Photography « 360Photography

RSS

Archive for the ‘Photography’ Category

Dodging and Burning in Lightroom: A Comprehensive Guide

20 Jan

The post Dodging and Burning in Lightroom: A Comprehensive Guide appeared first on Digital Photography School. It was authored by Rick Ohnsman.

Digital photographers who have never worked with film or never even set foot in a darkroom still encounter terms from the early days of photography. The phrase “dodging and burning” is a throwback to those times.

Now, the reasons for using this technique still apply, but the tools and methods for dodging and burning are much easier today. In fact, you can do effective dodging and burning in most post-processing programs, including Lightroom.

So let’s dig into the what, why, and how of dodging and burning in Lightroom – and show you how this technique can improve your photos.

darkroom setup — Working with an enlarger in the orange glow of a safelight. This is how photos used to be printed.

A history lesson

Adobe’s “Lightroom” is a tip of the hat to the place photos were made in days gone by, the darkroom. I had a makeshift darkroom in a corner of my garage and remember the tanks and trays of smelly chemicals, working in the orange glow of a safelight, developing negatives, and making prints. It was a laborious process, and one for which there was no “undo” when a mistake was made.

The standard darkroom workflow went something like this:

Load the film (sheet film for larger “view cameras,” roll film for smaller cameras)
Make shots in the field
Return to the darkroom, and in total darkness or using a film bag, put the film in a developing tank
Develop the film in a multi-step series of chemical baths (develop, rinse, stop bath, rinse, fix, rinse, Photo-Flo, rinse, dry)

At this point, you’d have your negatives, which were film with reversed lights and darks (and colors if you were using a color film.) Next, you’d need to print. Photos were prints; you couldn’t view images on a computer screen.

(Later came reversal film, “slides” that still were physical renditions of your photo but able to be shown with a projector.)

Old school photo enlarger — If you were a DIY photographer and made your own prints in a darkroom, you had to have a lot of tools – including a device like this, called an *enlarger*. People who think photo printing is challenging today have no idea how it used to be!

At this point in the darkroom workflow, you’d be getting to the dodging and burning part.

You’d put your negatives in an enlarger – a projector of sorts which would shine the negative image down onto a piece of photo paper.

(This was all done in the darkroom under a “safelight,” which allowed you to see your work because the orange color wouldn’t expose the photo paper.)

Now, you had to decide how much time was needed to expose the photo paper to the light in order to make a proper exposure. Often, you’d create a “test strip,” a print where you’d create a succession of incremental exposures (shown below). Of course, that would have to be developed in a series of chemical baths, too.

Test strips were made to determine proper photo printing time. — How long should you expose the photo paper to the negative image projected by the enlarger? Better print a test strip.

Finally, you’d be ready to make your print. You’d put a piece of photo paper under the enlarger, set your timer for the exposure duration you established, hit Start, and expose the paper to the light of the projected negative image.

But wait! What if you wanted some parts of the image to be darker and others lighter?

Well, the amount of time the paper was exposed to the light determined how dark the image was.

So if you used an instrument to block light from portions of the image during the projected exposure or, in a second exposure, exposed select portions of the paper to more light, you’d selectively brighten or darken parts of the final print.

The term for selectively blocking the light from the photo paper is “dodging,” and the term for exposing areas of the photo paper to more light is “burning.”

These used to be the tools of the trade before we had dodging and burning in Lightroom — You could buy a dodging kit – or you could just get some wire and make some cardboard cutouts.

Granted, that was a long story just to explain these key terms, but you need to feel the pain just a bit. Imagine doing all those things, then developing the photo paper, spending time and money, only to find that your print didn’t turn out as you hoped. Frustrating, right?

(Guess you weren’t the…wait for it…”artful dodger” you thought you were.)

Dodging and burning in Lightroom sure is easier than the old-school methods! — These are the origins of the terms: “Dodging” meant using various tools to block the light from reaching the photo paper, thus lightening that part of the print. Burning used tools to allow extra light to reach portions of the paper, thus darkening those areas of the print.

Lighten and darken

We have it so much easier, cheaper, and safer with digital photography. No chemicals, no working in the dark, and maybe best of all, the ability to experiment, undo, and replicate the finished results with ease.

So while you will still hear about dodging and burning in Lightroom (as well as in Photoshop and most other digital editing programs), and the tools are still labeled as such, let’s substitute something easier to understand:

Dodging = Lightening.

Burning = Darkening.

Why dodge and burn?

When we use the sliders in Lightroom to adjust our image, we are working with “global” controls. These uniformly apply the effect to the entire image.

For instance, increase or decrease the Exposure slider, and the entire image will get lighter or darker.

What we may want to do is selectively control portions of the image, making some areas darker and some areas lighter. A major reason for doing this is because viewers tend to look at brighter portions of an image first, concentrating less on darker areas.

So to emphasize and deemphasize portions of our image, we may wish to selectively lighten or darken them.

(Remember, lighten=dodge and darken=burn).

The “quick and dirty” method

Dodging and burning in Lightroom can be complicated – but it can also be very simple, and that’s what I’m going to discuss in this section.

Here’s how it works:

Bring up the image you wish to edit in the Develop module of Lightroom. Perform whatever global adjustments you like using the sliders.
Select the Adjustment Brush tool. Double-click the word “Effect” to zero all the sliders. First, we’ll work on areas we wish to lighten (dodge) in the image.
Now let’s “load” the brush. In the Basic panel, drag the Exposure slider up to about +1.0. Set your Feather, Flow, and Density all to 100. This will likely create too much of an effect, but will make it easier to see what you’re doing. You can always back off the brightness later by bringing down the Exposure slider.
Pick an area of the image you wish to lighten and start painting on it with the brush. You will see the area get lighter. Only work on one area. When you’ve painted over all the desired sections, go back to the Exposure slider and drag it up or down to get the final amount of lightness you desire. Click Done when finished with this area.
To work on another area of the image, click the Adjustment Brush again (which will add a new “pin”) and repeat the steps explained above. Because adjustments with the sliders will affect everything done via that “pin” adjustment, you will have more control if you work on multiple smaller areas, rather than lightening multiple areas all at once so you’re forced to apply the same degree of lightening (dodging) to each one.
To darken areas of the image, you can use the same procedure, though you’ll need to drag the Exposure slider in the negative ( -) direction.

Combine global adjustments with simple dodging and burning in Lightroom and you can get a nice result. Before (left) and after (right).

With the Adjustment Brush and the Exposure slider, you can selectively lighten (dodge) and darken (burn) areas of your image.

It works, but maybe you’d like to refine your skills a bit, which is what the next sections are all about:

Tools of the trade

When we talk about dodging and burning in Lightroom, we have three tools we can use:

Adjustment Brush
Radial Filter
Graduated Filter

These tools allow you to select areas of your image where you can apply lightening and darkening.

Let’s discuss how each of these tools might be used and look at some examples that illustrate these concepts.

Tools for dodging and burning in Lightroom

The Adjustment Brush

The Adjustment Brush in Lightroom allows you to selectively “paint” the area of the photo you wish to affect. It might help to think of how you’d control an airbrush rather than a regular paintbrush.

You can make several changes to the Adjustment Brush, including:

Size: Changes the size of the brush. Roll the mouse wheel, use the left and right bracket keys, or use the slider.
Feather: Changes how hard the edge of the brush is and how rapidly the effect falls off. Use Shift while rolling the mouse wheel, Shift and the bracket keys together, or the Feather slider.
Flow: Controls how quickly the effect is applied with each stroke of the brush. Use the slider to adjust the flow, or with the Adjustment Brush selected, change the flow with the number keys on the keyboard. Using multiple strokes will build up the effect.
Density: Controls the maximum opacity of the brush effect. For example, if the Flow was at 100 but the Density was at 50, one stroke of the brush would apply the effect at 50% opacity.

The Radial Filter

The Radial Filter works somewhat like the Adjustment Brush – but rather than allow you to paint randomly, your adjustments are restricted to a circle or oval shape.

You can control the size and shape of the Radial Filter, and you can also feather the edges. Plus, you can control whether the effect takes place inside the circle or outside the circle.

I often use the Radial Filter with the Invert box checked (so only the inside of the circle is affected), and then adjust the filter strength with the Exposure and Feather sliders. You can create what appears to be a spotlight and use it to selectively lighten (dodge) areas of your image.

Some other tips for working with the Radial Filter:

Hold down the Shift key when you drag out the Radial Filter to constrain it to a circle
Use the “handles” on the top, bottom, and sides to drag the Radial Filter into other oval shapes
Once the Radial Filter is created, move the cursor just outside the shape until you see the double-headed arrow and then drag to rotate the shape
Get another “spotlight” to use on a different area by right-clicking a previously-created Radial Filter pin, choosing Duplicate, and then dragging the new Radial Filter off to the next place you want to work.

