Category: Photography

Tips for Getting Your Portraits Right In-Camera

The post Tips for Getting Your Portraits Right In-Camera appeared first on Digital Photography School. It was authored by John McIntire.

Getting your portraits right in-camera is a skill that every portrait photographer should strive to develop. Doing so will save you time and improve your photography across the board.

This doesn’t mean you shouldn’t post-process your images, and it doesn’t mean that Photoshop is cheating. But by putting in the extra time and effort at the capture stage, there will be less post-processing to do.

It’s also good if you have certain post-production techniques in mind. If you are able to shoot to the requirements of the technique (that is, if you’re able to get it right in-camera), then the whole process will be easier.

Putting extra effort in at the capture stage will help you to get the best results possible straight out of the camera. If you take a lot of portraits, this will wind up saving you hours upon hours of time in the post processing stages.

This article will provide you with a series of tips to help you create better portrait images during the capture stage of the process. It should be noted that the points discussed here fall firmly on the technical side of things. Subjective things like composition, posing, expression, etc., won’t be discussed.

Also, nothing discussed here is a rule. I would hesitate to even call it a guideline. If you try something here that doesn’t get you the results you are after, that just means it’s the wrong tool for the job. By all means, do something else.

Aperture

One of the easiest things you can do in the pursuit of getting your portraits right in-camera is to prioritize sharpness. One of the easiest ways to do this is to choose the right aperture.

Shooting wide-open can be great in low-light conditions, and it can also provide a nice shallow depth of field for aesthetic purposes. The trade-off comes in terms of getting the focus right. The focal plane of a wide aperture lens (f/1.8, f/1.4, etc.) is very, very narrow, making it very easy to miss the focus on your subject’s eyes.

Left: Shot at f/4, this image has a shallow depth of field. Canon 5D Mark III | Canon EF 50mm f/2.5 Macro | 50mm | 1/125 sec | f/4 | ISO 100

Right: Shot at f/14, this image is sharp from front to back. Canon 5D Mark III | Canon EF 16-35mm f/4L IS USM | 35mm | 1/125 sec | f/14 | ISO 100

A good way to combat this is to choose a smaller aperture. By selecting an aperture around f/5.6 or f/8, ensuring the focus is where you want it to be becomes much easier. When you’re starting out, this can be the difference between a couple of sharp images (or even no sharp images) gained out of luck and a memory card full of them.

Again, this is not a rule, and shooting wide open is fun and has plenty of its own merits. But that doesn’t mean you should always shoot wide open.

Taking control of the light

You’ve probably heard the phrase “Photography is light.” It’s everywhere, but it cannot be repeated enough. If you want to take better photos, you need to learn to take control of the light. This is especially important for portraits.

Natural light

With natural light, you will want to learn how to find the light with the qualities best-suited to the portrait you want to create.

For the most part, you will want to avoid shooting in midday sun. Instead, learn to find patches of soft light. This can be an area of open shade, it can be window light, or it can be garage door lighting.

Looking for situations like this overcast day, where the light is more flattering for portraits, is a key skill to develop. Canon 5D Mark III | Canon EF 85mm f/1.8 | 85mm | 1/320 sec | f/1.8 | ISO 200

Studio lighting

In the studio, you will have a somewhat easier time of things.

After all, a studio should be designed from the ground up for you to alter the light at will. Use the right modifiers, learn some of the basic lighting patterns, and use modeling lights whenever possible. All of these will make it easier for you to take control of the lighting in your portraits.

Studio lighting is a lot easier to control as you are in charge of everything, but there are a lot of options to sort through. Canon 5D Mark III | Canon EF 16-35mm f/4L IS USM | 35mm | 1/125 sec | f/14 | ISO 100

Flattering light

Another thing about light that is important when getting your portraits right in-camera is whether or not the light is flattering. While this is quite a subjective topic, there are a few things for you to keep in mind that will help you to get more flattering light.

Light from above

In most natural circumstances, we humans are lit from above. This is how we generally see other people. Lighting your subject from other angles will result in oddly-placed shadows that won’t feel right to your viewer.

By placing the main light source above your subject, you are working to ensure that you are presenting your subjects in a way that people will recognize.

Lighting from above will help to ensure that your studio lighting looks more natural. Also, bringing the light source in close softens the light, making it more flattering.

Soft light

As mentioned, using a soft light source will help you get more flattering results. This will reduce the overall contrast in your images, and help to reduce the appearance of skin textures in your portraits. It will also help to make the transitions from shadows to highlights smoother.

Using as soft a light source as possible reduces contrast and provides more flattering light for your subjects. Canon 5D Mark III | Canon EF 16-35mm f/4L IS USM | 35mm | 1/125 sec | f/5.6 | ISO 100

Lens choice

Selecting a focal length suitable for portraiture is another important thing that will help you get your portraits right in camera.

The focal length you choose will dictate how your images are distorted. At the extreme ends, wide-angle and long telephoto lenses cause significant distortion in your images. In order to avoid this, you will find that most portraits are taken at a focal length somewhere between 50mm and 135mm. As a general guide, you can’t go wrong by selecting a focal length in that range.

Left: With a focal length of 35mm (taken up close), you should be able to see the distortion on the subject’s face caused by the wider angle lens. Canon 5D Mark III | Canon EF 16-35mm f/4L IS USM | 35mm | 1/125 sec | f/8 | ISO 200

Right: A 50mm focal length is a safer choice for portraits and is close to how the human eye sees. Canon 5D Mark III | Canon EF 50mm f/2.5 Macro | 50mm | 1/125 sec | f/5.6 | ISO 100

Now, that is, once again, not a rule. There are some amazing examples of portraits taken at extremely wide focal lengths, just as there are plenty of portrait examples taken with much longer focal lengths. If you think an extreme focal length is right for your portrait, go ahead and try it.

While you can use extreme focal lengths (such as 16mm, used in the photo above) if you want to, you will find that it’s usually best to stick to more traditional focal lengths for most purposes. Canon 5D Mark III | Canon EF 16-35mm f/4L IS USM | 16mm | 1/125 sec | f/5.6 | ISO 100

Perspective and viewpoint

Your viewpoint as the photographer has a huge impact on your portrait images, and there are a few things you can do and avoid to help you get better portraits.

Viewing angle

For the most part, try to keep your lens at the same level or below the level of your subject’s eyes. Shooting above and downward toward your subject has the effect of making your subject appear vulnerable and weak.

(This is my bias speaking. I really don’t like taking photos from above, but it is still not a rule.)

For stronger portraits, try to avoid that.

