Category: Photography

The Most Popular Digital Photography Books of 2012 [Among dPS Readers]
Over the last 12 months we’ve reviewed and mentioned a lot of great photographic books (real paper ones) here on dPS.

So today I thought I’d dig into the stats that Amazon give us as to what our readers have purchased after clicking through from our site to showcase the 15 most popular books bought by our readers. Hopefully it gives those of you shopping for presents for photography loving friends and family some ideas!
1. Beyond Snapshots: How to Take That Fancy DSLR Camera Off “Auto” and Photograph Your Life like a Pro (co-authored by dPS eBook author – Rachel Devine
2. Understanding Exposure, 3rd Edition: How to Shoot Great Photographs with Any Camera
3. The Digital Photography Book
4. The Photographer’s Eye: Composition and Design for Better Digital Photos
5. Understanding RAW Photography (The Expanded Guide: Techniques)
6. HDR Photography (The Expanded Guide: Techniques)
7. Digital Photographer’s Guide to Dramatic Photoshop Effects
8. Visual Stories: Behind the Lens with Vincent Laforet (Voices That Matter)
9. The Luminous Portrait: Capture the Beauty of Natural Light for Glowing, Flattering Photographs
10. Speedliter’s Handbook: Learning to Craft Light with Canon Speedlites
11. Scott Kelby’s Digital Photography Boxed Set
12. Complete Digital Photography
13. Learning to See Creatively: Design, Color & Composition in Photography
14. Digital Wedding Photography: Capturing Beautiful Memories
15. BetterPhoto Basics: The Absolute Beginner’s Guide to Taking Photos Like a Pro
Want more?

Check out the current best selling digital photography books on Amazon where they currently have most books at 30-50% off retail price!

Note: dPS earns a small commission if you purchase one of these books after clicking on one of the above links. This helps our site sustain itself – we appreciate your support!

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 Most Popular Digital Photography Books of 2012 [Among dPS Readers]

Digital Photography School
November 25, 2012
Take control sharpening in Photoshop

Most people who have experimented in Photoshop, especially those who shoot in raw, will have some experience of trying to sharpen an image. Sharpening increases the contrast between neighbouring pixels resulting in the visual effect of a crisper image. It is typically the last processing step that should be performed on an image and is often used to enhance already well-focussed images or in desperation to try and rescue elements of a photograph that weren’t captured in-focus when the shutter was pressed.

There are numerous ways to sharpen images in Photoshop, so much so that there is a whole sub-menu of filters dedicated to sharpening, each offering a different amount of control and different levels of success. However, one of the most overlooked filters that can help you achieve better results with more control isn’t found in the Sharpen sub-menu, but is in fact found in the, usefully named, Filter -> Other menu: the high pass filter.

I’ll take you through a step-by-step guide to using high pass filter and hopefully show you how simple and effective image sharpening can be.

Step 1

Start by opening the image that you want to sharpen – ideally, the image will have come from a raw file so not to over-sharpen an ‘out-of-camera JPEG’. Make sure that you have completed all other processing steps that you wish to perform. Here I’ll use this image of a fox to illustrate the process (feathers and fur often react well to a bit of sharpening).

Step 2

In the layers palette, right click the Background layer, select Duplicate and click OK. This creates a copy of the original layer and is a key step for the application of the high pass filter.

Step 3

With the duplicate layer selected, select Filter -> Other -> High Pass

This will bring up a high pass window with a small preview of the results and a Radius control. If you can see the whole image behind this window, you will notice that the Duplicate layer has turned grey – don’t panic, it’s supposed to.

Step 4

Set the Radius value and click OK. The higher the Radius, the more sharpening will be applied to the image. If you play around with the Radius slider, you will notice that at low values, e.g. 1.0 pixels, only high-contrast edges are visible in the grey layer, whereas if you move the Radius slider up to 10 pixels, you will notice that more edges within the image will be highlighted.

The precise Radius value that will result in optimal sharpening will be image dependant, but somewhere in the range 1.0 to 5.0 pixels will suffice. Generally, 5.0 pixels will be too much, but given that we are performing this action on a duplicate layer gives us the flexibility to be heavy handed with the high pass filter, I’ll explain more shortly.