Creative use of the Radial Filter, one of the tools for dodging and burning in Lightroom — The Coquille River Lighthouse near Bandon, Oregon doesn’t use the light any longer. But with some creative use of the Radial Filter…

radial filter for dodging — …we can turn the light on! A Radial Filter was used to dodge the lighthouse itself, to put a light in the tower, and (as highlighted by the green overlay) to create a light beam.

lighthouse with beam — The finished result.

the radial filter dodging and burning — A Radial Filter was applied to the first window to dodge it, then the Filter was duplicated and moved to each of the other windows. The window at the bottom-right shows how the round shape of the filter can be modified using the Erase brush – which you can switch to by holding down the Alt (Option on Mac) key. The window is showing red because the mask overlay is turned on.

The Graduated Filter

The Graduated Filter can also help you lighten and darken selective areas of your image, but in a more gradual way.

While you might not immediately think of the Graduated Filter as a dodging/burning tool, the concept is the same – you can use it to choose which areas of your image are affected. While it’s a separate subject, combining the Graduated Filter with range masking in Lightroom can provide a very powerful method of selective dodging and burning, which is why I suggest you also read up on range masking.

the graduated filter is one of the tools to dodge and burn in Lightroom — You might want to burn (darken) a sky in Lightroom. The Graduated Filter is a great tool to use – and combined with the Range Mask, it can help you keep the effect where you want it and away from where you don’t, such as the trees in this shot. The red overlay shows where the effect will be placed.

The vignette

A vignette is used for darkening or lightening the edges of your photo.

When used to darken the frame edges, a vignette puts more attention on the center, brighter areas of the image, and helps direct the viewer to the center of the photo.

The Post-Crop Vignetting option is found under the Effects tab in the Lightroom Develop module.

Behind the mask

Any of the tools you use for selective dodging and burning – the Adjustment Brush, the Radial Filter, or the Graduated Filter – are all applying “masks” to your work, controlling how and where the effect is applied.

Often, it can help to see exactly where the masks are applied.

When we first choose one of our dodging and burning tools and begin to work with it, Lightroom will create a “pin,” a marker showing that an effect has been applied.

There is a control to choose when a pin will be displayed, which pins are active, and where the mask has been applied. You can even choose the color of the mask to help you best see it while editing. Hold down Shift, and each time you tap the “O” key, the mask will cycle through its available colors: red, green, white, and black. Use whichever color helps you best see where you’re working.

the mask overlay in Lightroom — Turning on the mask overlay can help you see where your effect is being applied.

Paint on, paint off

Even once you’ve created a dodge or burn effect, there are ways to further refine your selected areas.

Let’s take a quick look at a few of them.

Adjustment Brush: If you need to erase portions of your mask, turn on the overlay so you can see what you’re doing (hit the “O” key). Hold down the Alt (Option on Mac) key, and the “+” sign in the middle of the brush pin will change to a “-” sign. Keep holding down the Alt key, and erase the portions of the mask you don’t want.
Radial and Graduated Filters: After applying a radial or gradient mask, click the word Brush (at the top of the adjustment panel). Then hold down the Alt/Option key so the symbol turns to a “-” sign. Finally, brush out portions of the radial mask you don’t want.
Auto Mask: Checking this box will help the Adjustment Brush find edges and may assist you in selectively masking areas. I suggest you do some further reading to understand how this tool works.

Using the histogram

One feature of the histogram is the ability to show any shadow or highlight clipping. Tap the “J” key, and if any shadows are clipped they will show in blue, while clipped highlights will show in red.

By using the tools we’ve already discussed, you may be able to “rescue” such areas by selectively lightening or darkening them.

There could also be images where you purposely want to black out or white out areas. The “J” key will show you any clipping, then you can dodge or burn areas you wish to black out or white out.

Have a look at the images below, where I used this technique:

Extreme dodging and burning in Lightroom — You don’t want to completely clip your highlights or shadows in a photo…except when you do. This was the straight-out-of-camera (SOOC) photo. It needed some cleanup.

extreme burning in Lightroom — Here, I’m using the Adjustment Brush for some “extreme burning,” a way to black out the background and remove distractions in this shot.

pepper splashing in water — Here is the final edited shot.

Dodging and burning in Lightroom to clean up the background — I used the same technique for this photo. The rose shot against the black background was cleaned up by burning the background until the shadows were totally clipped. The rose on the white background was cleaned up by dodging the background until the highlights were totally clipped. Turn on the clipping indicator (hit the “J” key), set up your Adjustment Brush, check the Auto Mask box, and go to work.

Complexifying the light

When I was first learning to use Lightroom, I spent quite a few hours watching French photographer Serge Ramelli’s Youtube videos. He would often use the term “complexifying the light” when speaking about dodging and burning, and when talking about how you could use dodging and burning to make images more interesting.

I suggest you take a look at some of his tutorials; below is an image I edited with similar techniques.

Less is more

A good chef knows that a little salt can enhance the flavor of a dish, but too much can ruin it. A good photo editor learns that any manipulation of an image needs to be subtle, enhancing the image while not drawing attention to itself.

After a session of dodging and burning, it’s a good idea to get away from the screen for a while, then come back and view the image again. If you didn’t know, would you suspect that areas had been lightened or darkened with dodging and burning techniques?

I think you’ll often find that – especially when learning – you’ll need to dial back the sliders a touch to make the effects more subtle.

The technical and the aesthetic

As with all of photography, there are two sides to dodging and burning.

First, there’s the technical side, which requires learning the tools and techniques for dodging and burning in Lightroom.

The other component is aesthetic; you need to understand how to artistically view your image and decide where to dodge and burn to better direct the eye of your viewer to and through the image.

The technical side requires study to learn the tools. The aesthetic side requires artful contemplation and practice.

Union Pacific 844 train — The Union Pacific 844 is a “thundering beast,” the only steam locomotive owned by a North American Class I railroad that has never been retired. I wanted to capture its might. This unedited shot didn’t quite do it.

train with dodging and burning — But bring to bear the diversity of editing tools in Lightroom, including some dodging and burning, and you get an edited version that does a much better job of capturing my vision.

Dodging and burning in Lightroom: Conclusion

There are many photo-editing programs, tools, and techniques for dodging and burning your photos.

Some photographers may favor Photoshop, Luminar, ON1, Corel PaintShop Pro, or any of the dozens of other choices.

So feel free to choose your weapon.

But realize that no one will ask you what tool you used to improve your image. Master the tool you choose and wield it well. For me, dodging and burning in Lightroom is one tool for adding flair to my photos.

Now over to you:

Do you do dodging and burning in Lightroom? Do you want to? Share your thoughts, tips, and tricks in the comments below!

The post Dodging and Burning in Lightroom: A Comprehensive Guide appeared first on Digital Photography School. It was authored by Rick Ohnsman.

Digital Photography School

Comments Off

Posted in Photography

15 Ways to Find Photography Inspiration in 2021

20 Jan

The post 15 Ways to Find Photography Inspiration in 2021 appeared first on Digital Photography School. It was authored by Megan Kennedy.

Photography inspiration is easy to lose.

Fortunately, there are plenty of ways to ignite your creativity and get you excited about shooting again!

In this article, you’ll discover 15 ways to feed your photographic inspiration.

Let’s dive right in.

1. Make a list

Photography inspiration can manifest in mysterious ways. And while it may seem removed from the photographic process, list-making can actually help inspire new creative photography ideas.

Try compiling a list of photography goals to work through, or make a list of subjects to photograph. These lists can be as detailed as needed, so grab a pen and paper and brainstorm your next move.

flower abstract — Canon 5D Mark II | Canon EF 50mm f/1.8 II with extension tubes | 1/6400s | f/1.8 | ISO 100

2. Get some exercise

Researchers have found that mood and creativity can be improved by physical exercise.

So if you’re in the midst of a creative lull, lace up your shoes and head out the door for a quick walk around the block – you could even bring your camera!

3. Try a new medium

photography inspiration pastels — Canon 5D Mark II | Canon EF 50mm f/1.8 II with extension tubes | 1/80s | f/4.0 | ISO 100

Trying a new artistic medium can often provide surprising artistic perspectives that feed into photographic inspiration.

Activities like drawing or painting can open you up to fresh compositional insights that inspire intriguing creative possibilities.

4. Keep a journal

Maintaining a written journal is a great way to get down your important photographic processes on paper.

Journaling encourages introspection, which will help you nail down the effective aspects of your photography (and which you can reflect on later).

Ultimately, keeping a journal can give you a clear sense of creative direction, inspiring new photography ideas and approaches.

5. Make time for photography

It’s easy to get wrapped up in the day-to-day. But actively setting aside dedicated photography time feeds photographic inspiration and facilitates creative growth.

Regularly making time for photography will help exercise your creative muscles – even if it’s only an hour a week.

6. Try new equipment

photography inspiration extension tubes flowers — Canon 5D Mark II | Canon EF 50mm f/1.8 II with extension tubes | 1/250s | f/2.8 | ISO 100

Trying new equipment can broaden photographic possibilities considerably.

Simple and cost-effective accessories like extension tubes, prisms, and filters are economical ways to inspire new methods of photography.

7. Make a mood board or a visual diary

Mood boards and visual diaries are used by artists to keep creative information in one place. By creating an accessible source of inspiration, artists can more easily expand on their own processes and ideas.

Traditionally, visual diaries were kept on paper. Today, websites like Pinterest and Tumblr allow you to maintain a visual diary or mood board online.