Left: Here, the camera was on a level with the floor. You can see the mild distortion this viewpoint has caused; the subject appears to be falling backward. Canon 5D Mark III | Canon EF 85mm f/1.8 | 85mm | 1/160 sec | f/9 | ISO 100

Right: Bringing the camera up to navel-height has removed the distortion. Canon 5D Mark III | Canon EF 85mm f/1.8 | 85mm | 1/160 sec | f/9 | ISO 100

Distortion

Just like when you are photographing buildings, having your camera not level to the ground can cause distortion in your images.

Converging verticals on a human subject look even weirder than they do on buildings. If you are shooting from above your subject, this can lead to distorted facial features. If you are shooting from below, it can cause distortions of the legs, arms, and torso that just won’t look right to your viewer.

Some of this can be mitigated by selecting a longer focal length or stepping further away from your subject, but this won’t completely prevent distortion. To avoid any of this distortion in close-up portraits, shoot from eye-level or just below eye-level. To avoid it in half-length to full-length portraits, shoot from the level of your subject’s navel.

Exposure

For the most part, exposure is another subjective topic. There is often no right or wrong exposure, but if you’re starting out with portraits, there are a few things that will help you along the way.

To ensure that you are retaining all of the details in your images, take test shots and watch the histogram as you are building your scene. Here, the spike on the left is the background, and the rest of the tones fall well within the two sides of the histogram, denoting relatively low contrast.

Portraits can have a lot of contrast in them. Just imagine a subject with light-colored hair who’s wearing a black shirt. For the best outcome, you will want to ensure that the exposure retains details in both extremes.

If you have access to them, tools like the light meter and the ColorChecker Passport shown above will help to give you accurate exposures and colors just about every time.

To ensure that you have retained all the details in your images, you can refer to the histogram on the back of your camera. A simple way to use this is to make sure that the information depicted by the histogram does not go past either the left-hand or the right-hand sides of the graph.

If the histogram goes off the right-hand side, your image will be overexposed and you will be missing details in the highlights of your image. If the histogram goes off the left-hand side, your image will be underexposed and you will be missing details in the shadows.

Manipulate the exposure

Sometimes, you won’t be able to retain all the detail in a given scene, as the contrast will be too high. In order to keep your shadows and highlights from clipping, you will want to manipulate the scene. There are a lot of ways you can do this.

You can use a reflector to bounce light into areas of the scene that are too dark, thus reducing the overall contrast of the scene. You could do the same with flash as fill light.

Using a reflector is a great way to help control the contrast in your images. Here, a piece of polystyrene (styrofoam) board from a package did the job and didn’t cost anything.

You could also use a diffuser in front of your main light source to soften the light and reduce the overall contrast in the frame. This works with both natural light and studio strobes.

Of course, in a studio, you could always opt to use a bigger modifier, or move your light source closer to your subject. Both of these have the effect of softening the light and reducing the overall contrast in your scene.

To soften your light, use bigger modifiers or bring them in close. Alternatively, as shown in the image above, do both and add a reflector for good measure.

If you are new to portraits but familiar with other aspects of photography, you can think of this as similar to using graduated neutral density filters in landscapes.

By placing a graduated neutral density filter in front of the lens, you are (usually) increasing the exposure time needed for one part of the image (usually the sky) so that it falls at a value closer to the foreground, reducing the contrast in the image by however many stops the filter represents.

You can think of these tools for portraits in the same way, except that they manipulate the actual light in the scene in front of you, rather than fitting onto the lens and manipulating the final exposure.

End

I feel the need to reemphasize that this article is in no way anti-post processing. Doing what you can at the capture stage is simply about better camera craft and obtaining a better starting point. Canon 5D Mark III | Canon EF 16-35mm f/4L IS USM | 35mm | 1/125 sec | f/5.6 | ISO 100

While this article is definitely not a complete and exhaustive guide to portrait techniques, these few basic tips should help you get your portraits right in camera. If you take your time to be mindful of your choices regarding camera settings, lighting, and exposure, you will start to find that you need to spend much less time in post-production.

Of course, if there are any tips that you use to get your portraits right in-camera, please feel free to leave them in a comment.

The post Tips for Getting Your Portraits Right In-Camera appeared first on Digital Photography School. It was authored by John McIntire.

Digital Photography School

September 6, 2020
Weekly Photography Challenge – Spring

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

Well, here in Australia where dPS is based, it’s SPRING and I can tell you, we’ve been looking forward to it! Share your ‘Spring’ photographs in the comments, or via social media (details below) make sure you tag your photos #dPSSpring

If it isn’t Spring where you are, we challenge you to interpret the weekly challenge theme in any way you see fit, as long as there’s a ‘Spring’ connection!

Some stunning photos from last week, here’s one from the blog comments by Rhonda Martin (See more of Rhonda’s here) beautiful work, Rhonda!

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.

Share in the dPS Facebook Group

You can also share your images in the dPS Facebook group as the challenge is posted there each week as well.

If you tag your photos on Flickr, Instagram, Twitter or other sites – tag them as #DPSSpring to help others find them. Linking back to this page might also help others know what you’re doing so that they can share in the fun.

Follow us on Instagram?

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

Digital Photography School

September 5, 2020
Tamron 28-200mm f/2.8-5.6 Di III RXD Lens for Sony Review
The post Tamron 28-200mm f/2.8-5.6 Di III RXD Lens for Sony Review appeared first on Digital Photography School. It was authored by Suzi Pratt.

The Tamron 28-200mm f/2.8-5.6 is a lens that Tamron touts as “the lightest and most compact f/2.8 tele zoom for Sony mirrorless.”

It debuted in the summer of 2020, and has a solid build quality and a reasonable price point, similar to the rest of Tamron’s recent lens offerings.

But how does the image quality stack up? Let’s find out.

Recent Tamron lenses

Tamron has been on a roll with its Sony E-mount lens releases lately.

The recently released 70-180mm f/2.8 completed Tamron’s holy trinity of fast zooms (the others being the Tamron 17-28mm f/2.8 and the Tamron 28-75mm f/2.8). All three of these lenses have been massively popular due to their solid builds, compact sizes, and affordable prices relative to their Sony G Master equivalents. Additionally, Tamron has released a handful of other fast prime lenses, including the Tamron 35mm f/2.8.

