In the comments of last week's server room portrait, reader MeruWarrior (along with several others) asks:
I love the blow-by-blow account. Could this be achieved with just hotshoe flashes?
Short answer: Yes, sort of. But you're gonna have to be willing to "go with the flow" a little with regard to the ambient room light…Read more »
In this dPS poll we want to know how many of your images you take or process as black and white images?
Note: There is a poll embedded within this post, please visit the site to participate in this post’s poll.
In comments below also tell us a little about the shots that do end up black and white and how you do it (ie do you take them Black and White in camera or process them?
Post originally from: Digital Photography Tips.
Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.
What Percentage of your Images Do You Take or Process B&W? POLL
Autumn is a perfect time for taking pictures. And when it comes to celebrations, it becomes twice as attractive for photographers, because there are so many things worth our attention – the joyful people, the traditions, and the beauty of nature. All this we can find in Halloween celebrations – a cocktail of inspiration for making creative photos! Jack-o’-Lanterns Halloween Continue Reading
Photodoto
A Guest Post by Tom Di Maggio from Tom Di Maggio Photography.
When I posted the my article about creating Eye Catching Composites I got some comments and a lot of emails asking for more details on my post processing technique.
This article will be more focused on how to achieve the wanted effect. I will describe the technique used for the background as well as the one used on the subject. I used Lightroom 4, Photoshop CS6 and NIK Color Efex Pro 4 to achieve this. I presume that the reader has a basic understanding of Layers and Blending Modes in Photoshop.
Here’s a picture of the original to the left and the finished picture to the right.
As with any picture the background is very important for the final feel of the image, for this one I choose an old stock photo of a metal door. I didn’t want it to be as hard though, I wanted something bright and soft with a touch of hardness. I placed the picture on top of a white Layer and reduced it’s Opacity until I had the visual impact I was going for. In this case it was 13% only. I could have used a different blending mode but I am a fervent adherent to the “KISS” principle…
As with most of my pictures I tend to darken the borders or lighten the center of the image in order to draw the eye to where I want it to go. In this case the background itself is bright enough, so I use another Layer with a slight vignette. To achieve this I use the elliptical selection too and draw a rough ellipse. I invert the selection and feather it with a value of 250. You can repeat this step a few times until the feather suits your wish. Finally I just fill it with black and adjust it’s opacity to where I think it will fit for the end result. I have to say here that I usually end up readjusting the vignette once the image is finalized. Group the Background Layers into a folder that you will call “Background” and hide it, we won’t need it until after the masking procedure. Actually as I always start with my backgrounds I always end up fine-tuning it after the subject is in place. One could argue that I should start with the subject, but I feel that I slightly adapt the post processing of my subject to the background. I feel that it makes it easier to blend the subject better into the background.
The door original on the left, with an Opacity of 13% (over a white Layer) in the middle and the final version with the vignette on the right.
As you can see with the original picture I tend to slightly underexpose my composite pictures. If I wasn’t going to use this picture for a composite it would have lit it a bit lighter than this. For the post processing technique I use it is vital not to loose any detail in the picture. I don’t do any adjustments to the picture at this stage. In Lightroom I simply right click the image and choose the option: Open in Photoshop as Smart Object. You will now see a new Layer in Photoshop that has a small square in it. If you double click on that little square it will open the adjustment panel for that Layer. This is where I remove as much contrast from the image as I can without loosing and detail. I drag the contrast slider all the way down to -100 and the shadows slider to the right until it starts creating artifacts. Depending on the picture I will also drag the Blacks slider to the right. Basically what I want to achieve here is a picture that has the less amount of contrast possible. Once you are happy with the way the picture looks you can click “ok”. Keep in mind that you will be able to come back to this screen and adjust the settings until you are confident with the outcome of the procedure.
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Here’s the first Layer where most of the contrast has been removed.
