email with details of how to get your prize! Thanks to everyone else who picked up a copy of our Portraits eBook. We trust you’re enjoying it and seeing an improvement in your Portraits.
Post originally from: Digital Photography Tips.
Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.
The Winner of $ 1000 in Lenses and Personal Mentoring is…
You’ve been reading their articles for months or years, have you ever wondered “Who are the photographers who write for dPS”? Today we meet Anne McKinnell, one of our brand new, fresh and minty smelling writers.
About 6 years if you add it all together.
The first time photography was part of my life was in university 20 years ago. I wrote for the student newspaper and bought a used Canon AE1 so I could take photographs to go with my stories. I used to roll my own film, develop it, and make prints in my bathroom. After university I did some travel photography in eastern Europe.
Back then I lived in a darkness. My images were journalistic in style and focused on problems in the world, sad stories, homeless people, and I even had a whole series on graveyards. It is as if I lived in a world full of only bad things.
I photographed less often during the time I was building my career in software and working to pay for my house. When digital photography came out, I gave up on it all together thinking now anyone could make a perfect photograph.
A decade later I realized that digital photography does not mean anyone can make a perfect image. I renewed my interest in photography and purchased my first DSLR about 4 years ago.
2. Do you have a full time job or are you a full time photographer?Well, about a year and a half ago I made a rather huge change in my life. I sold my house in Victoria, BC, closed my software consulting business, bought an RV and hit the road for the life of a nomadic photographer.
I decided that if I ever wanted to be a travel photographer I should just start living that life and see what happens. So I’m a full-time photographer now, it’s my second career, and I’m having a happier and more fulfilling life. I don’t make as much money as I used to but I’m happier.
When I got back into photography four years ago I did it for a specific reason. Photography is the tool I use to become a happier person and so I decided to only photograph beautiful things and leave the darker side of life for other photographers.
I have a tendency to see and focus on all the negative things in the world. I wish I was one of those positive people who see the bright side of life, but I’m not. Being inspired by Dewitt Jones, I try very hard to focus on “what is right with the world” and I use photography to help me do that. It really works and has changed my perspective greatly.
So my one genre of photography would have to be landscape and nature. When I see something in nature that is beautiful it reminds me that the world cannot be all bad. My favourite thing is to get out in nature and find beautiful things that inspire me and keep me sane. Seascapes at twilight is what really does it for me.
I’m new! I just starting writing for dPS a couple of months ago. I have always loved writing and I did a lot of teaching in my software business so it seemed natural to combine writing, teaching and photography this way. It also helps me bring my photography to a wider audience.
I have a Canon 7D. My favourite lens is my 24-105L lens, probably because it’s my only L lens and it’s the perfect range for those times when I go out with only one lens. It’s extremely versatile. However I have to say that on a couple of occasions I have rented the 400mm f/5.6L for wildlife photography and I LOVE that lens.
Slow down. You have to change the way you go about photography to progress from making snapshots to making great images that have impact. Spend some time thinking about the scene and what you want to say about it. I like to spend a little time coming up with adjectives that describe the scene and then use those adjectives to decide what kind of image I want to make. For example, if I come up with adjectives like “peaceful, calm, blue” I might use a very different technique then if my adjectives are “dramatic, stormy, gritty.”
I’m currently writing a series of eBooks for new photographers that will help them enhance their vision, exercise their creativity, and learn new tools and techniques along the way.
It’s a bit of an unconventional approach because I believe in learning a bit of everything at the same time. When you get your first DSLR it’s no fun to memorize your camera manual until you understand what every single button does without making any images. It’s no fun to study composition endlessly without trying some fun techniques too.
I think of it like a chemistry class in high school. Sure, you have to learn the formulas and memorize some stuff, but you also have to melt things and set stuff on fire or you’ll get bored and start to hate chemistry.
You need to learn a bit of each thing and progress in all areas simultaneously and that’s how I try to guide new photographers in my eBooks.
The best place is on my website where I have a blog about my travels and how I make each of my images. I also have two free photography eBooks available there.
My website: http://annemckinnell.com
I’m also on a bunch of social networks:
Google+: http://gplus.to/annemckinnell
Twitter: https://twitter.com/annemckinnell
Facebook: https://www.facebook.com/AnneMcKinnellPhotography
Pinterest: http://pinterest.com/annemckinnell/
Post originally from: Digital Photography Tips.
Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.
Meet The Photographers Who Write For Digital Photography School ~ Anne McKinnell
No Contrast – No Problem
The most beautiful composition can be dashed by improper use of color and contrast. –CJ Rider
As we learned in our last entry, harsh light can work well with bold and dramatic colours, yet blow-out the subtle and delicate tones. The colour red supported by black, or gold surrounded by blue provide the photographer with easy choices in creating a pleasing composition.
But what shall we do if there is no colour or light contrast, but only a monotone or duotone with which to work?
Any photographer who has worked along Canada’s Atlantic coast learns very quickly that coastal fog can make a colourful scenic harbour appear flatter than a day old pancake. Likewise for the photographer who travels through Canada’s north where naturally ignited wildfires are permitted to burn themselves out, ultimately filling the sky with smoke as far as the eye can see.
What we are beginning to recognize is that in bright sunlight that yellow dory on a Newfoundland beach or a MacKenzie Delta birch tree in autumn foliage will fairly jump out of the landscape. Conversely, if we were to remove the direct sunlight that same composition would turn those bright yellows into a muddy eyesore.
As an experiment to reinforce this thought locate a window that you can easily peer out at any given time of day, perhaps the home kitchen or at the office. Next find a subject that appeals to you, but make sure it is only one element such as a tree or a building. Every time you walk past that window have a glance at the referenced subject and note how the colour and form of the subject will change depending upon the lighting conditions.
It should stand to reason that as we study the scene from our vantage the bark on the targeted tree or texture of a brick wall will take on a whole new meaning if viewed in overcast light as opposed to a bright sunny day.
Now we have a eureka moment: If high contrast light emphasises boldness and will force us to search for scenes requiring these sharp edges, then by comparison we should be seeking scenes that are soft and delicate on non-sunny days.
For the landscape photographer it is generally accepted that on those poor-light days it is best to keep the bland grey sky out of the scene. Instead, point the camera down and adjust the composition to showcase the colour, patterns and texture that is best seen under this soft light. Generally, when the sky is blue think of making big sky pictures; when the sky grey look to your feet.
Photo 1
Photo no. 1 is an example that breaks the general rule “if there is no definition in the sky leave it be.” In other words, on overcast days the clouds will usually be a bland and woefully white or grey. From our earlier readings, we have learned that the viewer will subconsciously be drawn to the lightest part of a picture. If there is no detail to the sky, then we usually wouldn’t include it in the photo. In this case, however, the sky is the lightest part of the photo and an integral component to the story. There was a huge forest fire in Quebec and the smoke had blown east to Gros Morne National Park in Newfoundland and Labrador. What the sky does, in this case, is complete the gradation of tonal range from dark to light, and allows your eye to move up and down the picture without distraction. The side bar to any rule-of-thumb is that once you know the rules, then find a way to successfully break from that mold.
Photo 2
Garden photographers long for days of no wind with a very light moisture in the air. Such conditions allow a flower to purely come to life by allowing the vibrancy, subtleness, texture and detail to shine through. By having no shadow details, or very soft and indistinguishable shadow lines at most, we can then concentrate on the nuances and softness that such conditions allow. In photo number 2, the lack of shadows allows the viewers eye to wonder right into the mix of a really nice stand of Showy Lady Slippers.
And remember, if you are having fun you are doing it right.
Post originally from: Digital Photography Tips.
Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.
Learning to See, Part VI
I usually start a review of a camera like this straight after brekky, while I’m fresh, with an uncluttered mind.
But sometimes it seems I would have been better off by kicking off with a cluttered mind!
So I pick up the NEX-6. Hit the power button. Look in the LCD. Looks awfully dark. What’s up? Go the finder menu and hit the factory reset button. No better. Look in the menu for the PASM options. None there!
Oh! Oh! Dumbo missed the legibly inscribed, external PASM settings on the top mode dial. Just like most other cameras, but unlike the two most recent mirrorless interchangeable lens cameras that passed through my hands, the Canon EOS-M and Sony’s NEX-5R, which tucked these vital options away in the finder menu and touch screen respectively.