Tamron 28-200mm specs

The Tamron 28-200mm is a full-frame autofocus lens for Sony E-mount cameras. While it can be used with Sony APS-C cameras, it is best used with a full-frame camera. All sample images in this post were taken with the Sony a7R III.
- Focal Length: 28 to 200mm
- Maximum Aperture: f/2.8 to f/5.6
- Minimum Aperture: f/16 to f/32
- Angle of View: 75° 23′ to 12° 21′
- Minimum Focus Distance: 7.5″ (19.05 cm)
- Optical Design: 18 Elements in 14 Groups
- Diaphragm Blades: 7, Rounded
- Image Stabilization: No
- Filter Size: 67 mm (Front)
- Dimensions (ø x L): 2.91 x 4.6″ (74 x 116.8 mm)
- Weight: 1.27 lb (575.5 g)
Pros

Small and lightweight

Variable aperture lenses are often looked down upon by photographers, because you can’t retain a fast f-stop when you zoom in. This means shooting at 200mm on the 28-200mm will force you to shoot at f/5.6, making it much more difficult to shoot in low lighting. However, variable aperture lenses are generally much smaller and weigh less compared to zoom lenses with constant apertures.

Indeed, the Tamron 28-200mm is incredibly small and light given its focal range. This makes it a great lens for travel or landscape photographers who work with ample light and don’t mind sacrificing a fast aperture at all focal lengths.

Simple and easy to use

Like many recent Tamron lenses, the 28-200mm is very straightforward, with a single physical switch to lock the lens and keep it from sliding out when not in use.

Other than that, it’s an intuitive plug and play lens that works exceptionally well with Sony E-mount cameras. All autofocus features, including face detection and eye autofocus (for both people and animals), were fast and accurate; the lens performs well on Sony cameras.

Moisture resistant

The build quality is solid without adding lots of weight. The Tamron 28-200mm is moisture-resistant for use in wet conditions, and also has a fluorine coating on the front lens element to prevent dust and dirt build-up.

Speaking of the front lens element, the filter size is 67mm, exactly the same as the three lenses in the Tamron holy trinity. This makes it easy to interchange filters such as polarizers and ND filters among these lenses if you buy into the full Tamron lens system.

Sony a7R III | Tamron 28-200mm | 1/160 sec | f/11 | ISO 200

Five- or six-year extended warranty

This is a bonus that comes with all Tamron lenses. If you register the Tamron 28-200mm lens within two months of purchasing it, you get an extended six-year warranty if you are in the USA, or a five-year warranty if you are in Europe.

Compared to Sony’s one-year warranty, this is a pretty big advantage when going with a Tamron lens.

Great image quality

So with all of the great points about this lens, how is the image quality?

It’s surprisingly good for a variable-aperture lens. Bokeh or lens blur is soft and pleasing, especially at longer focal lengths. Image sharpness is phenomenal, although admittedly not as crisp as a prime lens. And chromatic aberration, or color fringing, which often plagues all-in-one zoom lenses, is not a problem on this lens.

Similarly, 4K video shot with this lens also boasts great image quality, which leads us to the next section of the article.

Sony a7R III | Tamron 28-200mm | 1/100 sec | f/4.5 | ISO 1600

Cons

No image stabilization

Unfortunately, none of Tamron’s recent Sony E-mount lenses come with image stabilization. This feature is likely withheld to keep lenses smaller and more affordable, but it means that the Tamron 28-200mm is not an optimal lens for video or shooting handheld in low light. If you use the lens with a camera that has in-body image stabilization (IBIS), this can help make up for the lack of lens-based image stabilization. But in my experience, it’s always best to have a camera with IBIS and a lens with image stabilization.

On the plus side, this lens is lightweight enough that you could use it on a gimbal for video work, as long as you can balance it out when shooting at longer focal lengths.

Variable aperture

While the Tamron 28-200mm does give you a fast f/2.8 aperture when shooting on the wide end, the more you zoom in, the slower the aperture gets.

This may not be a big deal-breaker if you tend to shoot in scenarios with tons of natural or artificial lighting. However, if you shoot a lot in low light, the variable aperture might bother you.

Comparison to the Sony 24-240mm

The most direct competitor to the Tamron 28-200mm is the long-standing Sony 24-240mm f/3.5-6.3 lens. This Sony lens is very close in size to the Tamron, although it is slightly heavier, coming in at 780 g (1.72 lb) compared to 575 g (1.27 lb).

However, the Sony 24-240mm does offer slightly more range than the Tamron, plus it has OSS, or optical image stabilization. The OSS comes in handy if you shoot video, or like to have extra support when shooting handheld. The Sony lens does cost more, at $ 1,085 USD, but it has been out for so long that used versions of the lens can be had for prices similar to that of the Tamron.

If you value the extra range and OSS, the Sony may be the better all-in-one lens for you. However, it is quite a bit heavier than the Tamron and also has a significantly shorter warranty.

Sample image gallery
- Sony a7R III | Tamron 28-200mm | 1/60 sec | f/6.3 | ISO 1250
- Sony a7R III | Tamron 28-200mm | 1/125 sec | f/5.6 | ISO 2500
- Sony a7R III | Tamron 28-200mm | 1/160 sec | f/4.5 | ISO 2500
- Sony a7R III | Tamron 28-200mm | 1/80 sec | f/4.5 | ISO 2000
- Sony a7R III | Tamron 28-200mm | 1/250 sec | f/4.5 | ISO 2000
- Sony a7R III | Tamron 28-200mm | 1/125 sec | f/7.1 | ISO 1000
- Sony a7R III | Tamron 28-200mm | 1/320 sec | f/5.6 | ISO 1250
The post Tamron 28-200mm f/2.8-5.6 Di III RXD Lens for Sony Review appeared first on Digital Photography School. It was authored by Suzi Pratt.

Digital Photography School
September 4, 2020
How Does Adobe Stock Work: Successfully Selling Your Photos

Posts with images get 650% more engagement than those without. For this simple reason, stock photos are in high demand and it’s unlikely that demand will be going away anytime soon — and that’s just content writers. Designers, artists, and other creatives always need new design assets and content for their work. This has given rise to a number of Continue Reading

The post How Does Adobe Stock Work: Successfully Selling Your Photos appeared first on Photodoto.

Photodoto

September 4, 2020
Tips For Making Someone Comfortable in Front of the Camera

The post Tips For Making Someone Comfortable in Front of the Camera appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

For many photographers, making someone comfortable in front of the camera is a huge challenge. It’s often so difficult that they shy away from photographing people altogether. Or they only photograph people candidly with a long lens.

Much has been written about camera control, composition, and other aspects of photography. These things require no relationship skills.

But when you photograph people, making your subject comfortable is often essential.