Once done I create a copy of this smart object as another smart object. To do this I right click on the Layer I want to duplicate and choose copy to new Layer as smart object. Double click on the small square again and choose the “HSL” button and switch the image to B&W by checking the “Convert to Grayscale” tick box. You can argue here that there are better ways to get a black and white picture, and I would be the first one to agree with you. But the goal here is not to convert the image to Black & White but to get some contrast and detail back into the picture. Sometimes I slightly adjust the brightness at this step, but that’s about it. Then I change the blending mode of this Layer to overlay and check the result. If I want to fine tune something at this stage I do it on one of the two Layers by double clicking the little square and going back into the adjustments panels. More often than not it will be the saturation and brightness of the picture. I sometimes also play with the opacity of the B&W Layer. It is important at this stage that you like the combination of the two Layers as we will now move on to steps that will make it harder to adjust these things.
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The Black & White Smart Object Layer
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The BW adjustment Panel
The color adjustment
If you’ve followed these steps you will have two Layers by now. We will merge these two into a new Layer by hitting the Command-Control-Shift-E keys on the keyboard. This will create a third Layer that we will apply a Gaussian blur filter to. I usually choose a value between 10 and 15 here for the blur. Again this is a matter of taste and you should experiment a bit with this. Change the blending mode to Overlay and turn the Opacity down to somewhere around 30 to 40 percent. Hit the Command-Control-Shift-E keys again and choose Filter-Other-High Pass with a value of 3 or 4 and change the Blending Mode to Overlay again. These two Layers will sharpen the image a bit and give it some colors back that went lost during the first steps of the post processing. You can play around with the Opacity of the blurred Layer until it fits your taste. I usually group the four Layers into one Layer Folder at this stage.
Picture of the 4 Base Layers merged together.
The next steps are purely image/skin corrections and optional. That being said I use them on every picture that includes a face. For this we have to merge the Layers again to a single one. We do this by using the same keyboard shortcut as before: Command-Control-Shift E and name that Layer “Blur”. And then simply duplicate the Layer again with Control-J and name that Layer “Apply”. Group both Layers to a new Folder. Apply a Gaussian Blur with a value of 22 on the “Blur” Layer. (The value has to be 22 for this to work). Select the “Apply” Layer and choose the Menu Image – Apply Image. In the window that just opened choose the “Blur” Layer in Layer and Subtract as Blending. Set the scale to 2 and the offset to 128. (These are the values that you need to use for this to work). Hit ok and change the Blending Mode of the “Apply” Layer to Linear Light. If you’ve done this correctly and with this Group on and off you should see no difference at all. Now you can choose the “Healing Tool” and start cleaning up the skin of the subject on the “Apply” Layer. What this does is to allow you to “heal” the skin without changing the color values. It will only affect texture. It’s a very effective way to clean up skin or other surfaces without loosing or changing the color values of the subject. This is a technique I use a lot and depending on the image this is where I will spend most of the time. As you can see on the image below I also brightened up the image a tiny bit with a Brightness Layer Adjustment.
Picture after the corrections. In this case only the face was retouched.
At this point I export a copy of the image into Color Efex Pro 4 and apply the three following effects on it: Bleach Bypass, Tonal Adjustments and Detail Extractor. There are no fixed values for this. I adjust them to the individual picture. I do however overdo this phase on purpose as I will play around with the opacity on the Layer in Photoshop. Once done save the image and import it as a Layer into Photoshop at the top of the Layers. Adjust the Opacity until the effect is as strong as you need it to be. I sometimes use a Layer Mask here if I want to do some fine tuning to the effect.
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This is the picture after the Color Efex Pro treatment.
As you can see it’s hugely overdone, but on the right the final look with the opacity set at ….
This leaves us with the last part of the workflow. The extraction or masking of the subject. To be honest this is quite fast nowadays. There are multiple ways to extract a subject from it’s background.The method I will describe is the one that works best for me at the moment. I start by creating an automatic selection of the subject with the Quick Selection Tool. Then I zoom in and make sure I didn’t miss anything and try to make the selection as precise as possible. Doing this at this stage will save some time later on in the process. Once happy with the selection click on the “Refine Edges” Button at the top of the screen. This is where a lot of people will do things differently, I check my selection against a white and a black background. This will show me most of the areas I will have to correct later on. I use the Refine Radius Tool around the hair a bit without changing any settings. I then will feather the selection by 1 or 2 pixels and contract it by 1 or 2 pixels. That’s it for the moment….. I will do the rest manually on the Layer Mask. Hit ok and select the Layer Mask. Usually one can notice imperfections around the hair and some fringing around the contours of the body. I use the much underestimated Smudge Tool at this point. Set it’s strength to 20% (average value to start with) and adjust it’s size to fir the area I am fixing and start smudging the mask in the direction of the subject. I usually spend a lot of time at this step to do this carefully and I keep on adjusting the size and strength of the Smudge Brush depending on the area I am working on. I Keep on doing this all around the subject until the extraction is precise enough for the purpose.