Step 5

In the layers palette, set the blending mode of the duplicate layer to Overlay.

The Overlay mode ‘multiplies’ the blacks and ‘screens’ the whites of the layer below – that is, makes the dark areas darker, and the light areas lighter. Up on application of the high pass filter, our image was turned grey (neutral grey in fact), and when setting the Radius value, edges were picked out in light/darker shades of grey. Therefore, when the blending mode is set to Overlay, the neutral grey areas of the image have no effect, yet the lighter/darker edges screen/multiply the edges of the layer below, increasing the contrast, resulting in a sharper image.

Step 6

Change the Opacity of the duplicate layer to achieve the desired sharpness. I mentioned that you can be heavy handed with the high pass filter – that is because you can tone back any over sharpening using the Opacity slider. It is often a good idea to set the Opacity to zero and work your way up to an acceptable level of sharpness so not to over sharpen and introduce artefacts.

Step 7

It is advisable to try and print off a section of your image, at the same scale as you intend to print the full photograph, to get a feel for how much sharpening an individual image requires and adjust the Opacity slider as appropriate.

And that’s it, image sharpened!

The benefit of using this method to sharpen your images is that the sharpening effect is applied in a non-destructive fashion, on a duplicate layer, with a very simple to understand parameter (in the Radius value) that controls the magnitude of the sharpening, as well as giving you the ability to fine tune the final effect using the Opacity slider.

In addition, given that the sharpening is entirely controlled by the duplicate layer, you can have further control for where the sharpening is applied within the image by applying a layer mask to the duplicate layer.

So there you have it, a quick yet effective method for sharpening your images that gives you full control.

Post originally from: Digital Photography Tips.

Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.

Take control sharpening in Photoshop

Digital Photography School

November 25, 2012
5 Uncommon Snow Photography Tips That Can Transform Your Winter Scenes.

Couple in Sheep Meadow, Central Park

It’s that time again when we get to burn off those holiday pounds by trudging through the snow to capture those stunning winter shots. I’ve got a few extra ones this year, so you’ll see me out there a bit more than usual.

In this article, I want to share with you a few, fairly uncommon tips that I often use, which can make the difference between an average snow photo and an epic one. Do you do any of these things?

1. Use a Reverse, ‘White’ Vignette.

The purpose of a vignette is to keep the eyes from falling off the edge of an image and to lead the eyes back to the center of it. With the amount of white and grey in snow photos, you generally can’t use a traditional dark vignette, since it will be too obvious and look out of place.

So use a white one! White vignettes can add a magical quality to snow photographs and can further enhance the middle-of-the-storm effect. Adobe Lightroom is the tool I use to add my vignettes and it works well.

This is such a simple tip, but it can make all the difference, as seen in the photo above.

Brooklyn Bridge at Sunset, During Snowstorm

2. Colorize and Add Contrast (Lots of it).

I’m usually one to hold back a bit when retouching photos, but for winter captures I often throw all of that out the window.

When you photograph in the middle of a snowstorm, the photos will often come out grey and lack contrast and will have the streaks of snow that will give the capture a painterly texture and quality. Use this quality to your advantage and enhance this look by increasing the contrast and saturation to help the photo become even closer to the look of a painting. Over-saturating photographs is generally a bad idea, but for snowstorm scenes it can be a great one.

Compare the untouched negative below to the print at the top of the post. Enhanced color, added contrast, and a white vignette were pretty much all that was needed to completely transform the scene.

Couple in Sheep Meadow, Original Negative

3. White Mat, White Frame.

If you’ve got a photograph with a lot of white snow and especially one where you have add a white vignette, further emphasize the look by adding a white mat and white frame to it. The frame will merge to become part of the effect.

4. Photograph at Dusk and into the Night to Create Menacing Winter Scenes

Snow doesn’t only have to be portrayed as friendly, peaceful, and simple. It can often have a dark and menacing feel when captured in the right way, particularly at dusk or night.

When the light levels go down, the contrast between the white of the snow and the dark of everything else becomes further emphasized. This can lead things like tree branches to look like tentacles or mangled fingers swirling through the scene. The contrast between the beautiful quality of the snow and the menacing quality of the scene is unique and different.