© Kevin Landwer-Johan Nikon D700 | 105mm | 1/320s | f/3.2 | ISO 400

When a person does not like having their photo taken, it shows in their expression. Your camera captures this. That’s why you need to help your subject overcome their anxiety about being photographed (which is particularly difficult for shy photographers).

Here are fifteen tips for making someone comfortable in front of your camera.

Tip #1: Provide instructions before the photo session

Prepare your subject before the photo shoot. Talk about what they will wear. Suggest the best time of day.

Take into account the timing. Will they be needing to rush away to another appointment? Having plenty of time is helpful.

© Kevin Landwer-Johan Nikon D700 | 105mm | 1/10s| f/4.5 | ISO 100

Tip #2: Prepare ideas for what you want to do

Turning up to a portrait session with no ideas is not a good way of making someone comfortable. Talk with your subject prior to the photo session and share some of your ideas.

Talk with them about what they want. Tell them your ideas for the portrait session, and ask if they have anything specific in mind.

Be positive, even if you don’t like what they are suggesting. If you follow through with their suggestions, it will help them feel included. They’ll then be more likely to relax and enjoy themselves.

© Kevin Landwer-Johan Nikon D800 | 105mm | 1/200s | f/14 | ISO 640

Tip #3: Choose a good location where your subject will be comfortable

You may use a certain location because you love it. But your subject may not like it at all. Check with them first.

There’s no point picking a place to photograph that will make your subject uncomfortable.

Often, it’s best to find somewhere away from where other people will be. If your subject is uncomfortable being photographed, they will not want to do the session in a location where others can see the process.

© Kevin Landwer-Johan Nikon D700 | 105mm | 1/160s | f/2.5 | ISO 500

Tip #4: Be early to your photo session

Arrive at the location of your photo session plenty of time before your subject does. Scope out the location. How is the lighting? What will be in the background? Figure out the best combination of these things and some places to position the person you’re photographing.

This may not seem relevant to making someone comfortable, but it is. The more you can sort out these issues in advance, the more you’ll be able to give your attention to your subject when they arrive.

© Kevin Landwer-Johan Nikon D800 | 35mm |1/2500s | f/2 | ISO 640

Tip #5: Have your gear set up and ready

Make sure your camera equipment is set and ready to use. Are your camera batteries charged? Do you have enough space on your cards? Will you need to use your flash or a reflector?

Know what exposure mode you’ll use. Set up your camera as much as possible before the person you’re photographing even arrives.

Having your gear set and ready to use allows you to concentrate more on your subject and on other aspects of photography. Making someone comfortable requires you to pay more attention to the subject than to your camera.

© Kevin Landwer-Johan Nikon D700 | 35mm | 1/125 | f/4.5 | ISO 800

Tip #6: Take time to connect with your subject

Be there for your subject and let them know it. Don’t rush in and start taking photos immediately. Spending time having a conversation will help them relax and build confidence in you.

Focus the conversation on them and keep it positive. Don’t discuss how difficult it was to find parking, and don’t discuss politics. These topics are not uplifting and will not help make someone comfortable.

Show you are interested in who they are. Asking people questions shows you care about your subject and will help build their confidence.

© Kevin Landwer-Johan Nikon D800 | 105mm | 1/200s | f/9 | ISO 100

Tip #7: Coach your subject

Explain to your subject that when they’re stressed, this will show in the photographs. You know they need to relax and why, but they may not know this. You need to take some time to explain it to them.

People often don’t look the same way in a photograph as they do in the mirror. Even if they’re stressed and see their reflection in a mirror, it’s different than the way they will look when being photographed if they are not relaxed. They will not like what they see in the photos. It’s vital that you overcome this, and explaining your reasons will often help matters.

If you get the sense that a person is uncomfortable being photographed, talk to them about it before the photo session. Then remind them again before you start taking photos. Give them time to think about what you’ve said and continue your conversation. It’s almost like giving someone a mental massage to help their mind relax.

© Kevin Landwer-Johan Nikon D700 | 50mm | 1/10s | f/11 | ISO 100

Tip #8: Remind your subject how good they look

Frequently commenting on how good a person looks will help them have confidence and feel more relaxed. Be careful to be genuine. Notice moments when your subject is more open and carefree. These are the times to compliment them as you are taking their photographs.

Tell them how happy you are with the photos you are taking. Talk to them about their smile and how good their hair looks. Mention positive aspects about the clothing they have chosen. Talk about how nice they look in a certain pose.

Don’t overdo the compliments or you’ll start to sound fake. Keep it balanced and be gentle but honest if something doesn’t look right.

© Kevin Landwer-Johan Nikon D800 | 35mm | 1/125s | f/9 | ISO 100

Tip #9: Fix hair and clothing

You can almost always find some aspect of a person’s hair or clothing that needs a little tweaking. Even when you can’t see anything out of place, tweak anyway!

Paying attention to these details and putting them right does two things. It’ll make your photos better, and it will help make your subject comfortable. They will feel good that you’re paying attention to them and you’re focused on making them look good.

© Kevin Landwer-Johan Nikon D800 | 105mm | 1/125s | f/2.8 | ISO 500

Tip #10: Start with a long(ish) lens

Put a little distance between your camera and your subject. Getting too close may not be comfortable for them. Using a 105mm or 135mm lens will provide a convenient distance.

Don’t use a monster of a lens. This can be intimidating. It’s one reason I am not a fan of 70-200mm f/2.8 zooms; they are so bulky and can be off-putting.

A little further into the photo session, you can consider coming in closer with a 50mm or 35mm lens. The person you’re photographing will need to feel good about you being this close. If they are comfortable at closer distances, your photos will be more intimate than ones taken with a long lens.

© Kevin Landwer-Johan Nikon D700 | 135mm | 1/125s | f/4.5 | ISO 320

Tip #11: Show your subject the photos you’re taking

The monitor on the back of a digital camera is a great tool for making someone comfortable. When you show them how good they’re looking, it’ll build their confidence.

This young woman was surprisingly uncomfortable when I came to photograph her and some of her friends. She was part of a drama group, and I’d observed her confidence on stage in front of a crowd. But the self-assurance was missing when she was in front of my camera for the first time. Once I’d taken a few good photos, I showed them to her. She was impressed, so she immediately relaxed and enjoyed the photo session greatly.

© Kevin Landwer-Johan Nikon D700 | 35mm | 1/400s | f/5 | ISO 400

Tip #12: Slow down

Take time to do what you do well. Don’t be in a rush. Work carefully. Check your camera settings. Review your photos and make changes when you need to. Don’t work so fast you miss when you are making mistakes (because they will happen).