The extraction is done. I verify it against black and white backgrounds to get a better result.
Now I can reactivate the background and check the Layer Mask of the extraction and fine tune it to fit the background exactly. At this stage I am done with the heavy work. Sometimes at this stage you might notice that the subject doesn’t really fit the background, it sticks out in terms of color toning. This can be fixed by using color adjustment Layers on both the subject and the background in Photoshop. Or you can do it the same way I do by doing this in Lightroom. You can do this with manual adjustments or by using presets in Lightroom.
The final image
I wanted to add some flare to the picture as I wanted to make it a bit more attracting to the eye. To do that I used a stock photo of flare on a black background and changed the Blending Mode to “Screen” in order to let through the flare only. And I also noticed at this point that I wanted the subject to be a bit brighter, so I added an adjustment Layer to achieve this.
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The final Photoshop version with Flare and adjusted Brightness.
See more of Tom Di Maggio’s work at Tom Di Maggio Photography, InFocus Photography and on his Flickr Account.
Post originally from: Digital Photography Tips.
Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.
Preparing your Model and Background for a Successful Composite
I was recently browsing through B&H catalog and one thing struck me quite a bit, namely this: Okay, it’s Broncolor, one of the best lighting brands, but… It is a light stand! You know, a stick with wheels. $ 6 000? Come on guys, maybe it makes 0 to 60 mph in 2 seconds? Or what? Anyway, I thought it would Continue Reading
Photodoto
This article was written by Andrew S Gibson, the author of Understanding Lenses: Part II, and is part of a series of lessons about camera lenses. Links to the others are at the bottom of the article.
Buying a new lens is a bit like meeting new people. It takes time to get to know someone well, to gain an understanding of their character and outlook on life.
It’s the same with lenses. It takes time to understand the optical qualities of a new piece of glass. These include perspective, bokeh and focal length, all of which affect the look of the photo.
That’s why I spend a lot of time taking photos whenever I buy a new lens. They don’t have to be great images. The aim is to get a feel for how things look through the viewfinder with that particular lens. As my understanding of its optics improves, so do my photos.
Here are some suggestions for getting to know your lenses better. They apply to lenses you already own as well as new ones:
1. What is the minimum focusing distance of your lens? Get as close to your subject as you can and take some photos. Then move further away and repeat. How does the camera to subject distance affect the images?
If you have a close-up lens or extension tubes, try fitting them to the lens and see how close you can get now. How good is the lens for close-up photography?
2. Is your lens a zoom? If so, then it is possible that you skip from focal length to focal length as you shoot, never really getting to know any of the settings well.
Instead, lock your lens to a specific focal length and shooting with nothing but that for a while. Some lenses have a zoom lock, if not you can use masking tape to hold the zoom ring in place.
If the subject is too small in the frame, walk towards it (where possible), or further back if it is too large. This will teach you how the perspective of that focal length changes with distance.
3. Change the aperture. Aperture has a dramatic effect on the appearance of the photo. Try using the widest aperture of your lens to see how your photos look.
Repeat with smaller apertures (f5.6, f8, f11 etc). How does aperture affect the look of the photo? How is depth-of-field affected as you get closer to your subject? (hint: it gets smaller).
4. Shoot a variety of subjects, including ones that you may not immediately think of. If you have a wide-angle lens, take some portraits. How close to your sitter can you get before the distortion is too great?
If you have a telephoto lens, try taking some landscape photos. How does the ability to crop in on a small part of the landscape affect the way you take photos? What happens if you use the widest aperture setting of the lens? What does the background look like?
5. How does your position affect the perspective of the lens? What happens if you get down on the ground and shoot? Or up above your subject? Practise taking photos from different heights and angles to see the affect the changes have on your images.
6. How good is the autofocus performance of the lens? Some lenses have better autofocus motors than others. This affects autofocus performance, regardless of which camera you have.