No matter which method you use, mood boards and visual diaries are a tried-and-true source of valuable photographic inspiration.

8. Catch up on art history

Art has a rich and varied history dating back millennia. Familiarizing yourself with art history contextualizes, informs, and expands creative output.

In fact, a good knowledge of art history can help you identify the subjects and approaches that have inspired creatives over the centuries, which you can then use in your own photography!

9. Revisit old photographs

black and white deer — Canon 5D Mark II | Canon EF 24-105mm f/4L IS USM | 1/160s | f/5.0 | ISO 100

The depths of a photographic library can be a great source of inspiration. When sifting through old photographs, opportunities to revisit past subjects and locations may reveal themselves, inspiring new photography ideas.

Looking through old photographs can also reveal consistent errors to fix in future photoshoots. And it can draw attention to how far you’ve developed over a period of time, encouraging a positive sense of creative growth.

10. Check out art establishments

Art establishments, such as galleries, are full of inspirational material.

And since the beginning of the COVID-19 pandemic, plenty of galleries have added online tours and online events that allow you to experience art from the comfort of your own home.

11. Read photography books and magazines

photographer index — Canon 5D Mark II | Canon EF 50mm f/1.8 II with extension tubes | 1/1000s | f/2.5 | ISO 100

These days, most visual art material comes from a digital screen. But reading photography books and magazines can inspire a greater appreciation for printed photography, which can feed new creative possibilities.

12. Find photography inspiration by learning from past mistakes

From forgetting gear to technical or practical mishaps, photography, like any art form, is full of easy mistakes.

But when mistakes happen, don’t get discouraged. Instead, make a note of what went wrong – and be inspired to do better next time.

13. Reach out to fellow photographers

Photography often seems like a single-person endeavor, but reaching out to other creatives is an important way to generate and share inspiration.

From Instagram to in-person photography meetups, there are plenty of ways to connect with fellow creatives; ultimately, you can encourage growth and creativity in yourself and other photographers.

14. Photograph a favorite subject

aircraft photography — Canon 5D Mark II | Canon EF 100-400mm f/4.5-5.6L IS II USM | 1/400s | f/16 | ISO 100

Photographing a favorite subject can help you remember the reason you took up photography in the first place.

While it isn’t always easy, prioritizing a session of photography simply for the sake of reconnecting with a favorite subject is an effective way to boost photography inspiration.

15. Challenge yourself

Photographing challenging subjects supports creative growth. Sure, photographing tricky subject matter can be intimidating. But getting outside your comfort zone is a surefire way to generate photography inspiration.

If you like landscape photography, give portraiture a try. Or if you’re into abstract photography, why not focus on wildlife for a change?

In short, take the opportunity to branch out. This will broaden your photographic experience and help you develop a more versatile approach to capturing images.

Ways to find photography inspiration: Conclusion

From photographing a favorite subject to maintaining a journal, there are many simple ways to get out of a creative rut.

And while it’s true that photography inspiration can be elusive, making these changes to your creative habits is a great way to build your skills and develop new approaches!

Do you have any additional tips for finding photographic inspiration? Share them in the comments below!

The post 15 Ways to Find Photography Inspiration in 2021 appeared first on Digital Photography School. It was authored by Megan Kennedy.

Digital Photography School

Comments Off

Posted in Photography

Sony Releases a Gorgeous (and Expensive) 35mm f/1.4 Lens

19 Jan

The post Sony Releases a Gorgeous (and Expensive) 35mm f/1.4 Lens appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Just last week, Sony unveiled its latest high-powered creation:

A 35mm f/1.4 GM lens, designed for full-frame, E-mount cameras, and offering an impressive set of capabilities (for an eye-watering price).

As you’d expect from a G Master lens, the 35mm f/1.4 features a no-holds-barred, pro-level design. You get a beautifully-constructed barrel, a handy aperture ring (for changing the aperture on the fly without having to fiddle with camera dials), plus dust and moisture resistance. The lens is relatively light and compact (Sony highlights its 524 g/18.5 oz weight, as well as its ability to sit “comfortably in the palm of your hand”), which makes it ideal for travel and on-location photoshoots. In fact, Sony has managed to create a lens that you’ll want in your bag for pretty much any photography scenario, be it studio work, natural light portraiture, landscape photography, street photography, or event photography.

Aside from its build, what makes the Sony FE 35mm f/1.4 GM so special?

First, there’s the optics. Sony claims that the 35mm f/1.4 offers “extraordinary resolution” and “stunning contrast,” and early reviews bear this out, commenting on the lens’s impressive sharpness, even at f/1.4. This makes the 35mm f/1.4 a worthy choice for landscape photographers after a mid-wide prime, as well as for architectural photographers.

Then there’s the f/1.4 maximum aperture. Wide open, you can capture buckets of light; this is perfect for event photographers who frequently shoot indoors and need to keep their shutter speeds high, even at night. Plus, the f/1.4 setting combined with an 11-blade aperture is practically guaranteed to produce class-leading bokeh – for the kind of portrait backgrounds that will leave the viewer stunned.

Sony also promises speedy autofocus (specifically, “fast, smooth, and silent AF performance”), as well as effortless (“immediate and precise”) manual focus for those portrait photographers, landscape photographers, and videographers who require intense control when adjusting focus.

Of course, a big part of a lens’s appeal is its focal length, and here the Sony 35mm f/1.4 excels. On a full-frame camera, you get a medium-wide field of view for landscapes, environmental portraits, and wider street shots. Mount the Sony 35mm f/1.4 on a crop-sensor body, and you’ll have a handy 50mm lens, one that’ll work for standard portraits, tighter street photos, walkaround shooting, and more.

Unfortunately, the Sony 35mm f/1.4’s price tag sits just under $ 1400 USD. However, if you can afford the cost and require the absolute best image quality and bokeh around, the Sony 35mm f/1.4 won’t disappoint.

You can check out the Sony 35mm f/1.4 right here; shipping starts on February 15th.

Now over to you:

What do you think of the Sony 35mm f/1.4 GM? Are you interested? Is the lens too pricey? Or is it worth the cost? Share your thoughts in the comments below!

The post Sony Releases a Gorgeous (and Expensive) 35mm f/1.4 Lens appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Digital Photography School

Comments Off

Posted in Photography

13 Snow Photography Tips: A Beginner’s Guide

17 Jan

The post 13 Snow Photography Tips: A Beginner’s Guide appeared first on Digital Photography School. It was authored by Dena Haines.

Does your heart jump a little on a snowy winter day?

Do you want to run outside and start shooting?

I know how you feel; I love snow photography, too!

So if you’re after some stunning snow photos…

…then read on!

13 snow photography tips: a beginner’s guide

The tips in this article will help you get some great photos in the snow – while also keeping your camera safe.

So make sure to keep these tips and techniques in mind the next time you head out for a snow photoshoot!

1. Focus on contrast

Autofocus can have a hard time when everything is white. So you’ll need to be extra-careful, and do your best to focus on a contrast-heavy area of your snow scene.

It helps to focus on something dark, like the bark that’s just below a lump of snow on a tree branch.

Remember:

Your camera’s autofocus system uses contrast to focus, so a plain white mound of snow may cause issues.

Press your shutter halfway. If the focus won’t lock on, move your focus point to a darker area of the subject and try again. This usually does the trick.

2. Camera settings

Set your camera to shoot in RAW. When you take photos in RAW, you will have more information to work with when editing – whereas JPEG files are compressed, so they don’t allow for much post-processing latitude.

(Learn more about why you should shoot in RAW here.)

Choose Evaluative metering (which is called Matrix metering on Nikon cameras). Evaluative metering will do a good job of getting you a correct exposure, and it’s what I used for all the photos in this post.

If the weather is really sunny, you may also want to try Spot or Partial metering to see if it can handle the light better.

Exposure compensation. Your camera will try to make snow look gray, so set your exposure compensation to +1 or +2. That will keep the snow looking white. You can also adjust the exposure during editing.

3. Shoot in Aperture Priority mode

Aperture Priority mode (AV on Canon, A on Nikon) will allow you to quickly change your depth of field. When shooting in Aperture Priority, the camera will choose the ISO (if the camera is set to Auto ISO) and the shutter speed, so all you have to do is switch between aperture settings.

This is great in cold weather (where cold fingers make it tough to change settings on the fly), and allows for a lot of creativity.

4. Capture snow while it’s still fresh

There’s nothing like a fresh snowfall.

If you want footprint-free snow, you should plan the photos you’re going to take and the order you’ll take them in (so you don’t trample the snow during the shooting process!).

Capturing fresh snow might also mean going out early to shoot (before the kids get up!).

5. Keep your batteries warm

In cold weather, your batteries won’t last long. So charge two, and keep one in an inside pocket.

When the battery in your camera runs low, replace it with the warm one. Then put the drained battery in your pocket; you may even be able to use it again once it warms up.

6. Bag your camera

Condensation can form on the outside and inside of your camera when you bring it in from the cold. That’s scary, but it’s easy to avoid.

When you are heading out into the cold, just bring along a large zip-lock bag. I usually keep one in my camera bag or jacket pocket.