Lamppost at Dusk, Central Park

5. Use HDR

I’ll admit, I don’t typically do much HDR. However, I do use it sometimes for black and white photographs and particularly for black and white snow photos. I prefer to use HDR with black and white scenes because it can add that great, textural HDR quality, without the unrealistic HDR colors. Depending on the lighting, snow can often lack texture, and the difference between the bright whites and deep shadows within these scenes can be so pronounced that it just doesn’t work well. For scenes like this, HDR is the perfect tool to make them work.

Here is a before and after, made with Photomatix, to show you an example.

Central Park Tunnel at Night, Original Negative

Central Park Tunnel at Night, HDR

And don’t forget a sled! Here are a few more snow photographs to take a look at.

Happy trudging!

Stuck Cab, 5th Avenue

Couple in Snowstorm

Carriage and Trees

Post originally from: Digital Photography Tips.

Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.

5 Uncommon Snow Photography Tips That Can Transform Your Winter Scenes.

Digital Photography School

November 24, 2012
Family: Weekly Photography Challenge

This week your challenge is to take and share an image on the theme of ‘family’.

As we approach the end of the year and the holidays that come with it many of use are gathering to celebrate with family – and what better time to get your camera out.

Feel free to interpret the theme in any way that you wish. You might wish to take portrait of a family member – or attempt a family group photo – or photograph your family home – or perhaps be a little more abstract to do something symbolic about what family means to you or even to symbolise a family member who you miss.

Once you’ve taken and selected the ‘Family’ image that you’d like to share – upload it to your favourite photo sharing site or blog and either share a link to it or – embed them in the comments using our embed tool to do so.

If you tag your photos on Flickr, Instagram, Twitter or other sites with Tagging tag them as #DPSFAMILY 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 last weeks challenge – Portraits with Props challenge where there were some great shots submitted.

Post originally from: Digital Photography Tips.

Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.

Family: Weekly Photography Challenge

Digital Photography School

November 24, 2012
3 Reasons You Don’t Need A Photography Degree

A degree in fine art with a major in photography has been one of the long-standing pathways of entering a photography career. At the end of your degree, you’ll end up with a good-looking portfolio, as well as skills that enable you to translate ideas into photographic art. Is it a good idea? Is studying 3-4 years going to get Continue Reading

The post 3 Reasons You Don’t Need A Photography Degree appeared first on Photodoto.

Photodoto

November 23, 2012
Getting Started in Panoramic Photography
Panoramas – Plain Sailing!

One of the most enjoyable things about photography is the scope for learning new techniques and using these creatively to take your images to the next level. Of all the different types of photography available one of the most satisfying techniques has to be shooting panoramas. Panoramas are impressive because they convey scale and detail in a way that standard format photos are unable to.   So if you are looking for an opportunity to learn something new and add some real punch to your portfolio then you could do worse than learning to shoot panoramas.

Basic Techniques

Panoramas are generally made by taking a number of shots and digitally ‘stitching’ them together to make a much bigger image.   The key to a perfect panorama is achieving an image that contains lots of detail whilst ensuring that each individual shot is perfectly meshed together without any visible seams or joins. The big plus for panoramic photography is that despite what you may have been told, taking a good panorama requires very little in terms of gear and with a little bit of technique and processing making a good panorama is actually very easy. To get you started here are a few basic pointers on how to make a start in panoramic photography:

Nodal Points & Expensive Brackets

Do any research into panoramic photography and you will be quickly presented with an array of specialised brackets and tripod heads. These are designed to ensure that the camera rotates around the focal plane of the camera sensor, otherwise known as the nodal point. Rotating the camera as close to the nodal point is a good thing as it helps to minimize distortion and improves the overall success of the stitching process. Whilst I won’t argue that these brackets do make a difference, they can be expensive and unless you are a die-hard panorama enthusiast you can achieve a more than acceptable result just by practicing good technique.