With the NEX-6 many will appreciate the easy access to external exposure controls like these.
Cosmetically, the camera looks gorgeous, simply garbed in black with legibly labelled external controls. It feels good too, thanks to a prominent speed grip. With the review f3.5/16-50mm review lens attached, it is almost pocketable.
The power and Function buttons are mounted on a front sloping deck that falls naturally to an operative forefinger.
As I mentioned, the mode dial carries the PASM choices plus iAuto and Superior auto exposure options, plus scene modes (nine in all) and Sony’s excellent sweep panorama. Set lower and on the extreme right corner is the video record button: later, when out shooting, I found this location to be a damned nuisance!
At the rear there is the replay button, flash pop up, AEL (to fix the exposure); the four way control wheel carries ISO, display options, single/continuos shooting and exposure compensation. There are three more, unlabelled near-invisible buttons: two assignable ‘soft keys’ and the central control wheel.
The CMOS captured a maximum image size of 4912×3264 pixels, or 42x28cm as a print.
Movies at Full HD res of 1920×1080 pixels can be shot in either AVCHD (full res) or MPEG4 (at two lower res settings).
The camera is furnished with full Wi-Fi access. This allows relatively simple wireless stills and video transfers to smartphones or tablets running the supplied PlayMemories Mobile (Windows only) app. Images can also be transferred wirelessly to a networked computer or viewed wirelessly on any DLNA-compatible TV.
Thankfully, the NEX-6 has a vari-angle LCD screen, tiltable to 90m degrees upwards or 45 degrees down.
A very clean performance all the way to ISO 3200. By ISO 6400 very slight rise in noise. Still very useable at ISO 12800 in terms of quality, sharpness and lack of visible noise. Noise up at ISO 25600 but still useable with the right subjects.
Quality: slightly above average.
Why you’d buy the Sony NEX-6: easy to use; access to a reasonable range of lenses.
Why you wouldn’t: no touch screen operation; the memory cat\rd slot is fiddly to deal with.
If you don’t need the image size of the NEX-7, this could be an ideal choice. Good one!
Image Sensor: 16.1 million effective pixels.
Metering: multi zone, centre-weighted, spot.
Lens Mount: Sony E-mount.
Exposure Modes: iAuto, Program AE, shutter and aperture priority, manual.
Effective Sensor Size: 23.5×15.6mm CMOS.
35 SLR Lens Factor: 1.5x.
Shutter Speed (stills): 30 to 1/4000 second and Bulb. Flash sync: 1/160 sec.
Continuous Shooting: up to 10 fps.
Memory: SD/SDHC/SDXC, Memory Stick Pro Duo cards.
Image Sizes (pixels): Stills: 4912×3264 to 2448×1376.
Movies: 1920×1080 (AVCHD), 1440×1080 and 640×480 (MPEG4).
Viewfinder: 7.5cm LCD screen (921,600 pixels).
File Formats: JPEG, RAW (Sony ARW 2.3), JPEG+RAW, AVCHD, MPEG4.
Colour Space: sRGB, Adobe RGB.
ISO Sensitivity: Auto, 100 to 25600.
Interface: USB 2.0, HDMI mini, Wi-Fi.
Power: Rechargeable lithium ion battery, DC input.
Dimensions: 120x67x43 WHDmm.
Weight: 345 g (inc card and battery).
Price: Get a price on the Sony NEX-6 (Body Only) or the Sony NEX-6 with 16-50mm Power Zoom Lens or the Sony NEX6 with 16-50mm Power Zoom Lens and 55-210mm Lens.
Post originally from: Digital Photography Tips.
Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.
Sony NEX-6 Review
Do you ever see a beautiful scene, take out your camera, take the shot and then wonder what went wrong? Why doesn’t the display on the LCD screen look at all like the scene in front of you?
Do you ever stand next to another photographer and wonder how they made an image that is better than the scene you see with your own eyes?
Understanding how the camera “sees” is the key to figuring out why this happens and what you need to do to take charge of your camera and make the images you envision.
If you’re already dreading the mathematical calculations, don’t worry! I’m not going to start measuring my eyeballs and pupils and trying to figure out what kind of lens my eyes are equivalent to in focal length, f/stops, and ISO, or how many megapixels my eyes see. That’s not what this is about.