Then, when you’re ready to go inside, put your camera in the bag and make sure the lock is sealed tight.

Once you’re in the house, put your camera somewhere it can warm up slowly. When the camera reaches room temperature, you can take it out of the bag and use it normally.

I leave my camera bag in the car while I’m taking photos. But before getting back into the car, I put my camera in the zip-lock bag, then in the camera bag. That way, the camera comes up to temperature slowly and condensation doesn’t form.

7. Don’t let the weather stop you

Snowy landscapes look good in both sunny and cloudy weather.

On cloudy days, when everything is white, include elements that will break up the monotony and add interest to your photo.

Also, if it’s snowing, use an umbrella to protect your camera. And if it’s too cold to go out, roll down your car window, grab your shot, and roll it back up.

While I don’t take my camera out in super cold weather, some people do. Read more about protecting your camera and yourself in cold weather (by David Shaw, who’s in Alaska and knows all about cold weather!)

8. Act fast

Snow can change quickly. It can start or stop falling in an instant.

And when the sun comes out, snow can start melting very fast. Those beautiful trees can go from dazzling to drab in no time at all.

So don’t wait.

Get out there and do some snow photography!

9. Be patient

Light can change fast.

The sun can go behind a large cloud and totally change how the snow looks. You may need to wait for the sun to come out again. This can be hard when it’s cold, but it’s worth it!

After all, sunshine and shadows add beauty and drama to a snowy scene.

10. Keep all your images

Don’t delete any photos from your camera.

Instead, wait until you’re warm and comfy and you’re sitting in front of the computer.

You’ll be able to see your photos more clearly, and your fingers won’t freeze!

11. Play with perspective

Shoot from different perspectives. Try to show the way snow blankets the ground, weighs things down, and clings to everything.

But watch out for falling snow. It’s not so nice to have a clump land on your camera!

12. Play with shutter speed

Shutter Priority mode allows you to choose your shutter speed while the camera takes care of the rest (assuming you’re using Auto ISO).

And by experimenting with your shutter speed, you can create all sorts of cool effects!

For instance, with a fast shutter speed, you can freeze falling snow in midair.

With a slow shutter speed, you can turn those flakes into long white streaks.

Nice, right?

13. Capture some bokeh

A sunny winter day is a great time to create bokeh. And with all that sparkling snow and ice, this shouldn’t be too hard!

To create bokeh in your photos, look for a subject that has something bright or shiny in the background.

This could be the light reflected off the ice or melting snow. Use a wide-open aperture (e.g., f/2.8 or f/4), and make sure there is some distance between your subject and the shiny background.

With a shallow depth of field (from the wide aperture), your subject will be in focus, but not the shiny background elements.

And this will create lovely background bokeh, like in the photo below:

Let it snow!

Will you be out taking photos on the next snow day? I’m planning on it, and I hope you are, too.

Have fun with your snow photography, and experiment with different settings for creative results. Just remember to dress for the weather and bag your camera.

If you have some snowy photos to share, I would love to see them! I hope you’ll share your favorite snow photography tips, too – just add them in the comments below!

The post 13 Snow Photography Tips: A Beginner’s Guide appeared first on Digital Photography School. It was authored by Dena Haines.

Digital Photography School

Comments Off

Posted in Photography

7 Tips for Black and White Portrait Photography

17 Jan

The post 7 Tips for Black and White Portrait Photography appeared first on Digital Photography School. It was authored by John McIntire.

In the era of digital cameras capable of capturing millions of colors, why would you choose to do black and white portrait photography?

For me – and many others – it’s a simple matter of aesthetics. A good black and white treatment has a way of stripping unneeded information from an image, helping you emphasize specific elements without the distractions color can create.

And fortunately, portrait photography is a genre where black and white images can really shine.

However, like any photographic technique, there are tips you can follow to make sure your images have the most impact. In this article, I offer 7 simple tips that will instantly improve your black and white portraits – no matter your level of experience.

So if you’re looking to take your black and white portrait shooting to the next level, read on!

1. Start with black and white in mind

Black and white portrait photography tips

For many photographers, black and white is more than a creative choice at the post-production stage; instead, it’s a mindset. If you can start creating an image knowing that you ultimately intend it to be black and white, you can take steps to ensure that all of the elements of a good monochrome image are in place before you press the shutter.

Things like tonal contrast, lighting contrast, and appropriate expressions from your subjects are all elements that are difficult, if not impossible, to fix after an image is taken.

If you have trouble imagining how an image may look in black and white, try using the monochrome setting on your camera. While I don’t recommend you use an in-camera black and white conversion for your final image, as long as you shoot in a RAW file format, then all of your image’s color data will still be present in the file, and Lightroom or Adobe Camera Raw will reset the photo back to color once it’s imported.

Working in black and white will give you an idea of how an image will look without color, while still providing the highest amount of versatility in post-production.

2. Keep the eyes sharp and well-lit

In the majority of portraits, the most important part is the eyes. Eyes are usually the focal point that the rest of your image is built around.

And this is especially true in black and white.

Due to the lack of color, a black and white image often breaks down into graphic forms and shapes. Eyes are shapes that everyone recognizes, and they immediately capture the attention of your viewers.

So make sure that your subject’s eyes are well-lit and in-focus for a stunning black and white portrait.

3. Expressions are emphasized in black and white portraits

woman's expression emphasized in black and white

As with the eyes, other facial features become very prominent in a black and white portrait.

Use this to your advantage by conveying emotion in your images. Even tiny changes in your subject’s expression can make a difference. Things like a raised eyebrow, a twitch at the corner of the mouth, and smile lines under the eyes can all be used to great effect.

Here is an exercise you can do with your portrait subjects to get a mixture of great expressions:

Prepare a list of words or phrases, then ask your subject to react to each one.

The words you choose can be simple descriptors of emotion, such as love, sadness, joy, anger, and melancholy.

For more diverse expressions, try abstract words. You can even go for funny words, such as cheeseburger, politics, Teletubbies, or Hulk smash. Plus, if you have a subject who’s tense or nervous, this can easily lighten the mood.

4. Do your lighting carefully

When it comes to lighting black and white portrait photography, there are no hard and fast rules. If you like high-contrast images with hard gradations in tone, then choose a harder source of light. If you like soft tones and subtler images, then you want a softer light source.

It’s all about personal preference, here. If you’re not sure what you like, search for black and white portraits on the internet. Find the first ten black and white portraits that stand out to you the most and see if you can deconstruct the lighting.

Then try to use those lighting techniques in your own images!

5. Add contrast with light

If you want to create high-contrast black and white portrait photos, the best advice is to add contrast with light, not Photoshop.

Small global adjustments are okay and won’t hurt your images, but definitely do not crank the Contrast slider to 100. Try to keep it between +15 and -15.

For local adjustments in post-processing, use a dodging and burning technique of your choice. The key point here, and in all post-production, is subtlety.

Ultimately, you can use contrast adjustments while editing. But strive to make the largest changes with your lighting setup!

6. You can’t save a bad image with black and white

If you’re working on an image that you feel isn’t up to scratch and you ask yourself if it might work in black and white, the answer is probably “No.”

A black and white treatment will often emphasize the flaws that made you question the image in the first place – and a bad photo is a bad photo, regardless of its color scheme (or lack thereof).

7. Choose black and white in spite of color

Certain subjects practically beg to be shot in black and white.

Other subjects may not be so obvious.

Bright, punchy hues make for vivid color photos. But by removing the color element, you can completely change how a subject or scene is perceived. When you want to ensure your viewer is focused on a particular element, color can become a distraction.

So try getting rid of it.

This can be a difficult concept to understand without seeing it in action, so I have included the color version of one of the black and white portrait photos above.

Look at the image, then ask yourself: How did my perception of the photo change? What did I notice first in each version of the image? Do I respond differently when I see the image in color versus black and white?

Hopefully, you can see that even though bold colors can make for vivid images, so can a lack of color.

Black and white portrait photography: Conclusion

If you’re new to black and white portrait photography, do remember that these are guidelines, not rules.

So if you need to stray from my tips to get the result you’re after, do so without hesitation.

Finally, if you try black and white and you like it:

Welcome to the addiction!

Now it’s your turn:

Do you have any tips for black and white portraits that I missed? Do you have a favorite black and white portrait technique? Share your thoughts in the comments!

The post 7 Tips for Black and White Portrait Photography appeared first on Digital Photography School. It was authored by John McIntire.

Digital Photography School

Comments Off

Posted in Photography

Weekly Photo Challenge – Water

16 Jan

The post Weekly Photo Challenge – Water appeared first on Digital Photography School. It was authored by Sime.

There are so many ways to photograph ‘water’ be it running, still, lakes, oceans, rivers… The list is likely to be endless and all-encompassing. #dPSWater

Tag your photograph #dPSWater if you share it on social media.

Simon Pollock Point Lonsdale Photography

Slowing your shutter down and capturing the life in water, above with 1/10th of a second – unexpected and out on a shelf of rock with no filters, I had to stop my lens wayyyy down (f22) to get the slow shutter speed – just remember though, really high F numbers show you just how dirty your sensor is! (Clean it!)