The Shots

The key to achieving a good stitch lies in how the base shots are taken. Making sure that you have a set of clear, sharp images will provide a much better start point for the stitching software.   The best way to do this is to meter your scene in aperture priority, selecting an exposure that gives a high depth of field but also a shutter speed fast enough to give a sharp shot. Once you have a workable exposure, lock this in using by selecting Manual mode and dialing in the metered settings. Its also important to manage your focus carefully, assuming you are shooting with a small aperture the large depth of field should help however a good habit to get into is setting your focus and then again locking this in to avoid variation. Ideally all of your camera settings should remain fixed throughout the entire image sequence.

Shooting Technique

The most significant factor in determining the overall success of the stitching process is the way in which the individual component images are taken, within this there are two main variables; orientation and overlap.

Image orientation is important as it can have a big effect how much perspective changes from shot to shot, the smaller the perspective difference the less distortion correction needed by the stitching software.   The best way to achieve this is to shoot in a portrait orientation as this both gives the stitching software a longer edge to work with but also keeps the perspective change between each shot to a minimum.

The second important factor in achieving a good stitch is the amount of overlap for each shot in the sequence. The temptation here is to overlap the images by a large amount, actually this can hinder rather than help as overlapping too much can actually introduce stitching errors as the software tries to mesh the larger area. My ideal overlap is anywhere between 20-30% and has seemed to work well for me.

Hand holding is perfectly acceptable for pano shooting so long as you can hold your camera steady and your shutter speeds are fast enough. All this that said if you can use a tripod as a stable base will always increase the overall sharpness and reduce the potential for blur. The image below was taken at the recent London Olympics and was created from a sequence of ten images, all of which were hand held and shot right from my seat in the stadium!

Olympic Effort – A Hand Held Panoramic Shot

Stitching & Post Processing

As with all post processing techniques it is possible to go into a great amounts of detail, however for the majority of situations and assuming you have a good set of base images, the software will pretty much take care of everything making the whole process relatively simple. I perform all my stitching using Photoshop, although there are a number of alternatives that work in a similar way and give just as good results.   Here is my typical stitching workflow:
1. Open Photoshop
2. Select File > Automate > Photomerge
3. Click ‘Browse’ and select the images to be stitched.
4. Ensure that the ‘Blend Images’ option is selected.
5. Click OK to start the stitching process (be warned it can take some time).
Basic Pano Workflow

In most situations it should be possible to get a decent panorama without too much manual intervention however there is always the potential for errors or other ‘unusual results’. My general approach in this situation is to experiment by trialing the various perspective modes and toggling the ‘Geometric Distortion’ option on and off. In certain situations it can be the case that one or two of the images have trouble meshing, a way around this can be to try stitching the sequence in smaller batches, picking the problematic images first and then stitching these with the remaining images afterwards. Other tactics for overcoming errors include cropping each image to achieve the optimum overlap or using cloning and patching to correct any minor glitches.

Once the final panorama has been generated, it’s a simple case of cropping to remove the resulting curvature from the image edges and then applying any further post processing to achieve the desired look.

Things to Remember When Shooting Panoramic Photography

Whilst it can seem like there is a lot to remember when attempting panoramic photography, actually the basics are fairly simple:
- Meter and focus for the scene, locking off all your camera settings to prevent changes between shots.
- Keep your shots sharp by using a fast shutter speed and using a tripod if possible although hand holding is also fine.
- Shoot in portrait to minimize distortion.
- Overlap each shot by about 20-30%.
Conclusions

Taking decent panoramic images can be an extremely rewarding skill to master and one that doesn’t necessarily need a lot of equipment to be successful. Once you have gotten to grips with the set up and technique, producing impressive panoramas can be very achievable and unlocks a wide new world of creative opportunities. As a technique for beginners or photographers wanting to try something different its a must, so if you have ever fancied panoramic photography why not expand your horizons and give it a try.

Post originally from: Digital Photography Tips.

Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.

Getting Started in Panoramic Photography

Digital Photography School
November 23, 2012
12 Photography Tutorials for Thanksgiving
Image by Darwin Bell

Happy Thanksgivig to the many thousands of our US readers celebrating that holiday today!