It’s just about understanding how a camera works differently than our eyes.
Sometimes the best images show the very thing that we cannot see with our own eyes.
At low light levels our eyes are less sensitive to colour than normal. Camera sensors, on the other hand, always have the same sensitivity. That’s why photographs taken in low light appear to have more colour than what we remember.
When I made this image of the Legislature in Victoria, British Columbia, the sky was much darker and less blue to my eye.
The longer the shutter remains open the more light can enter the camera and hit the sensor. Therefore long exposures can bring out objects that are faint in the sky whereas our eyes will perceive no extra detail by looking at something longer.
The 30 second exposure in this image, made at Joshua Tree National Park in California, picked up more stars than I could see with the naked eye.
Long exposures also allow us to see the passing of time in a way we cannot with our eyes.
In Guadalupe National Park, Texas, I was able to capture the movement of the stars around Polaris, the north star, by leaving the shutter open for 30 minutes.
At Fallingwater Cascades along the Blue Ridge Parkway in Virginia, the movement of the water caused the maple leaves to swirl around in a circle. By using a 15 second exposure I was able to capture the movement of the leaves.
On the other end of the scale, high speed photography can freeze motion and allow us to see something that would otherwise pass by too fast for our eyes to retain any detail.
By using a shutter speed of 1/5000 second, I was able to freeze the water droplets as they swirled around the egret’s beak as he caught a fish.
One thing that is somewhat similar between a camera and a human eye is aperture, but only if you hold it steady. For example, if you stare at one word in the middle of the this sentence and do not move your eyes, you can perceive that the other words are there but they are not clear. The part that is in focus is only the centre portion of your field of view.
That is the same as a camera with a small aperture. The difference is that you can’t actually look at the out-of-focus part. As soon as your eye moves to the out-of-focus words they instantly become in-focus.
Whereas if you are looking at a print or an image on your screen you can look at the out-of-focus part which is something we cannot do with our eyes. That’s why shallow depth of field images are so interesting to us.
Most of us see in colour. Others see limited colours. But either way we are stuck with what we have. Maybe that’s why some people like or dislike black and white photography. For a long time colour was considered a limitation in photography and the human eye was obviously better. But now photographs give us the option of viewing things in a different way.
Rocks on the beach at Rebecca Spit, Quadra Island, British Columbia.
One thing to keep in mind is that when we see something with our eyes, our brain is involved too. Think of optical illusions where you perceive something that isn’t actually there.
As we look around a scene our eyes quickly adjust to changing light. Take a scene with dark shadows and bright highlights for example. As your eye moves from one area to another it quickly adjusts so our eyes take in the right amount of light and we see detail in all parts of the scene. When we look at a scene it is like our brain takes numerous snapshots and what we perceive is the combination of those snapshots.
Your camera cannot do that. It simply records the light that hits the sensor at one aperture setting. It can only have one exposure for the whole scene.
That is where exposure blending, or high-dynamic-range (HDR) photography, can sometimes make a scene look more like what we perceived at the time.
On the other hand, depending on how you blend your images, HDR photographs can show us a lot more detail than what our eyes saw and then they don’t look realistic. Not that there’s anything wrong with that! It depends on whether you want your images to be realistic or not.
The image above represents the same scene taken at three different exposures. One exposure is for the shadows, another for the mid-tones and the other for the highlights.
Grapevine Hills, Big Bend National Park, Texas.
I can blend those images together in photoshop and end up with an image like this. Our brain does that all by itself!! This more closely represents the image I remember in my mind.
The kinds of images that are considered good differ from person to person. It’s subjective.
Some people like images that are just like what their eyes saw or are capable of seeing — the realistic images.
Other people prefer images that show them what they cannot see such as black and white, long exposures, or HDR with tons of detail.
Either way, understanding why the camera “sees” things differently than you will put you well on your way to creating the kind of images you want to make.
Post originally from: Digital Photography Tips.
Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.
Why does your camera see things differently than you?