Don’t know how to slow that shutter down? Click Here, try it, them come post your water photograph for this week’s challenge! Details on how to submit at the base of this post.

Maybe combine elements of water and sky to give your image extra levels of interest.

Great! Where do I upload my photos?

Simply upload your shot into the comments field (look for the little camera icon in the Disqus comments section) and they’ll get embedded for us all to see. Or, if you’d prefer, upload them to your favourite photo-sharing site and leave the link to them.

Weekly Photography Challenge – Looking Up

Join and post in our Facebook Group

The post Weekly Photo Challenge – Water appeared first on Digital Photography School. It was authored by Sime.

Digital Photography School

Comments Off

Posted in Photography

How to Use a Snoot in Photography: The Complete Guide

15 Jan

The post How to Use a Snoot in Photography: The Complete Guide appeared first on Digital Photography School. It was authored by Simon Bond.

What is a snoot in photography, and how can you use one for stunning photos?

That’s what this article is all about.

I’m going to take you through everything you need to know about snoots – including what they are, why they matter, and how you can use them to capture stunning images.

So if you’re ready to become a snoot expert…

…then let’s get started.

What is a snoot?

A snoot is basically a tube that goes over the front of your flash unit and creates a hard, concentrated beam of light.

a snoot and a snoot-shaped Rogue FlashBender — Two examples of snoots mounted to flashes.

A snoot allows you to light your main subject – without lighting the surrounding scene. And this can be great for dramatic, low key photography.

snoot in photography — A snoot is good for directing the light and creating low key images with lots of contrast.
Canon 5D Mark II | Canon 50mm f/1.2L | 1/20s | f/2 | ISO 400

Now, you can pick up a snoot from plenty of off-camera lighting manufacturers. (More on that in a moment!)

But because snoots are simple, you can actually make your own, which is what the next section is all about.

Making your own DIY snoot

You can make your own snoot using basic household objects. You just need to make a tube that fits over your flash!

There are some design elements you must consider, though. For instance, you’ll want a color-neutral material, because if your snoot includes intense colors, you might get unwanted casts in your photos.

Bearing this in mind, here are the two simplest options for creating snoots:

Cereal box: Cut the box into a rectangular prism with a hole at either end. Add black tape around the outside of the snoot to prevent light from leaking out.
Pringles tube: Cut a hole in one end of the Pringles tube for the flash to fit inside, making sure the tube sits straight on your flash (so you get a clear, directed beam of light).

In either case, you can modify the type of light the snoot creates by making the snoot longer or shorter.

Just remember:

The longer the snoot, the smaller and more concentrated your source of light will be.

Buying a snoot

The other option is to buy a snoot, and there are plenty of good snoots available for you to choose from.

Here’s a nice snoot you can grab at a great price.

That said, given how easy it is to make an effective snoot yourself, if you’re going to buy one, you may want it to have some sort of extra functionality.

That’s why I highly recommend the Rogue FlashBender, which can be used as a snoot, a reflector, or a softbox.

(In other words: You get your money’s worth!)

When to use a snoot in photography

A snoot can be a highly useful tool in the studio.

Broadly speaking, a snoot produces hard light, which creates lots of shadows. A snoot also creates lots of contrast between your subject and the background (assuming the background isn’t lit independently).

Let’s take a look at a few cases where you might want to use a snoot:

Spotlight

Have you ever used a flashlight on a dark night to light up your face in a spooky way?

If so, you’ve essentially spotlighted your face – and broadly speaking, you’re doing the same with a flash and snoot.

Now, you can go for that spooky effect with a snoot, but you can also direct your light in different ways for different spotlight effects. You can highlight various parts of your subject while keeping the background dark, which tends to look both stunning and dramatic.

Low key effect

Low key photography involves partially underexposing your shots for a mostly black image.

Like this:

low key snoot photography — This is an example of low key light produced by a snoot.
Canon 5D Mark II | Canon 135mm f/2L | 1/60s | f/5.6 | ISO 640

And a snoot is the perfect tool to create this type of image.

Simply direct your light at the main subject, whether that’s a still life or a model’s face. And ensure the light falls off before hitting the background for that dark, dramatic, low key look.

Rim light

You can use snoots to create beautiful rim lighting – which is any form of light that hits the edge of your subject.

And one of the most useful forms of rim lighting is the hair light.

By using a snoot to direct rim light (i.e., hair light) onto the back of a model’s head, you can add depth and interest to a photo, without impacting the front of the subject or the background.

For the best results, keep the rim light a little to the side and out of frame.

Of course, a rim light is only part of a lighting setup, so you’ll want to use it in conjunction with other lights. That way, you can capture a portrait like this one:

snoot for a rim light effect — A hair light helps create a better-quality portrait photo.
Canon 5D Mark III | Canon 135mm f/2L | 1/200s | f/3.2 | ISO 100

Flare

While photographers generally keep their off-camera lights out of the frame…

…there may be times when you want the lights to appear in your photos!

Specifically, you can use a snoot to create lens flare, as shown in the photo below:

snoot in photography to create lens flare — Snooted strobes can be used to create lens flare when pointed toward the camera.
Canon 5D Mark II | Canon 17-40mm f/4L | 42 seconds | f/5 | ISO 250

Now, you can create this artistic effect with several light modifiers (or just a naked flash).

But a snooted flash will help you control the light, so the source appears to be some sort of street light, rather than a flash unit.

How to use a snoot effectively

When using a snoot in photography, you’ll want to think about a few key factors, including:

The direction of the light
The distance of the flash
The length of the snoot
The brightness of the flash

These will dramatically impact how your photos turn out – so if you’re looking to really fine-tune your snoot photography, make sure you pay careful attention to the next few sections.

Direction of the light

Thinking about the direction of light is important in all forms of photography, but it is essential when working with a concentrated beam of light.

By positioning your snoot behind the subject, in front of the subject, or off to the side of the subject, you’ll get dramatically different results – so before taking a single shot, ask yourself:

What am I hoping to achieve with this snoot?

And position your snooted flash accordingly.

Distance of the flash

The distance from the flash to the main subject has three effects when used with a snoot:

First, the farther the flash is from the subject, the less bright the light becomes. If you position your light at the back of the room, you’ll get a darker image (though you can always adjust your exposure to compensate for the reduced light intensity).

Second, the farther the flash is from the subject, the harder the light becomes. If you’re looking for a softer effect with more gradual shadows, you’ll want to keep your snooted flash close to your subject – whereas if you’re after a harder effect with abrupt transitions from light to shadow, then you’ll need to increase the distance between the flash and the subject.

Third, as the distance between the flash and the main subject increases, the light radius becomes larger. This allows you to light more of your subject – so if you want to light your subject’s entire body, move the snooted flash back, whereas if you want to light only your subject’s head, you’ll need to move the flash in close.

Length of the snoot

Snoots can come in different lengths, with longer snoots offering a more concentrated beam of light, and shorter snoots producing wider lighting effects. Depending on the snoot length, you can create a precise spotlight effect, or you can widen the flash beam to light the entire scene.

Some snoots are actually adjustable, and if you make DIY snoots, you can create several of differing lengths.

Brightness of the flash

Of course, the brightness of the flash also needs to be considered.

You see, the light you’re creating with a snoot is going to be hard light. The subject will be lit, and the background will likely be dark.

But if you wish to show some background detail via ambient light, you can reduce the intensity of the flash and increase the exposure on your camera.

The key is to make sure the area lit by the flash is correctly exposed, then adjust your aperture, shutter speed, and ISO accordingly.

How will you use a snoot in photography?

smoke with direct strobe light — The smoke in this photo was picked up by directed light from a strobe.
Canon 5D Mark II | Canon 135mm f/2L | 1/200s | f/7.1 | ISO 160

Using a snoot in photography gives you plenty of artistic options.

A snoot is a simple, cheap, and effective way of doing something different with your photography.

So make sure you remember the tips and techniques I shared in this article…

…and start practicing with a snoot right away.

Have you tried photographing with a snoot? How did it go? Share your thoughts and photos in the comments below!

The post How to Use a Snoot in Photography: The Complete Guide appeared first on Digital Photography School. It was authored by Simon Bond.

Digital Photography School

Comments Off

Posted in Photography

In Praise of Program Mode: Why Program Mode is Great for Beginners

14 Jan

The post In Praise of Program Mode: Why Program Mode is Great for Beginners appeared first on Digital Photography School. It was authored by Rick Ohnsman.

Here’s a myth: Being able to shoot in Manual mode is the mark of a professional photographer.

I frequently see articles and beginner photography workshops with titles like Get Off of Automatic Mode. If these instructors don’t promote Manual mode shooting, they will at least tell you that “real” photographers favor Aperture Priority mode. Working with Program mode? They will roll their eyes and joke that maybe you thought the “P” on the mode dial meant “Professional.”

Working with Program mode - I used it then, and I still use it now. — The image of the Blue Angels (left) was taken with one of the first DSLRs Canon produced, the D30. I made the shot many years ago with the only mode I used at the time: Program mode. The Cooper’s Hawk shot (right) was made just a few weeks ago, also with Program mode.