As today’s one of those days when cameras come out a lot to photograph gatherings, the food being eaten and to capture the memories of the day – I thought I’d put together a few tutorials that might be helpful. Enjoy!
- 8 Tips on Taking Party Photographs
- Holiday Food Images and Thought to go With ‘em
- 11 Great Camera Angles for Food Photography
- 10 Tips for Mouth Watering Food Photography
- 10 More Food Photography Tips
- Food Photography – an Introduction
- 16 Digital Photography Tips for Christmas (while it’s not Christmas yes – much of it applies to both holidays)
- 10 Tips to Improve Your Food Photography Styling
- How to Take Great Group Photos
- 6 Keys to Shooting Great Group Photos
- 8 Family Portrait Tips
- 10 Tips to Take Great Family Portraits
Lastly – thanks to all of you as readers of dPS. We value your participation, support and encouragement – Happy Thanksgiving!

Post originally from: Digital Photography Tips.

Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.

12 Photography Tutorials for Thanksgiving

Digital Photography School
November 23, 2012
How to Shoot and Create a Composite Image for a Product Advertisement

Background and Vision

The holiday season is upon us, and what better way to start the season than to share our behind-the-scenes video on how to shoot a composite image? I needed to shoot and create an advertising image for UNDFIND’s Fishbomb, which is a versatile accessory pouch that can carry lens filters, memory cards, and other small items. So I figured, why not create a behind the scenes video and tutorial on how I went about the shoot. Plus, it’s not a bad stocking stuffer for the photographer in your life, especially since you can get two for $ 13 (50% off) with this sale, wink! =)

Anyway, because the Fishbomb is shaped like a Christmas tree ornament, I decided to decorate a Christmas tree with the Fishbombs and shoot our model, Maria, placing a Fishbomb on the tree. Here is the final image we will be working towards.

The Behind-the-Scenes Video

If you are interested in watching the full behind the scenes video on the SLR Lounge YouTube Channel, here is the video below.

How We Shot It

GEAR USED:

Camera: Canon 5D mkIII
Lens: Canon EF 50mm f/1.2 L USM Lens
Lighting: LED Light and Christmas lights on the Christmas tree

The biggest challenge that I encountered was how to light the Fishbombs in addition to lighting Maria, the Christmas tree, and the environment. The Christmas lights were used to light Maria and the environment.

However, when we hung the Fishbombs on the tree, we noticed that the front of the Fishbombs were not illuminated by the Christmas lights. This meant that we had to light the Fishbombs using another light source; I selected an LED light with an adjustable temperature so that I could color match with the tree’s natural Christmas lighting.

However, I ran into another problem. The LED light was casting a harsh shadow against the wall which destroyed much of the warm, ambient light from the Christmas tree as you can see in Shot 1 below.

The easiest way to solve this lighting issue was to light and shoot two separate images, one for the model and the environment, and the other for the actual detail on the Fishbombs and the tree. Afterwards, we can composite both images together in Photoshop via layers.

For each shot, I had the camera placed on a stationary tri-pod to make it simple to combine both layers into our final composite. So let’s look at how I shot each image.

Shot 1: The Fishbomb and Tree Details

Shutter: 4.0 seconds
Aperture: f/16
ISO: 100

For the first photo, I lit the Fishbomb and the front of the Christmas tree with the LED light. I also dragged the shutter speed and used the smallest aperture possible in order to get a twinkling/starburst effect from the Christmas lights. I didn’t have to worry about any camera shake because the camera was on a tripod and was triggered with a shutter release. The tree and the ornaments were completely still as well since we were in a closed environment.

Shot 2: Maria and the Environment

Shutter: 1/8 seconds
Aperture: f/2.8
ISO: 200

This image was lit strictly by the lights on the Christmas tree. Because I want to minimize any motion blur with the model, a quicker shutter speed was required. Therefore, I used a wider aperture and a higher ISO in order to attain a shutter speed of 1/8 seconds. Even then, I still had to ask Maria to hold completely still during the photo to prevent any motion blur.

How We Processed It

In Lightroom, I applied the Soft Portrait preset from the SLR Lounge Lightroom 4 Preset System to both images. Additionally, I shifted the Tint and the Temperature in order to add a warm, intimate glow reminiscent of a fireplace. Once I achieved the look that I wanted, I exported the two images into Photoshop via layers for compositing.

In Photoshop, I used layer masking to reveal the Fishbombs and the tree details from the first image over the second image of Maria and the environment.