If you take photos of moving subjects, it is a good idea to test your particular camera and lens combination in AI Servo mode so that you can get a feel for how accurately it tracks a moving subject.
Here are some photos taken with my most recent purchase, the Canon EF 40mm f2.8 STM pancake lens. They cover a variety of subjects, techniques and aperture settings (close-ups taken with an extension tube fitted).
Taking photos like this has helped me familiarise myself with the lens. I’m using it mainly for portraits, and the more I take more I understand how to get the best out of this particular focal length.
Here are some photos taken in China with my 85mm f1.8 lens. There are a variety of images taken at different focusing distances and aperture settings (I used an additional close-up lens for the close-up photos).
And here is a set of portraits taken with the same 85mm lens. The variety is created by varying the focusing distance, background, point of view, aperture and post-processing.
These are the previous articles in the series:
If you liked this article then take a look at my latest eBook, Understanding Lenses: Part II – A guide to Canon normal and telephoto lenses.
My next lesson in this series will explore ways of using aperture creatively to create dramatic images.
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 to Know Your Lenses
When you install a new version of Photoshop the first thing you’ll need to do is to set things up so that they work properly for you. Here are settings I make in the Preferences panel every time I upgrade.
Choose Edit > Preferences > Performance or Photoshop Preferences > Performance on a Mac and set the number of History States. Having a high setting for History States ensures that you can undo changes that you make to your image. By default it’s set to a paltry 20 so this is the first change to make.
I set my History States to the maximum value 1,000 – but even a quarter of this would be a good setting.
Here too I ensure that Photoshop can use plenty of the available RAM so I’ll crank that up to a large value – what you use will be dependent on the amount of memory you have installed.
Still in the Preferences panel I like to use a Normal Brush Tip for my Painting Cursor and Precise for my Other Cursors. This can be set in the Cursors area.
You may want to use something different but it pays to look at these options and decide how you want your cursors to look as you work with them.
I dislike that Photoshop opens documents as tabs and that they are docked to the toolbar. This behavior really grates on me. If you’re like me and you prefer your documents to float you can set this in the Preferences Panel.
Choose Interface and disable Enable Floating Document Window Docking and disable Open Documents as Tabs.
In this panel you will also find the new Photoshop Color Themes in Photoshop CS6 so if the dark gray look is not to your liking you can return to a more “CS5″ look by selecting the lighter gray color.
Photoshop can be set either to save images back into the original folder when you choose File, Save As or to the folder that was last used for saving files. You can choose which of these behaviors you prefer Photoshop to default to in the File Handling area of the Preferences panel.
To save back to the original folder, enable the Save As to Original Folder option. To default to the last folder you saved to disable this checkbox.
So I can go back and retrace my steps in a large project I like to store a History of all that I do in Photoshop. To do this, click the General tab and enable the History Log checkbox. I save to a Text file (rather than inside the file itself) and I save a Detailed history as that stores the richest data. Choose a filename and place to save it and Photoshop will keep a log file of everything you do to every file.
So, now it is over to you. What preferences do you set up when you first install a new version of Photoshop?
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 Photoshop Setup Tips
Photographers are constantly seeking new places to improve their websites and businesses. Photography SEO is not a simple task, but doable for anyone. Photographers are not typically born marketers, sales or business people. But everyone can learn.
This article is going to contain a the five top websites and articles where you can learn to improve each of your photography business.
Have additional articles or websites you would recommend? Comment below with the link and which category you recommend it for.
Thanks for reading
Hands up guilty ones! Who here gets itchy feet after about 2 months and needs to travel? Worse still, do you need to have a holiday reserved as if you are trapped without this planned escape? My hand is most definitely reaching for the skies but I did just get back from Italy. I travel a lot.
In the past I have been less than prepared and, all too late on my return, it was obvious in the quality of my images. For this article, I will highlight some of my tips and tricks to make the most from a photo trip away. In addition, I have restricted the images in this article to my recent destination, Florence, to further illustrate a little planning ahead can yield great results.
I am principally interested in architecture and landscape so my planning revolves around the light and the aversion of as many tourists as I can reasonably manage. People are good for scale but a 2 storey high statue of an intensely staring God, Neptune, surrounded by balloons and a massive throng of blue shirted people will not make an impressive image.