Plan for the photo session to last more time than you think it will. If you have extra time at the end, buy the person you’re photographing a coffee. This might be another opportunity for a few more nice pictures of them.

© Kevin Landwer-Johan Nikon D800 | 35mm | 1/100s | f/4 | ISO 100

Tip #13: Provide some form of distraction

Use props or another person to help draw attention away from yourself and your camera. When someone is nervous about being photographed, it can help when they are distracted. They are more likely to look relaxed and natural when they are not paying attention to your camera.

When photographing a bride at a wedding, I’d often get the groom to stand just behind me and have him talk to his bride. There’s no way I’d get the same look from a bride as when she’s looking at her groom.

For this photo, I asked the subject to pretend to talk on her phone, as I thought this might help. It worked very well. Later she told me that she had actually called a friend and was talking to her, so she was totally distracted.

© Kevin Landwer-Johan Nikon D700 | 105mm | 1/640s | f/2.5 | ISO 200

Tip #14: Genuinely have fun!

Have a nice manner and be positive; this will help you inject some fun into the photo session. When people are happy and relaxed, you’ll certainly get better photos of them.

Come up with some things that you can talk about or funny stories you can tell. Try to laugh together when things don’t go exactly as planned. If you have a positive attitude, this will rub off on the person you are photographing.

© Kevin Landwer-Johan Nikon D800 | 50mm | 1/125s | f/9 | ISO 200

Tip #15: Be confident and your subject will be confident in return

Confidence in what you are doing is vital. Don’t be brash and boastful. Don’t bamboozle people with your photography knowledge or with how good your camera is. Just use your camera with certainty. If you are stressed and nervous yourself, the person you are photographing will feel uncomfortable.

Being quietly confident in what you’re doing, even if you’re a shy photographer, will help your subjects relax. Your mood and attitude will be reflected back to you by the people you are photographing.

© Kevin Landwer-Johan Nikon D700 | 105mm | 1/100s | f/11 | ISO 400

Conclusion

Making someone comfortable is as important as getting your camera settings correct. So often I see portraits of people where it’s obvious they were not relaxed. As a photographer, it’s your mission to ensure the person you’re taking pictures of looks good. Much of this depends on how relaxed and confident the subject feels.

And I am not satisfied with the portraits I take unless my subject is, too.

Let me know in the comments below which of these tips you find the most helpful. Please also share other techniques you use for making someone comfortable when you are photographing them.

The post Tips For Making Someone Comfortable in Front of the Camera appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

Digital Photography School

September 4, 2020
5 Reasons to Get Photoshop Express on Your Phone

The post 5 Reasons to Get Photoshop Express on Your Phone appeared first on Digital Photography School. It was authored by Ana Mireles.

Adobe has developed many Photoshop apps, but none are as popular as the desktop version (Photoshop CC). That said, maybe it’s time for this to change, at least for one of Adobe’s apps: Photoshop Express.

In this article, I’ll tell you five reasons why I recommend you give Photoshop Express a try.

Adobe decided to introduce three different apps to cover the full range of editing that Photoshop can offer: Photoshop Fix, Photoshop Mix, and Photoshop Express. In this article, I’m going to talk about Photoshop Express, and why I believe it’s worth downloading.

1. It’s free

Unlike the desktop version of Photoshop, you don’t need a Creative Cloud subscription in order to use Photoshop Express.

You can download the app for free, and you’ll get access to all the features and updates.

You do have to create an Adobe account, though (one that also allows you to use a limited version of Lightroom Mobile).

2. It’s social

A very important thing for a photo editing app is the social aspect. You want to snap and share photos with ease.

Adobe took this into account when designing the cropping tool. With Photoshop Express, you can crop your images using the array of predetermined sizes for Facebook, Instagram, Pinterest, LinkedIn, Etsy, and most other major social networks.

For example: When cropping for Facebook, you can choose from the Page Cover, the Event Cover, the Profile Cover, the Profile, or the Ad.

Of course, you can then share your photo directly from the app. From there, you can also add a watermark, send the image to Creative Cloud if you are a subscriber, send the image to a printer, and more.

3. You control size and compression

Unlike many other editing apps, Photoshop Express lets you choose the size and quality of your file before saving or sharing it.

You can set a default JPEG Quality and a default Image Size in the Preferences of the app. To set this up, tap on the menu (in the top-left corner). Then go to Preferences and then Save Options.

You can also change size and quality in the final stage of your saving or sharing process. Before you choose the destination of your image, click on the settings below the thumbnail (so you can modify them).

4. You can work with RAW files

A RAW file is like a digital negative. It saves the information from the shot prior to processing; that way, you have much more to work with when you’re editing, and the quality will be superior.

Of course, this means that the file size will be bigger, so keep an eye on your storage space. If you have a camera, you probably know that each brand has its own RAW files. For example, Canon uses CRW/CR2/CR3, while Nikon uses NEF/NRW. A standard and open-source RAW format is a DNG file, which is what you get if you shoot using Lightroom Mobile.

On the left, you can see how a RAW file is clearly marked in the gallery. That one was shot using the camera from Lightroom Mobile. On the right, you see the post-processed version of that file (edited using Photoshop Express).

5. You can do all your post-processing

Last but not least, the editing capabilities of Photoshop Express are top-notch. After all, the app was created by a company that has been leading the post-processing market for decades.

That said, Photoshop Express won’t reach the level of editing that you can do with the desktop version of Photoshop. That’s why there are three apps.

However, if you consider that Photoshop Express is free and won’t take up all your phone storage space, it’s actually very good.

Snapshot made with a Redmi Note 8, later post-processed in Photoshop Express.

Also, Photoshop Express includes many presets for looks, effects, stickers, frames, etc. That way, you can do some serious post-processing, or you can just create fun posts for your social media feed.

Conclusion

With so many editing apps on the market, it’s difficult to make a choice; sometimes you end up downloading a different app for each purpose.

However, Photoshop Express has proven to be an all-purpose and well-rounded app.

And if you have an iPhone, you’ll get some additional features.

Share in the comments if you decide to try Photoshop Express, and let me know what you think.

The post 5 Reasons to Get Photoshop Express on Your Phone appeared first on Digital Photography School. It was authored by Ana Mireles.

Digital Photography School

September 2, 2020
5 List-Making Exercises to Improve Creativity in Photography

The post 5 List-Making Exercises to Improve Creativity in Photography appeared first on Digital Photography School. It was authored by Megan Kennedy.

We’ve all made lists before: shopping lists, to-do lists, Christmas lists, and more. List-making can be a valuable asset to photography, too. In this article, we’ll look at the benefits of list-making, how it can improve creativity, and some effective list-making exercises.