After a little bit of clean up in the hair and the cloning of an extra branch to the top of the tree, this is how the image looks.

Finally, here is how the UNDFIND Fishbomb ad looks after I added the text:

Hope you all enjoyed this article! If you are interested in picking up some Fishbomb’s for stocking stuffers, the deal is available on UNDFIND’s Camera Bags website through the end of the year.

Post originally from: Digital Photography Tips.

Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.

How to Shoot and Create a Composite Image for a Product Advertisement

Digital Photography School

November 23, 2012
SEO For Photographers Part 1: What Are People Looking For?

“Google hates me!” is something I hear almost every day from photographers who come to me for help with their websites, and especially for the answer to the question, “why can’t anyone find me in the search engines?” In short, SEO for photographers is something a lot of people appear to be struggling with! Their concern is very real, and Continue Reading

The post SEO For Photographers Part 1: What Are People Looking For? appeared first on Photodoto.

Photodoto

November 23, 2012
Add Interest to your Background with Colored Gels

Colored gels are commonly used to balance flash color temperature with the color temperature of ambient light. But you can also use gels to add creative color effects to your photos.

I recently shot this portrait of my son to commemorate his Shichi Go San (7-5-3) ceremony. Shichi Go San is a Japanese rite of passage performed at ages 3 and 7 for girls, and at age 5 for boys.

The background is a black piece of cloth, stretched across a Manfrotto background stand. To separate him from the background, and add visual interest, I used a single flash with a DIY blue gel to add some color to the background. In this article I’ll explain how to make your own gels, and how to use them. Lighting your background separately from your subject, with or without gels, is a great way to add depth to your photos and can help separate subjects from a dark background.

Here’s how it looks with only the background light:

First, an overview of the lighting setup for this shot:

Main Lights: 2 x Canon 430EX II Speedlites at full power, fired through 24″ Lastolite EZY-Box softboxes at camera left and right, just outside the frame.

Background Light: Single Canon 430EX II Speedlite in a snoot, with DIY blue gel, fired at the background from the right side of the set. I aimed this flash so that the hotspot would be centered behind my son’s head.

Exposure: 1/200, f/6.3, ISO 200
Lens: Canon EF 50mm f/1.2L
Camera: Canon EOS 5D Mark III

How to make your own DIY Gels

Any piece of thin colored plastic will work well. For the above photo I used two circles of plastic that I cut from a notebook cover. I purchased the notebook for 100 yen, or about USD $ 1.25. Experiment with different colors to find what works with your creative style, and for the particular photo you’re creating. For portrait work, I’m partial to cool tones, especially blues. Warm colors appear to pop out against cool colors, so a cool colored background works well to compliment skin tones.

In addition to the gel, you also need a snoot. A snoot narrows the light, and gives a spotlight effect. This keeps blue light from spilling all over the place. For this photo, I used a Gary Fong Powersnoot, because I already have one. But a piece of black poster board folded into a cylinder works just as well.

My 8-year-old daughter taped the blue plastic to the end of the snoot for me. If you don’t have an 8-year-old, see if you can borrow one from a friend or relative. Failing that, you can also tape the plastic onto the snoot yourself.

How much flash output?

So, how much flash do you need on the background to get a nice color effect? At first glance this may seem counterintuitive, but here’s the rule:

More flash = lighter color
Less flash = darker color

The reason for this is simple. The brighter your background flash, higher the luminosity of the color hitting the background will be.

So for a nice, deep blue like in this photo, you only need a little kiss of light from your flash. I powered a single 430EX II at 1/4 power for the background light, compared to two 430EX II’s at full power for the main lights. My background flash was about the same distance from the background as my main flashes were from the subject, so basically the light on the background is 4 stops weaker than the light on the subject. (1 flash @ 1/4 power on the background, 2 flashes @ full power on the subject.)

I hope this article has given you some ideas about how to make your own DIY flash gels from inexpensive materials, as well as how to use gels to add creative color effects to your photos. I’d love to hear from you, feel free to comment below or reach out to me on Google+ or Facebook.

Post originally from: Digital Photography Tips.

Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.

Add Interest to your Background with Colored Gels

Digital Photography School

November 22, 2012