One of the things I’ll do is set up a remote camera in the back of the ceremony, elevated if possible. In this shot, a tilt-shift lens was used to create that miniature look. EOS 5D Mark III, TS-E 17mm f/4L. Exposure was 1/320, ISO 3200, f/4. Photo by Rick Berk/kNot Photography
Throughout the first 20 years of my career in photography, I’d photographed a lot of different things- NHL All-Star games, Major League Baseball, NFL Football. I’d photographed portraits, boudoir, model portfolios. Landscape photography became a passion of mine. One thing I never photographed was a wedding. When I began my career, I assisted on exactly two weddings. Never did I shoot one. The two weddings I assisted on went so badly that I never wanted to touch one again. I thought all weddings were like that. It wasn’t until years later that I understood it was more the photographer I worked for than it was the weddings themselves.
This type of shot is the kind that makes for a nice touch in the overall collection from a wedding. They complete the set and really show a photographer’s attention to detail. EOS-1D X, EF 100mm f/2.8L IS Macro. ISO 800, 1/200, f/8. Photo by Rick Berk/ OneRedTreePhoto.com
For a variety of reasons, I made myself available as a second shooter in 2012, and got my first taste shooting weddings. That first one was intimidating, but I learned a few things along the way.
This is a must. Depending on the setting it will always change, but at least one formal portrait of the bride is essential. This shot simply used on camera flash, bounced into a reflector at camera left. EOS-1D X, EF 85mm f/1.2L II. 1/250, f/1.2, ISO 400. Photo by Rick Berk/OneRedTreePhoto.com
Prior to the wedding day, speak to the bride and groom about what shots they absolutely must have. Plan when and where you will be shooting each of the shots. If you’re doing group shots in the park, make sure they know that’s the plan, and when you need them there. Keep a shot list with you. Don’t promise anything more than that you will try to get these shots, because things could always happen preventing you from getting the shot. But at least this way you know what to try and focus on. This is also where you manage their expectations so they understand that you can’t possibly get EVERYTHING, but you will try to get what’s most important to them.
Your bride and groom have a ton on their plates on the wedding day. Photography is the last thing on their mind. But you still need to get the shots and you need to do so as efficiently as possible so as not to hold up the proceedings. Gentle reminders to the bride and groom about the shots they wanted will help, especially if you can give them a few minutes warning. For instance, “We need to get the family portrait, and we have a window in 5 minutes if we can get you all together,” works fine. They WILL ask why the shot isn’t there if you don’t get it, and even if they are resistant during the event, they will thank you later.
Yes, there will be some shots you absolutely need to pull the bride and groom away for. But if you can manage to get shots without interfering in their activities, you’ll be exactly the kind of wedding photographer everyone wants- an invisible one who delivers the goods. Shoot preparation shots, detail shots of the rings, the cake, etc., while you have the free time and nothing else is going on. Getting those kinds of shots out of the way makes it easier to get the really important stuff later.
It’s easy to underestimate how much work goes into shooting a wedding. Many times, a photographer’s first taste is when a friend asks them. It’s an honor to be asked, but it’s also a great responsibility. Theoretically, this is a once in a lifetime event. You can’t be everywhere at once. The weddings I worked as a second shooter, I wasn’t a secondary shooter. I just wasn’t the guy contracted to do the job. But I shared responsibility for getting certain shots. For instance, the bride and groom getting ready at different locations. One of us would go to the bride’s, one to the groom’s. We’d meet back at the church, or at another location where we might be doing shots, depending on how the day is planned. This takes a huge amount of pressure off. In terms of the ceremony, it ensures that multiple angles are covered so if one of you is blocked, the other might have a chance at getting the shot.
It can be easy to focus on the primary photos and lose sight of those smaller, special moments that, when captured, make for the best images. Be on the lookout for a tender moment between bride and groom, the bride and her father, or the groom and his mother. Look for moments with friends and relatives that might end up telling a story. This means your camera is always ready and you are always watching. There is no time to let down your guard.
There are a lot of little moments that make up a wedding day. Near the end of the father-daughter dance, the bride looked up and had this beautiful expression of admiration for her father. When her mother saw the image, tears came to her eyes. As a photographer, those are the moments I live for. Photo by Rick Berk/OneRedTreePhoto.com
One common theme I’ve heard from all photographers thinking of diving into the wedding pool is that they build it up so much that they become intimidated by it. You were hired for your expertise, so approach it like anything else. Look for creative shots you can use to illustrate the day, to give a storybook feel to the images, and to capture the emotion. If you need the bride and groom and other family members in a certain spot, direct them as you would a portrait shoot. Don’t be afraid to ask for them to do something for you if you think that by doing so, you can provide them with a shot that will make them remember the day fondly for the rest of their lives.