The benefits of list-making

List-making can improve creativity in a number of ways. For example, many of us tend to remember tasks that need to be done better than we remember the tasks we’ve completed. This can generate a feeling of being overwhelmed, which can lead to something called task paralysis. Making lists provides a visual reminder of our progress over a period of time, inspiring creative momentum and a sense of accomplishment.

In addition, a recent study has shown that the simple act of jotting down a list of to-dos is enough to ease the anxiousness brought on by incomplete tasks. List-making also encourages brainstorming, a pillar of the creative process. By creating an accessible layout of tasks and ideas, lists give goals a certain tangibility, facilitating active steps towards a positive creative outcome.

List-making isn’t restricted to pen and paper. There are plenty of useful apps for making and reviewing lists, too. Android apps pictured: Notepad (left); Habits (right).

List #1: Things I don’t know (and how to learn them)

I’ll admit that a things I don’t know list sounds a little pessimistic at first. But identifying areas you know little about is the best way to target gaps in your own practice.

Take a bit of paper, use a list-making app, open a Word document, or select a page from a notebook (whatever works), and start listing the facets of photography you want/need to know more about. You can list anything, from art theory to photography tricks to post-processing techniques. Next, pair your points with a few words about how you might actively bridge these knowledge gaps.

Here’s an example:

You’ll see that I’ve added timelines to each point on the list, too. Adding a timeline helps bolster your commitment to incorporate the listed tasks into a creative routine.

Naturally, the time you assign to each goal will depend on your daily habits and the goal itself. Just remember that any dedicated length of time invested in your practice is far better than investing no time at all. If you aren’t sure about your timeline, start small and make adjustments incrementally.

Put your list somewhere visible as a reminder of your goals. As you progress, make additions or amendments to your list; your plan should always be open to change. You could even create a checklist to help improve creativity and to map the trajectory of your creative growth.

List #2: Subjects I want to photograph (but haven’t yet)

We all have subjects we would love to photograph, but haven’t yet. Making a list of subjects you aspire to photograph is a productive way to set goals that will broaden and improve creativity.

To start a subjects I want to photograph list, first type/write out some realistic subjects that you would like to photograph in the short and/or long term. Next, add some necessities that will facilitate these goals. Will you need particular equipment? Additional experience in the field? A passport? Savings? Research? List anything that comes to mind. Here’s a quick example:

Note that I have added research to each individual goal. Solid research is fundamental to most photographic undertakings. To tease out what particulars you might need to research, you can use the things I don’t know list!

Once you have your outline, you’re free to break down your list into more detailed segments. For example, you could plan a budget for acquiring suitable equipment. Some goals will be more long-term than others, but having a list will enable you to take decisive steps toward successfully photographing your dream subject.

List #3: Creatives that inspire

There are many artists that inspire my creative practice. So many, in fact, that it can be hard to keep track. That’s where list number number three comes in.

Inspiration drawn from other creatives can reveal new approaches to your own photography. Canon 5D Mark II | Canon EF 50mm f/1.8 II with extension tubes | 1/125s | f/3.5 | ISO 500.

Making a thoughtfully curated list of creatives that inspire and motivate your practice is a great way to maintain momentum and stimulate ideas. From recording your favorite photographers in an alphabetical Excel spreadsheet to noting the names of impactful artists in a visual diary, creating a list of inspirational creatives provides an accessible point-of-reference that can improve creativity in a lull.

List #4: Photography goals

Making a photography goals list is a lot like making a subjects I want to photograph list. The idea is to lay out goals paired with actionable steps to achieve a desired creative outcome. Here is a quick example:

Again, you can break down your actionable steps even further by creating checklists, budgets, or timelines. List-making rewards persistence while focusing and improving creativity; it also emphasizes the value of each step toward an overall creative objective. Keep your list somewhere you’ll see it regularly and use it as a compass and a source of inspiration when goals seem far away.

List #5: Why I love photography

Like most things, photography has its ups and downs. When things go right and inspiration flows, it can be smooth sailing. But when things go wrong, you can start to feel the pressure of creative fatigue. Fortunately, lists are a great way to help ease the burden of a creative dry spell.

Photography will take you to amazing places, and it can all start with a simple list! Canon 5D Mark II | Canon EF 24-105 mm f/4L IS USM | 1/200s | f/6.3 | ISO 100.

The why I love photography list is an opportunity to reflect on what it is that makes you do what you do as a photographer. What made you fall in love with photography in the first place? How does photography inspire you? What do you love about your favorite subject matter? How has photography positively impacted your life? What drives you to make your next shot?

There are so many reasons people fall in love with photographic image-making, and listing them creates something concrete to draw upon when needed, helping you to improve creativity and clear the fog of artistic fatigue.

Conclusion

Lists aren’t just great for remembering things; they’re an opportunity to improve creativity and expand creative practice. Lists give order to chaos, they provide a plan to work through, and they supply proof of what has been achieved.

By making lists, we can reinforce ideas, formulate goals, and track sources of inspiration and success. Happy listing!

The post 5 List-Making Exercises to Improve Creativity in Photography appeared first on Digital Photography School. It was authored by Megan Kennedy.

Digital Photography School

September 1, 2020
Canon EOS M7 Rumored to Arrive in 2020 With Dual Card Slots, 2.36M-Dot EVF

The post Canon EOS M7 Rumored to Arrive in 2020 With Dual Card Slots, 2.36M-Dot EVF appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

With most photographers focused on Canon’s new EOS R models, rumors of another couple of Canon EOS M cameras have mostly flown under the radar. This includes talk of a potential EOS M7, as well as a rumored EOS M50 Mark II.

And information continues to leak, including recent Canon EOS M7 specifications; if the rumors are accurate, it’s shaping up to be one impressive camera.

Canon Rumors suggests we may get:

A 32-megapixel sensor.

In-body image stabilization.

A 2.36M-dot electronic viewfinder.

12 frames-per-second shooting.

Dual card slots.

4K/60p.

Nice, right?

Unfortunately, the same set of rumors also puts the EOS M7 price at $ 1599 USD, which is significantly more expensive than either the EOS M50 and the EOS M6 Mark II. But if the EOS M7 is, as many have speculated, a higher-end, durable APS-C mirrorless model from Canon, this pricing could make sense.

Now, the features listed above are unconfirmed (Canon Rumors marks them as CR1), so take them with a pinch of salt. But the EOS M7 has long been a topic of discussion, including speculation of the camera as a mirrorless replacement to the Canon EOS 7D series, which was a favorite set of DSLRs among bird and wildlife photographers.