Not having visited Florence previously, I go straight to Flickr, Wikipedia and Google. Searching Flickr, ordering by ‘most interesting’ does seem a little like cheating, but I only had 3 dawns and 4 sun sets to play with. I doubt I would have found any undiscovered Florence in such a small time scale!
Utilizing image sites like Flickr, Google and Wikipedia will net you interesting buildings and scenes to photograph. It will be obvious where the good light is coming from and , on checking the timestamps in the EXIFs, what time of day too.
A slight digression on the importance of not losing images. I always take a laptop, 2 portable hard drives and spare Compact Flash cards. A drive that will directly take a CF/SD card, if your laptop fails, is also a good precaution. Also remember large capacity cards are very useful, but how many images are you prepared to lose in one go?
Dawn and dusk are the obvious times to be outside however I will use the time in between to venture inside buildings. If Europe is anything to go by each place of interest is closed on at least one day in the week and when they are open, access is potentially restricted to specific times. There may also be the requirement to book ahead. Did you notice all these lovely Italian scenes are outside? Guess who forgot to book tickets to indoor attractions?! Ahem. Many sites, open to the public, will have a policy on bags and tripods. You can pretty much always get away with a monopod, but I do get a little stressed when I find out I have to check in my back pack.
I encourage photographers to get somewhat lost in new places; there’s no quicker way to find and get a real sense of the local ‘scene’, but do take a guide book. My partner gets excited about trips and buys several. Lonely Planet and Rough Guide are great examples. Check they are recent editions.
As soon as you get to your destination scout your locations ahead of Sun up and Sun down. The internet got you to this point and you know the buildings and scenes to capture, but this is an opportunity to cultivate your own shooting style so take the time to look around each scene. There are some useful compositional tips in my previous post, Photographing Buildings.
The light will dictate the main aspects of your compositions, but there are many factors you can influence.
Balance your positive and negative space. Do the surroundings complement or weaken the main subject or building? Don’t be afraid to get closer – in Namibia, I spent hours literally 8 feet from a tall tree to get a ‘solitary imposing tree in a desert’ shot.
Do you need to emphasize the depth of field or the sheer scale of the scene. Setting your tripod low for a wide angle will help. You can force perspective by shooting a multiple shot panorama with a longer focal length.
When you prepare to go out ensure you can cover focal lengths to at least 100mm. I don’t use filters, but you might. Take a spare card or 2 – they do corrupt. Spare batteries, especially if cold outside and/or using live view. Does your remote trigger use batteries also? I actually use a wired shutter release, for this very reason. Take cleaning cloths, times two, lens wipes – the ones that come soaked in lens cleaner. Also take water, food, a torch and several plastic bags in case of heavy rain. Finally, in the field, who else has forgotten the tripod adapter was not already screwed to the base of the camera body?!
On location, and for each composition, I will shoot close focus images in addition to the main exposures. Not entirely trusting of histograms, I will pretty much always shoot a set of bracketed shots.
Be the humble photographer and don’t assume you have captured the best scene. Here’s the test when you think you’re done – ask yourself, “Am I coming back to shoot this scene properly?”.
Make best use of the light. Use your feet and shoot from somewhere else. Countless times I have berated myself for not taking an additional set of images 30 feet to the left or right, or closer. And for such simple mistakes too, like clutter I simply didn’t see or vertices that are obscured or just look weird with my chosen perspective.
Don’t forget you’re on holiday! After the dawn shoot is the perfect time for a local breakfast. Camera straps were also invented to solve the problem of free hands to hold pizza and ice cream whilst walking!
Use the busy and touristy day times to walk light with a camera and lens and capture the faces and details on the street. I confess I am a bit ‘old school’ and will just attach my 50mm f/1.2. Walk, shoot and eat. It is your holiday, after all!
You’ll notice this is a Part 1. As you head home, if you’re anything like me, you’ll be keen to process and publish those images. My camera settings are perpetually in a neutral state, so I definitely have work to do in front of the monitor. In Part 2, along with some sample Photoshop files, I will reveal my image editing workflow; how I process my images for screen and print.
Post originally from: Digital Photography Tips.
Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.
Architecture Photographers On Holiday (Part 1)
A request I hear over and over from my students, is that they want to know how to create a beautiful, soft, blurred background like the image you see here. There is a big misconception among new photographers that you need to go out and buy an expensive lens with a really big aperture to be able to achieve such a look. While it is true that a larger aperture will give you a shallower depth of field, there are also two other factors involved that many people haven’t heard before or have forgotten. In this article I’m going to show you the three factors to creating the lovely blurred background and how you can most likely do it with the lenses you already own.
So to demonstrate how this works I’ve created some example photos of a friend’s daughter (because she was a more willing subject than my husband). This first set of images was taken with her about two feet away from the front door of the house. The lenses used for all the example shots are: 16mm, 35mm, 70mm, and 150mm. I am purposely NOT divulging what aperture these are taken with, except that it is the same one in all 8 images below.
***Note: keep in mind I used a Canon 5D MarkIII which is a full frame body, so if you use a camera that has a smaller sensor (one with a crop factor of 1.5x) the equivalent lenses for you would be approximately: 11mm, 24mm, 50mm, 100mm
This second set of images below was taken with her about 20 feet away from the house. Each time I changed lenses I moved further away from her to keep her relatively the same size in the frame.
Notice in this second set of images how much softer the background is, especially in the one taken with the longest lens? Seeing a correlation yet?! Remember ALL EIGHT images above were taken with the same aperture. The only thing I changed in the first set was the focal length of the lens. The only factor changed for the second set of images was the distance to the background, by having her more several feet forward away from the house.
As mentioned, I purposely did not tell you what aperture was used before you saw the images. Would you be surprised if I said they were ALL taken at f5.6? Well, it is true! All the images above were made with an aperture of f5.6. Not the first aperture you think of when someone says “blurred background” right? Have you got f5.6 on your kit lens? If so, did you think you’d never get those nice creamy backgrounds without investing hundreds, or thousands on a lens with a bigger aperture? Think again, and read on!
Just to prove the point here are two more sets of images both taken at f2.8. The first with her close to the house, the second with her further away from the house. Notice how much more the lens and distance affects the blur affect on the background, than does the wider aperture? There is really not all that much difference between this set of images and the very first set at f5.6.
While using a wide aperture is a factor in creating a blurred background, it is not the only factor, and in my opinion it is not the most important. If I’m doing a portrait I look for a location where I can place my subjects a good distance away from the background, and I’m usually using an 85mm or longer lens to photograph. There is also a happy medium somewhere between that focal length, and using a lens so long that you have to go across the street to shoot it and end up having to yell just so your subjects can hear you. For that reason a 300mm might be a little excessive for portraits. However, using that 300mm for some wildlife or travel photos you should be able to create some nicely blurred backgrounds, knowing what you know now!
Now, go look at the image at the top of the article again?
It too was at f5.6! Bet you didn’t guess that the first time you looked at it, am I right? Can you tell what else is different in that image? If you know, put it in the comments section below. I’m not going to tell you and see if you can figure it out with the following images, taken in the same location.
Taken with a 200mm lens at f2.8
200mm lens at f2.8
200mm lens at f5.6
I challenge you to go out and do this exercise yourself, don’t believe me. Find a willing subject and starting with them close to a background go through lenses from wide to long, trying different apertures. Then repeat with them moved several feet away from the background. Consider this practice ongoing as well with everything you photograph.
Think about how you can use this new information to create images that more closely resemble the vision of how you saw the scene.
To learn more about the aperture in general and what it does, go read: How to use Depth of Field.
Also related is How to Choose the Right Lens, which talks about what different lenses do optically and when you might choose to use each of them. Knowing what aperture and what lens to use to create just the look you desire, is part of putting it all together. The more you think about these things before you take the image, the better your final images will turn out. I guarantee it!
Darlene Hildebrandt is a professional photographer and educator who teaches aspiring amateurs, hobbyists and pros how to improve their photography skills through online photography tutoring, classes, and photography travel tours. Darlene has written the ebook 10 Challenges To Improve Your Photography which you can find as a resource on her website. She can also be found on Twitter at @ProPhotoTutor
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 Achieve Blurred Backgrounds in Portraits