Sure, as you grow as a photographer, you will ultimately want to understand which camera shooting mode might be the best for each situation. But knowing how to drive a manual transmission vehicle will not instantly make you a racecar driver, and knowing how to shoot in Manual mode is not a shortcut to being a great photographer.

car with motion blur — My first car was a 1964 Volkswagen Beetle, and it looked just like this model. Learning to drive a manual transmission as a new driver was a bit like immediately trying to use Manual mode as a new photographer – challenging!

I will date myself here, but when I learned to drive, a 1964 manual transmission Volkswagen Beetle was my first car. Learning to operate the gas, brake, clutch, and gearshift was an “interesting” introduction to driving.

My first camera was an East German Hanimex Practika Nova 1B. That was in the early ’70s. It had no mode dial, no autofocus, and since ISO was controlled by whatever film you used, the only exposure controls were a manual aperture ring on the lens and a shutter speed dial on the top of the camera. Even the exposure meter was not a TTL (through-the-lens) type, but a crude averaging meter that was just above the lens mount.

Hanimex Praktica Nova 1B - My first SLR camera. — My first SLR camera, used back in the early ’70s, was a Hanimex Praktica Nova 1B. It offered no autofocus, no TTL metering, a dial to set the shutter speed, and a ring on the lens to set the aperture. The film determined the ISO (then ASA).

With both the car and the camera, I had to handle all the controls myself. Did the VW make me a better driver? Did the Praktika make me a better photographer? No, and both caused far more frustration as a beginner than if I had started in a car with an automatic transmission and I had started photography with a fully automatic DSLR.

So that’s my point here:

Why you make a photo – choosing to communicate your vision with an image and then using the camera as a machine to capture it – is far more important than how you shoot a photo or what mode you use. If some help from modern automation makes it easier to get there, especially as a beginner, go for it.

Why get whiplash learning to feather the clutch (or as I once did, roll back into the car behind you when at a stop sign at the top of a San Francisco hill) when, as a new driver, you could have an automatic transmission?

Working with Program Mode when doing portraits. — I did a lot of portraits of friends, family, senior photos, and even weddings with some of my DSLRs. I would often use Program mode and a little fill light from the pop-up flash. This typically worked just fine, especially for a new photographer.

Program mode – yes, the “P” setting on your mode dial – is what I would term the “semi-automatic” mode on your camera. Unlike the green, fully-automatic mode where you simply “point-and-shoot” and the camera makes all the decisions, Program mode frees you to override the settings if you so choose.

Let’s use an example to explain how Program mode might work in a given situation.

Program mode: The “semi-automatic” setting

Back in the 35mm film days, you would often choose the film you used based on the shooting conditions you planned to work in.

ISO (or before that, ASA or DIN) was a function of the film. ASA speeds of common film types might be 25, 64, 125, 200, 400, and maybe up to 800. You could go a little higher with special processing. The rub was that, whatever film type you chose, you worked with the same ASA for the entire roll (be it 12, 24, or 36 exposures).

Many film rolls — With film, you had to stick with the same ISO (ASA) for the entire roll.

Working with Program mode can be a little like shooting film – in that the first thing you will do is pick your ISO setting.

This could be ISO 100 for good outdoor light, maybe ISO 200 or 400 for lower lighting conditions, ISO 800 or higher for dim conditions (or perhaps for when you will be shooting action and need to be able to use short exposure times).

Some have called Program mode “ISO Priority,” because once you choose the ISO, it will be the setting that will stay set, even as the shutter speed and aperture change. (Of course, the big difference from film is that you can change the ISO from shot to shot if you so choose).

So you start by setting your ISO.

Then, unless you have a special reason not to, I suggest you use the averaging metering modes: Evaluative on Canon, Matrix on Nikon. These will consider the entire image and calculate the exposure.

If your camera is set to Program mode, you will now see that it has selected both aperture and shutter speed settings. Depending on the available light, these will usually be toward the middle of the settings range – perhaps something like 1/125th of a second, f/5.6, and ISO 100. You may want to change these, and we’ll get into that in a minute, but if not, you’re good to go. Nail focus and take the shot.

You can shoot all day like this, the camera pretty much working as a point-and-shoot machine. As a beginner, rather than puzzle over what your settings should be for each shot, you can concentrate on more important things – chiefly composition – and let the camera figure out the exposure. Take away the clutch and the gearshift and driving is so much easier, right?

Creative control

The one thing you relinquish when you allow the camera to make exposure setting decisions is creative control. We may go a long way with artificial intelligence, but soulless computers or robots, while able to nail exposure, get perfect focus every time, and maybe even edit the shot afterward, will never be able to make true art.

Two concepts to understand as a beginning photographer are how aperture and shutter speed controls not only the exposure, but also the depth of field and the freezing/blurring of motion. If you have not fully grasped those creative concepts, I encourage you to spend time learning the relationship between aperture and depth of field, as well as the relationship between shutter speed and motion capture.

Working with Program mode will almost always get you a correct exposure, but you will also need to understand when you want to override the suggested settings to get the creative look you seek.

Some examples

Let’s break down how you might work in Program mode for different interpretations of the same subject.

It’s an overcast day, so you set the ISO to 800.
Your camera is in Program mode and it suggests an exposure.
You decide you want a deeper depth of field, so you set the aperture to f/22. (Aperture can typically be changed with one dial and the shutter speed with another. Note that when you change one setting, the other setting automatically changes to maintain proper exposure.)
Your settings are now ISO 800, 1/20s, and f/22. (Note that you’ll need to be on a tripod with a 1/20s shutter speed.)
You focus, then take the shot.

You take a look and decide it might be better to isolate the foreground leaves with a shallow depth of field. Still in Program mode, you roll one of your dials to put the aperture at f/4. Your camera automatically adjusts the shutter speed to 1/640th of a second to maintain proper exposure. You take another shot.

Easy, huh? The ISO stayed locked in at 800, and as you adjusted the aperture, the shutter speed adjusted itself.

Suppose now you want to see the effect of shutter speed on a moving object. Still in Program mode, you leave the ISO at 800. To freeze the droplets of a fountain, you roll the dial to get a 1/1600th of a second shutter speed. You take the shot.

aperture comparison — Note how the top shot, taken at 1/50s, has more blurred water drops and how the tree is sharper at f/22. The bottom image, taken at 1/1600s, better freezes the water – but at f/4, the depth of field is smaller.

Now, what if you want to get a little motion blur on those drops? Roll the dial to set a slower shutter speed of 1/50th of a second. The aperture automatically adjusts.

Exposure compensation is also possible should you need to make your images a little lighter or darker.

I mentioned earlier that you could lock in your ISO when working with Program mode. Depending on your camera, you might also let the ISO automatically adjust as light conditions change. Try Auto ISO in combination with Program mode and see how it works for you.

Then make the leap

Program mode can help you get good exposures. And if you pay attention to the settings it chooses, you’ll begin to understand the relationship between aperture, depth of field, shutter speed, and motion capture. Program mode can also give you a good jumping-off point to work with a mode such as Aperture Priority.

Say that after making a shot in Program mode, you see the camera chose f/11 as the aperture, and you like the amount of depth of field that resulted. You can then switch over to Aperture Priority mode (Av on Canon, A on Nikon), dial in an f/11 aperture, and start shooting. The camera will stay locked at f/11 while adjusting the shutter speed for various lighting conditions.

The same goes for shutter speed. If your Program mode shot shows a nice amount of motion blur at 1/5th of a second and you want to make subsequent images with that amount of blur, switch to Shutter Priority mode (Tv on Canon, S on Nikon), dial in 1/5th of a second, and shoot away.

The camera will stay locked on the shutter speed you chose and alter the aperture as needed.

aperture/depth of field comparison — In the left photo, the focus is on the tree trunk at the right edge. At f/22, there’s a good amount of depth of field. In Program mode, roll the dial to take the f-stop to f/4 for less depth of field. The camera automatically compensates, putting the shutter speed at 1/160s. The exposure stays identical.

Back to the safe spot

If you play around enough with settings, you may eventually mess things up to where you reach a bad exposure or become totally confused about why things are not working for you. That’s when Program mode comes to the rescue.

Working with Program Mode will very often get the job done and is a good option for the new photographer. — These were some of the first images I made when I got my Canon 10D years ago. Program mode was all I knew, but it got the job done. Don’t think you have to immediately learn to shoot in Manual mode to make nice shots.

Put the camera in Program mode, put the ISO back to a setting appropriate for your lighting situation (ISO 200 might be a good starting point), and it’ll be like hitting the reset button: you’ll be back to letting the camera choose exposure settings.

If you find Auto ISO works well, try that, too. The idea is to have a setup you can always turn to if you get confused (one that you can rely on to make good exposures consistently if needed).

exploring depth of field with leaves in grass — It’s easy to explore the relationship between aperture and depth of field while in Program mode. This series starts at f/4 on the left, before a roll of the dial took the aperture to f/8 (middle), and then to f/22 on the right. The camera did all the exposure calculations. As simple as one, two, three!

Regardless of what mode I choose to shoot in, even Manual, I always put the dial back to Program mode before turning off the camera and putting it back in my bag. Then, if that once-in-a-lifetime shot presents itself and I must grab the camera, quickly power up, and shoot, I can be assured I will get a reasonably well-exposed shot.