If the latter is true, the EOS M7 should, first and foremost, be an action photography camera. This is hinted at by the (relatively) fast continuous shooting specification, as well as the dual card slots, but we’ll have to wait and see regarding its durability (the 7D series was known for its large, tough bodies).

Interestingly, Canon Rumors also mentions the possibility of the EOS M line drawing to a close in 2021, with Canon focusing entirely on the EOS R lineup, including (perhaps) an APS-C EOS R model. If such a rumor were true, then the EOS M7 and the EOS M50 Mark II may be some of the last EOS M bodies we ever get.

Of course, this is also completely unsubstantiated, so just keep an eye out for related news in the future!

Now over to you:

What do you think about the rumored specifications for the Canon EOS M7? Is it a camera you’d be interested in? Also, do you think that Canon will truly discard its EOS M lineup? Share your thoughts in the comments!

The post Canon EOS M7 Rumored to Arrive in 2020 With Dual Card Slots, 2.36M-Dot EVF appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Digital Photography School

August 31, 2020
5 Quick Reasons to Use the Nifty Fifty for Landscape Photography

The post 5 Quick Reasons to Use the Nifty Fifty for Landscape Photography appeared first on Digital Photography School. It was authored by Tim Gilbreath.

The 50mm prime lens, commonly known as the Nifty Fifty, is a lens that even inexperienced photographers have likely heard of. Most of us know it for its outstanding qualities; it’s an inexpensive, high-quality, prime lens that is in plenty of photographers’ bags around the world and is one of the most popular lenses of all time.

What we might not think of a Nifty Fifty as, however, is a lens normally used for landscape photography. The field of view is tight, and the lens doesn’t possess a focal length wide enough to usually be considered proper for this sort of work.

But I have. For four years, the 50mm f/1.8 has been my workhorse for portfolio building (which is primarily nature and landscape), and even though I’m branching off with other lenses, I can’t stress the usefulness of the Nifty Fifty. And I’m not alone.

My primary reasoning for using the 50mm instead of going out and buying a proper wide-angle lens such as a 35mm or even wider?

Cost.

I was diving back into photography, and I was on an extremely tight budget. After buying my camera, spending $ 500 on a lens simply wasn’t an option. It didn’t take long for me to hear my fellow photographers sing the praises of this wonderful lens: cheap, fast, and sharp. Right up my alley.

There are no tricks or immaculate revelations here, and you won’t likely become famous for taking only landscape shots with 50mm lenses. But there are a few reasons why shooting landscapes with a 50mm lens can produce great results.

Giving it a try can only improve your photography and make you a better observer of the world around you.

Focus on what’s important

We think of landscapes as sprawling, wide shots that include many elements in one frame, but do they have to be that way? Can we not capture the beauty of the area around us in a tighter package? The rolling hills and an interesting tree in an outdoor scene are more than enough to create a photo that provokes thought.

The Nifty Fifty makes it easier to focus on whatever is most important in your photo, while still capturing enough around the subject to lend the shot scope.

Shooting at this focal length forces us to focus on the most important parts of what we’re seeing around us. Trimming the fat, as they say. In doing this, we’re also training ourselves psychologically to do the same in all of our shots.

Quality

Landscapes usually require very good sharpness, and 50mm prime lenses excel at that. No extra moving parts normally required for zooms makes for a crisper, sharper result. As with most lenses, the Nifty Fifty sweet spot isn’t wide open, but more in the f/4 to f/5.6 range. And narrower apertures will still yield excellent results.

The 50mm prime allows you to capture very sharp images.

Take your time

Since the 50mm is a prime lens, you’ll get an added benefit (or detriment, depending on how much you care for walking): The single focal length means you can’t just shoot from anywhere. Instead, you’ll need to move around to find the best angle and distance. This automatically forces you to think about your shot a bit more, which is always a good thing.

A 50mm lens allows you to think differently about the landscape or subject you’re framing and to make more creative choices.

With a zoom, you’d adjust focal length without even thinking until the scene is framed in a way that looks good. But what if that isn’t the best angle or distance? The Nifty Fifty will give you the incentive to take a chance and try something different, whether it be an angle, a distance, or a perspective.

No wide angle…or can there be?

Of course, there can! The 50mm gives you a gentle push into playing around with some panoramic shots. Three, four, five, or more shots can be stitched into a flattering wide-angle composite, sometimes with even more dramatic results than a single wide-angle shot.

By stitching together shots, we can create a panorama that gives us the wide field of view we’re looking for.

Lightweight is king

If you’re serious about landscape photography, you’re probably already lugging around a considerable amount of gear. Camera bodies, other lenses (you don’t go out with just one lens, do you?), tripods; the list goes on.

The last thing you need is more heavy lenses when you’re out and about, right? Do you know what the Canon 50mm f/1.8 weighs? 4.6 ounces (130 g). It’s short, sweet, and light to boot.

At the end of the day, all lenses and focal lengths have advantages and disadvantages, and the case can certainly be made for using wider glass. But, as a teaching tool, the 50mm prime lens is a great option for your landscape photography; it will make you think a bit differently about your photos and easily provide you with clear, sharp images.

The post 5 Quick Reasons to Use the Nifty Fifty for Landscape Photography appeared first on Digital Photography School. It was authored by Tim Gilbreath.

Digital Photography School

August 30, 2020
Create Beautiful Indoor Portraits Without Flash (NSFW)
The post Create Beautiful Indoor Portraits Without Flash (NSFW) appeared first on Digital Photography School. It was authored by Ed Verosky.

Ed Verosky is a professional photographer and author based in New York. In this article, Verosky explains how to create portraits using natural and ambient light only. To learn more about achieving great lighting in any situation, check out Verosky’s popular eBook, “100% Reliable Flash Photography.“

Note: This post contains one image with very mild nudity (in fact, so mild you might not even see it).

For me, using flash can be the most efficient way to create a high-quality portrait. There’s nothing like it for an editorial shoot when you need that combination of full lighting control, minimal shooting time, and predictable results. Sure, you have to know what you’re doing to make it come together like that. But that ability comes with knowledge and experience.

Mastering flash means mastering your light in any situation. Sometimes, however, there is beautiful light to be found, just waiting there for you to use it. Natural and constant ambient light can be your best friends if you have a little time and flexibility with the environment and your subject.

Constant light, as opposed to flash/strobe lighting, will allow you to see and adjust its effect on your subject and the environment in real-time. This is a great way to learn about lighting placement and this knowledge and experience will certainly carry over into your flash portraiture. As I like to say, “light is light,” meaning that the principles of lighting a subject and the environment are essentially the same whether the light source is a quick “flash” or a constant illumination.