In my bag at most weddings I keep a 24-70mm lens and 70-200mm lens. These are my workhorse lenses. But I try to offer variety and for me this means using different lenses for different shots. I have a 100mm macro for ring and detail shots, but also for portraits. I use a fisheye lens for some candids on the dance floor. I’ll use an ultra wide angle like a 16-35mm. I keep a couple of speedlites with me. Sometimes I use them on camera, sometimes off, and sometimes I turn it off and just shoot available light. The point of all this is to provide variety. Different shots with different looks create more interest when the images are viewed as a collection. Yes, you could get away with using a 24-70 for the entire day, but I like to change things up when I can.
This means a backup camera, flash, batteries, memory cards. Anything that can die, go bad, break, corrupt. If you are being paid, you are considered professional, and being a professional means that the words “My camera broke” cannot be used as an excuse.
Each priest, minister, judge, or other officiant I have worked with so far has had a different set of rules where photography during the ceremony is concerned. Prior to the ceremony, introduce yourself, and ask what is permissible and what isn’t as far as you are concerned. Is flash ok during the ceremony? Where would he prefer you NOT be during the ceremony? Laying the ground rules beforehand can make a huge difference in how you cover the event.
Weddings are fun, happy occasions. Enjoy it. There’s good music, happy people, and you get to capture the memories. If you are enjoying yourself, it will show in your work.
For 20 years I always swore I wouldn’t touch a wedding. But having shot three of them now, I find I enjoy the challenge and creativity of capturing these once (or twice) in a lifetime event for the couples I’ve worked with. No, they aren’t for everyone. But with the right attitude and know-how, they can be incredibly satisfying to shoot.
When the dancing started I decided I wanted something different. I mounted a 5D Mark III on a monopod with 14mm lens. a flash was mounted on the camera with the head aimed at the ceiling for bounce. I held the camera out over the dance floor by extending the monopod a few feet. Using a remote release, I got the bride’s attention and waited for her reaction, firing when I saw it. Photo by Rick Berk/kNot Photography
The church had these huge windows with light pouring in. I knew I wanted to use it but time was tight. I grabbed the bride and groom quickly and asked them to stand by the window and look out. I fired off a handful of shots varying the exposure a bit. The black and white conversion added a nice artful touch. EOS-1D X with EF 24-70 f/2.8L II. ISO 1250, 1/100 f/5.6. Photo by Rick Berk/OneRedTreePhoto.com
Post originally from: Digital Photography Tips.
Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.
Weddings Through The Eyes of a “Noob”: Lessons I Learned
If you’re using Instagram, there are a few people who hate you. You can be a nice friendly person, and you friends are polite, that’s why they don’t comment your photos with an honest “Screw you, bastard!” But what did you do?! Just as a word can hurt, a photograph can insult even more – especially when you realize, browsing Continue Reading
The post 15 Reasons Why Your Instagram Followers Hate You appeared first on Photodoto.
Earlier in the week we published a post on how to use Diptych’s to tell a story. Today we’re issuing the challenge to go out and shoot and edit one up to share with us!
Come on – we dare you! No… we double dare you (it’s a Double Diptych Dare).
Read Jason’s article on Diptychs, grab your camera and head out to shoot.
You can tell any kind of story you want – shoot on the street, photograph an event, set up a little story in your home – it’s totally up to you as there are so many possible approaches to take (we’ll include a few ideas below).
Once you’ve created your DIPTYCH upload it to your favourite photo sharing site and either share a link to it or – embed it in the comments using the our new tool to do so.
If you tag your photos on Flickr, Instagram, Twitter or other sites with Tagging tag them as #DPSDIPTYCH to help others find them. Linking back to this page might also help others know what you’re doing so that they can share in the fun.
Also – don’t forget to check out some of the great shots posted in our last challenge – Cute challenge where there were some beautiful shots submitted.
Check out these examples. Click the images to be taken to the photographers page on Flickr.
Post originally from: Digital Photography Tips.
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