I hope you will not take this article to mean you shouldn’t learn to shoot in Aperture Priority mode or Manual mode, because it’s true that a great number of professionals use these settings. But if you are new to photography and are confronted with more information than you can immediately absorb, working in Program mode might just be the helping hand you need.

leaves and beach photos — Working in Program mode will free you to concentrate on composition while letting the camera figure out exposure.

Concentrate first on learning good composition. And make sure your images are well-focused, because blurry shots are impossible to fix in editing.

For now, let your camera help you with exposure until you begin to wrap your head around all there is to know. Even if you are a more experienced photographer, you might occasionally find that turning the mode dial and working in Program mode is the right choice for a given situation.

Mode doesn’t matter

monochrome images — Make a nice shot and no one is going to ask what camera mode you used.

People don’t usually ask what kind of paint, brushes, or canvas Leonardo da Vinci used when he painted the Mona Lisa. And when you make a great shot, no one should care what camera mode you used, what your settings were, or even what camera and lens you used.

Conversely, when your shot is poorly composed, doesn’t have an easily identifiable subject, or just doesn’t speak to the viewer, it doesn’t matter how masterful you might be in Manual mode or if you have the best camera money can buy.

Determine why you want to make a particular photo, find your vision, know what it is you want to communicate, and then use the machine that is your camera to produce that image. If working in Program mode gets you to that result, it’s a perfect choice.

Best wishes for great photos!

What do you think about Program mode? Have you ever used it? Why or why not? Share your thoughts in the comments!

The post In Praise of Program Mode: Why Program Mode is Great for Beginners appeared first on Digital Photography School. It was authored by Rick Ohnsman.

Digital Photography School

Comments Off

Posted in Photography

PortraitPro 21 Review: A Comprehensive Editor for Portrait Photographers

14 Jan

The post PortraitPro 21 Review: A Comprehensive Editor for Portrait Photographers appeared first on Digital Photography School. It was authored by Carl Spring.

It was only a few months ago that I reviewed Anthropics PortraitPro 19, where the ease of use, the speed, and the AI technology really impressed me. Here we are only a few months later, and Anthropics has introduced PortraitPro 21. I was lucky enough to get my hands on a copy to see what has improved, what is new, and whether the updated software is worth the investment.

Also, spoiler alert: We have a special offer at the end of this PortraitPro 21 review, so make sure you take a look!

What’s new in PortraitPro 21

As always with Anthropics, there’s a long list of new features that really make PortraitPro 21 stand out. These include:

Sky replacement
Lighting brushes
Clone tool
Denoising/Sharpening
History tool
Color styles
Color copying
Hair highlights

There are actually even more new features, including a master slider for skin lighting and coloring, layer presets, optimized color-space handling, the ability to move catchlights, SVG backgrounds, new layers, backgrounds and overlays, free stock photos, and new tutorials from the creators.

If I offered an in-depth discussion of every new feature, you would probably be reading this for days. Instead, why not go and download your free trial of the software on the website? That way, you can check out the program for yourself.

In the meantime, let’s look at some of the new PortraitPro 21 features in greater detail.

Sky replacement

This feature is one that portrait photographers will love. There is nothing worse than capturing amazing shots against a blank sky, knowing you will need to edit them later. Swapping the sky on multiple images can be laborious and time-consuming. But in PortraitPro 21, replacing skies can be done with the click of a button.

Using technology from Anthropics LandscapePro software, this feature does not simply mask and drop in the new background. It also changes the color and tone of the image to match the new sky, giving a more natural result.

PortraitPro has quite a few skies for you to choose from, but if you are looking for something specific, you can always add in your own.

Lighting brushes

PortraitPro 21 includes a series of lighting brushes. These can be used to create specific effects such as light streams or realistic relighting elements.

You are able to select exact colors and alter the strength of the brushes, which allows you to quickly get the perfect effect. These brushes are able to separate the background and foreground for you, so you can really get creative.

Clone tool

The addition of the Clone tool means you can remove troublesome areas from your photos. And the presence of the Clone tool means there is no reason to use other software to perfect your edits.

As with all tools in PortraitPro 21, the Clone tool is easy to use and allows completely adjustable precision so you can get the exact result you want.

Ultimately, it’s a great addition to the feature set of PortraitPro. And while it is a tool that most will recognize and is not as groundbreaking as others, it’s one that will be hugely appreciated by all users.

Denoise/Sharpening

Denoise and sharpening tools are another new addition to this version of PortraitPro.

Yes, these tools are available in other editing programs. But as you are probably beginning to see, the addition of these features to PortraitPro 21 means that you have no real need to switch between programs to get your final result – making PortraitPro 21 a more all-in-one editing solution for portrait photographers.

History tool

The History tool continues the trend of the Clone tool. It’s a feature that users of other editing software will be well aware of, and it’s highly valuable.

Specifically, it allows you to move back to a specific point in your edit so you can rework an image without needing to start over.

Color styles

Filters will be familiar to everyone who reads this, because we frequently have these in our social media apps.

PortraitPro now includes a series of color styles that can dramatically change your image in just a few clicks.

Hair highlights

PortraitPro 21 features a variety of new tools for working with hair.

These include tools that add highlights, as well as change hair color and vibrance. And you can fine-tune these to achieve “salon-level” results.

PortraitPro 21 review: Performance

As always, I spent some time getting to grips with PortraitPro 21. Having used previous versions, I was familiar with the interface. But as with PortraitPro 19, I was amazed by Anthropics’s excellent tutorials.

In fact, there are many more tutorials in PortraitPro 21, which give new users confidence right away. Even as a previous user of PortraitPro, it was good to go through a series of tutorials on the new features. These allowed me to immediately understand what is possible in PortraitPro 21.

I started with the hair tutorial, which gave convincing results quickly and easily. From there, I fine-tuned to my liking.

Hair features — I loved how the tutorials helped me get started, but then I fine-tuned to my own taste.

After that, I experimented with the new sky replacement feature. Due to my lack of outdoor photography over the last 12 months, I used the tutorial image as a starting point for this feature, and the results were impressive.

Changing the sky on the test image highlighted the importance of choosing your replacement sky wisely. Certain skies won’t work on certain images.

However, Anthropics has included so many different skies for you to choose from that, for every situation, there will be a replacement sky that matches your scene. Again, the ability to fine-tune really allows you to dial in the detail and increase the realism.

Sky replacement in PortraitPro 21 — There are so many different sky options built into the software.

Using TIFF files

After working on the many image tutorials, I wanted to use some of my own images. I always feel this is the real test.

And I was hugely impressed.

My images worked exactly the same as those in the tutorials. Everything was fast, and the software’s AI technology picked features out flawlessly. The highest compliment I can pay the software is to say that I didn’t notice any slowdown between the images I used myself and those in the tutorials.

Face selection AI demo in PortraitPro 21 — Even with a shallow depth of field, PortraitPro 21 picked out the face almost perfectly.

To push the software, I used 16-bit TIFF files in the Adobe RGB color space. The images opened fast, and PortraitPro 21 picked out the features flawlessly. Applying presets took a little longer than the test images, but considering I was working on 16-bit TIFF files, I was really impressed.

I loved the fact that little tips popped up in the bottom corner of the screen, reminding me of how to tweak things. I used an image with an incredibly shallow depth of field to test the feature-finding abilities, and again, I was very impressed.

For the first image I tested, I used the Clone tool to remove a couple of small blemishes. Even though I was editing TIFF files, the software worked perfectly.

With the blemishes cloned out, I simply added a preset and tweaked it to taste. I had a finished image in less than 5 minutes. This was much quicker than when I edited the image manually. One quick and simple export later, I had a beautiful image ready to go.

Before and after retouch — This full retouch only took 5 minutes.

The only thing I will say is that some of the presets are a little more extreme than my personal style. However, the great thing about PortraitPro is that you can create your own presets simply and easily.

In fact, I tend to do this on a shoot-by-shoot basis, starting with a preset and tweaking it to suit the shoot I am working on. I can then apply these presets quickly and easily to the whole set of images from the shoot before sending proofs to a client.

Working with presets is taken to a whole new level with the Studio Max version of PortraitPro 21, where you can batch process several images in seconds.

Batch processing

Setting up a batch of images in PortraitPro — Import images, select your style, and click Go. Batch processing is an incredibly powerful feature in PortraitPro 21.

For a working photographer, the batch processing in Studio Max is a huge timesaver when you need a consistent retouch across a range of images. PortraitPro’s face recognition means that you can trust the software to pick up the face and apply the retouch for you automatically.

To test this feature, I exported full-sized JPEGs from a styled shoot. After creating a look with a single image, I used the batch feature of Studio Max to apply this style to a group of ten images. In less than one minute, all the images had saved and were ready to go. I simply clicked two buttons.

This feature alone changes how I deliver portrait and headshot proofs to clients. For so many working photographers, batch processing is going to be a game-changer. Imagine being able to deliver headshot proofs to clients with such little effort.

batch of images from a wedding photoshoot — A variety of poses didn’t fool the software. Everything was ready to deliver in under a minute.