The main difference is that the flash is capable of producing a more intense light but with too short of a duration for the photographer to see the effects of its position on the subject in real-time. With constant lighting, you can casually move the lights and your subject around and know instantly how the changes will affect the portrait you’re making. With a few test shots to check exposure, you’re good to go.

Lighting setups

Natural light. Window light is just about the most beautiful light you can find when the conditions are right. It can serve as a huge softbox and be manipulated with any combination of window dressings such as blinds and curtains. Simply place your subject nearby the window and let the light create much of the portrait’s drama. I like to position the subject so that there is plenty of shadow to one side, providing many options for classic portraiture looks.

Window light narrowed with curtains. ISO 800, 50mm, f/2.8, 1/80 sec.

Household lights. You can also make great use of simple household lamps. I like to remove the shades off the room lights and utilize them as bare bulb light sources. To start off, just position the main light in front and to one side of your subject, preferably several inches higher than their head. This will give you a classic lighting pattern to work with. A second light may be placed farther back from the subject and serve as a backlight or kicker, which will add dimension.

A setup consisting of two household lamps, minus the lampshades. The kicker is behind Kelly ,and the main lamp is almost directly in front of her, just to camera right. ISO 800, 50mm, f/2.8, 1/60 sec.

Camera settings

My general advice for any indoor shooting is to think “fast and wide.” Your initial camera settings should be a balance of the highest ISO possible that will still provide acceptable noise levels for your purposes, the widest aperture your lens will allow, and the fastest workable shutter speed.

Of course, each of these controls is interrelated and integral to overall exposure, so you’ll have to make some adjustments and concessions for the environment you’re working in, and for the effect you’re trying to achieve in your shots.

Fortunately, most DSLRs are now capable of low noise even when using high ISO speeds, so most room lighting and even low natural light won’t be a problem for you. But even if your camera happens to produce lots of noise at higher ISOs, that isn’t necessarily a big concern. Either leave the noise as is, or bring some of it down in post-processing using your choice of available noise reduction techniques.

Many photographers actually artificially add noise back into their images in order to reproduce the look of film, or otherwise reduce the super-clean, slick, digital look coming out of the camera. Simple advice: Don’t worry about the noise unless it gets in the way of the image you’re trying to create.

Another thing that will really help with achieving beautiful portraits in lower lighting situations is a fast lens. By “fast,” we’re referring to a lens with a wide aperture of at least f/2.8. The wider the aperture, the more light the lens allows to pass through in a given unit of time. This will give you more freedom with your ISO settings (as they won’t have to be so high to compensate for less light coming in through the lens), and faster shutter speeds (as they won’t have to be so low to compensate for less light coming in through the lens). Lenses with wider apertures also have the capability of shallow depth-of-field, which can greatly add to the interest and mystique of your portraiture.

Shutter speed is an important consideration not just because of its effect on overall exposure, but also because of potential blur with lower shutter speeds. As with ISO, however, the effect of supposedly less-than-optimal shutter speeds is what you make it. You might find an occasional blurry image makes a rather artistic statement. Every portrait doesn’t have to be as sharp as a tack.

Another household lightbulb setup, featuring Chris. I used a bare household lightbulb off to camera-left to illuminate her on one side and the background at the same time. The main light is coming in from camera right. ISO 800, 85mm, f/1.8, 1/60 sec.

So, with those factors in mind, you might want to try the following exposure combination as a starting point and adjust according to your needs:
- Camera Mode: Aperture Priority
- Aperture: f/2.8 (or the widest possible for your lens)
- ISO: 800
- Shutter Speed (target): 1/100 sec. or higher.
In Aperture Priority mode, your camera will automatically set the shutter speed for you while you control everything else. You’ll have to pay attention to your shutter speed to make sure it isn’t falling so low as to create unwanted blurring. Again, these are just starting points. With a stationary pose and a steady hand, I’ve managed handheld shutter speeds as low as 1/15 sec. and produced good results. You might also want to try your camera’s Manual mode to maintain full control of your settings. If your lighting conditions are going to be fairly static, I’d recommend it.

Also, you will most likely benefit from shooting in your camera’s RAW (NEF) format so that critical adjustments, like white balance, exposure, and contrast, can be made easily and with minimal loss of information in post-processing. Although white balance settings aren’t actually imposed on the RAW file, you can set white balance as you wish during shooting in order to get an idea of what the final image might look like. Plus, a chosen WB setting will tell your processing software what color temperature and tint settings to best start off with for each image.

Window light illuminates Satu. ISO 800, 50mm, f/4, 1/200 sec.

Post-Processing

Aside from the creative post-processing possible with your ambient light images, there are some things you might want to address in the initial post-processing effort:

White Balance: Not all light sources produce the same color temperatures. Despite what they look like to our eyes, the camera will record various types of household lighting (fluorescent, tungsten, daylight balanced) and natural light (sunset, cloudy, shade) as producing different color casts.

So if you are shooting a portrait using a bright tungsten light as your subject’s main light, but you have a strong window light coming through in the background, you might have an undesirable color mix to deal with.

Fortunately, you can correct these types of color mismatches in post-processing by making a general white balance setting choice in your software and selectively altering the offending colors in specific parts of the image. If this isn’t something you’d like to worry about, then don’t. The colors might be acceptable just the way they are. If not, you always have artistic color-altering effects and even black and white conversion options. So, it’s all good.

Noise Issues: I personally like a little noise in my images most of the time. But if you had to use very high ISO settings to get your shots, and have the need to bring some of the noise down, there are a number of good built-in, stand-alone, and plug-in software options to handle this. I will occasionally use the noise reduction tools in Lightroom or my Photoshop Noise Ninja plug-in, for example.

Natural and ambient light photography indoors can be a great way to learn the finer points of lighting your portraits. The actual experience for you and your subject is also worlds apart from the strobe and studio effect of working with flash. Unlike outdoor shooting, indoor work without flash can introduce problems having to do with lower lighting situations. Using some of the advice above, you should be able to handle the challenges of low-light portraiture and come away with great-looking images.

If you would like to learn how to get amazing light in any situation, check out Ed Verosky’s eBook, “100% Reliable Flash Photography.” It’s a great resource that has helped thousands of photographers improve their use of flash and ambient light for portraiture.

The post Create Beautiful Indoor Portraits Without Flash (NSFW) appeared first on Digital Photography School. It was authored by Ed Verosky.

Digital Photography School
August 29, 2020