Who is it for?

In my last review of PortraitPro, I said, “PortraitPro is an amazing tool for those who are new to retouching portraits. It is simple yet incredibly powerful, and gives you pleasing results within seconds. However, it offers much more and encourages you to go back to the software and personalize your retouching.“

So much has changed since then. In fact, PortraitPro 21 has more features that make it even easier for me to recommend. It is possibly the most feature-rich portrait editing software out there.

If you’ve loved previous versions of PortraitPro, then you will love this even more – especially with the special offer for dPS readers (see below!).

Note that there are three PortraitPro 21 versions: Standard, Studio, and Studio Max.

PortraitPro 21 Standard is great for many people. It is a standalone software that allows you to work with JPEG or 24-bit TIFF files. For many photographers, this will be perfect.

By upgrading to PortraitPro Studio, you get the Photoshop/Lightroom plugin that so many of you will love, as well as the ability to work with RAW, DNG, and 48-bit TIFF files. It also has color-space conversion.

Finally, for those who shoot professionally or need the ability to retouch a batch of images in a few clicks, the Studio Max version of PortraitPro 21 will save you so much time (and professionals all know time is money!) that I cannot help but recommend it.

Sounds amazing! How do I get it?

You can download your free trial of PortraitPro 21 right here.

But if you’re thinking about purchasing the software, note that there is a 50% off launch offer, plus dPS readers get an extra 15% off with the coupon ZC1990. So click here to grab your discounted copy of PortraitPro 21!

Anthropics is a paid partner of Digital Photography School.

The post PortraitPro 21 Review: A Comprehensive Editor for Portrait Photographers appeared first on Digital Photography School. It was authored by Carl Spring.

Digital Photography School

Comments Off

Posted in Photography

Understanding all the Different Image File Formats

12 Jan

The post Understanding all the Different Image File Formats appeared first on Digital Photography School. It was authored by Kav Dadfar.

When you take a photograph, the camera is capturing data, which creates a digital image. But there are many different types of image file formats that can be retrieved and edited using post-processing software.

The most commonly-used formats are:

JPEG (Joint Photographic Experts Group)
TIFF (Tagged Image File Format)
RAW
DNG (Digital Negative Format)
PNG (Portable Network Graphics)
GIF (Graphics Interchange Format)
BMP (Bitmap Image File)
PSD (Photoshop Document)

Choosing the right file format is important and can even be critical, depending on the level of quality – and the level of post-processing – that you require.

Now, to help you better understand the different file formats, and to ensure that you pick the right format for your needs, we’ve put together this comprehensive guide. It covers the pros and cons of using each image file format – so that, by the time you’re finished, you’ll be able to select the perfect format with ease!

JPEG

JPEG is probably the best known of all image file formats, and it’s what many cameras use as the default output.

The thing you should remember is that JPEG files are compressed in-camera, and thus result in a loss of detail and quality. They are essentially set up to store as many images on the memory card as possible.

Some cameras will have options for different JPEG quality levels (e.g., low, medium, and high). The better the photo quality, the less compression the camera will perform on the original photograph.

Generally speaking, JPEGs should be used:

When the photos are for personal use, for social media, albums, and small prints, and are not intended for large prints
When you don’t intend to enhance or edit the photos much in post-production
For sharing images via email

JPEG benefits

The small file size means more images can be stored on a single memory card
Quicker file transfer times, due to the smaller file size

JPEG negatives

Loss of quality due to image compression
Less opportunity for image manipulation in photo-editing software

TIFF

TIFF is commonly used in the photography industry; it’s generally requested by publishers. Even if the end file format will be a JPEG, the initial file is often a TIFF.

TIFF files are usually uncompressed, so they offer the opportunity for extensive post-processing. And because TIFFs are uncompressed, they are much bigger files, and will take up a lot of space – both on your memory card and on your computer.

Some cameras offer TIFF as their highest-quality image format.

TIFF benefits

Ability to manipulate photos extensively in editing software
Option to print at the highest quality and at much larger sizes

TIFF negatives

Much bigger file sizes (so more storage is needed)
Longer transfer and loading times due to file size

RAW

RAW files are generally available on advanced compact cameras, DSLRs, and mirrorless cameras.

Simply put, RAW is the best option if you want to get the highest-quality files from your camera, and it’s the option preferred by professional photographers. If you don’t use RAW files, then your camera will make adjustments automatically to your images, and these will be permanently embedded into your photos.

RAW files are created using a process that retains all of the information originally captured. This means that adjustments such as white balance, exposure, contrast, saturation, and sharpness can all be altered in image-editing software after the photo has been taken.

Photographing in RAW format requires plenty of memory cards, not to mention considerable post-processing time. It also requires some basic knowledge of image-editing software such as Adobe Lightroom, because files will have to be edited and converted out of the RAW format before they can be used (i.e., before they can be shared online, printed, sent to friends, etc.).

RAW benefits

The highest-quality image is captured
Extensive options in post-processing

RAW negatives

Significant time is needed to convert and edit photos (you must edit RAW files)
Bigger file sizes require more storage and longer post-processing times

DNG (Digital Negative)

Just about every camera these days uses a different proprietary format to capture RAW files. Even cameras from the same manufacturer will often use different formats, which means image editing software must be able to read files from all of these different cameras.

As a result, editing software providers face a challenge: how to manage and continuously provide updates for their program so it can read all these different file formats.

Enter the DNG.

This file format, created by Adobe, is an attempt to provide a standard RAW file for all manufacturers and cameras.

The DNG is offered as a main RAW file format, or as an alternative to the manufacturer’s native RAW format. One of the problems with keeping images in the original RAW format is that, several years from now, you may be unable to access these files, because they are specific to cameras and manufacturers.

But using an Adobe DNG Converter means you can also store your RAW files as DNGs for maximum future-proofing.

This does add another step to the post-processing workflow, which takes extra time. However, editing software such as Lightroom can convert large batches of files to DNGs so that it doesn’t have to be done manually.

DNG benefits

Ability to use image-processing software such as Lightroom and Photoshop
Possibly the safer option long-term, because it guards against the inability to open or access files in the future

DNG negatives

Extra time needed to convert camera RAW files to DNGs (if your camera does not have the option to create files in this format)

PNG

Designed in the ’90s as an improvement on the GIF file format, PNG files are ideal for use on the internet.

PNGs are compressed in a lossless format, and therefore retain all detail. But unlike other file formats, PNG quality doesn’t mean big file sizes – and this is useful on the internet, because you need pages to load quickly.

The other benefit of PNG files is that they allow for partial and total transparency, which is ideal for overlays and logos.

PNG benefits

Lossless compression makes for good image quality, which isn’t compromised when editing
The ability to maintain transparency, which is important for graphics such as overlays and logos

PNG negatives

Quality is not good enough for printing at any size

GIF

Like PNGs, GIFs are ideal for use on the internet. Lossless compression means image quality is not sacrificed, and like PNGs, GIFs offer the ability to maintain transparency (though they don’t support partial transparency). GIFs also allow for animation.

However, the limitation of GIF files is that they can only contain a maximum of 256 colors. Therefore, GIFs are not the best choice for photos, but rather for images with a limited color palette.

GIF benefits

The small file size makes GIF files ideal for use on the web
Files can contain animation

GIF negatives

The limited colors make GIFs a poor choice for photos
GIFs don’t support partial transparency like drop shadows

BMP

Another lossless file format, the BMP was invented by Microsoft, initially for use on the Windows platform. However, BMPs are now recognized by programs on Macs, as well.

BMPs are large files, as color data is saved in each individual pixel without any compression. As a result, BMPs provide a high-quality digital file, which is great for use in print but not ideal for the web.

BMP benefits

Can be used for printing, as the images are high quality

BMP negatives

The large file size means a lot of storage is required

PSD

This file type is what Adobe Photoshop uses as a default to save data. The big advantage of the PSD is that it allows for manipulation on specific individual layers, rather than on the main image itself.

This makes PSDs absolutely essential for any sort of extensive manipulation of the original photograph, such as retouching. PSDs give far greater flexibility and the ability to fine-tune an image, because layers can be added, removed, or edited at any time without affecting the original photo.

But remember:

Once a layered PSD file is flattened (this essentially merges all of the layers), it can’t be undone. So make sure you save your file as a PSD before flattening if there’s a chance you might want to rework some of the layers later on.

PSD benefits

Ability to manipulate the image extensively on separate layers
Once the image is ready, it can be re-saved as any other file format

PSD negatives

Layered files can be incredibly large in size due to all of the additional data they store

Image file formats: Conclusion

Now that you’ve finished this article, you know all the common image file types.

Professional photographers generally capture in RAW format (even if the final file needed is a JPEG), convert those files to DNGs, then edit in software such as Photoshop or Lightroom.

But as you can see, choosing the right file format when capturing the original photo – then choosing the right file format when saving the photo later – is absolutely essential.

What’s your favorite image file format? Do you use any formats not mentioned in this article? Share your thoughts in the comments below!

The post Understanding all the Different Image File Formats appeared first on Digital Photography School. It was authored by Kav Dadfar.

Digital Photography School

Comments Off

Posted in Photography