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Archive for March, 2018

How to Turn Your Photos into Painterly Style Watercolor Art

02 Mar

It’s fun to be creative with your photos, elevating them beyond a digital image and into painterly style art instead. Perhaps you have a great shot of your dog but the neighbor’s bright red car is distracting in the background. Maybe your kid was cute at the park but the swings are poking into one side of the shot. It might be nice to make a festive or birthday card for a relative with the personal touch.

Or maybe you have seen other people doing cool creative stuff on Instagram and you would like to have a go too?

How to Turn Your Photos into Painterly Style Watercolor Art

Image of my cat Cognac created in Waterlili.

There are many ways to edit your images with a painterly style, for this article we are going to focus on the possibilities on offer to make your images look like watercolor art. Whether you use a PC, Laptop, tablet or phone, there is something available. You don’t need Photoshop nor do you always need to spend heaps of money on software either.

Note: This isn’t a How To article, this is us dipping our toe into the water to see what the options are – some are quite complicated and probably need Photoshop (or similar).

Watercolor Programs and Apps

There are many different ways to achieve a watercolor effect. Some are surprisingly easy and yet effective, and some are a lot more complicated. Let’s start with the easy options and go from there.

1. Dedicated Mobile Apps

I have an iPad for doing creative work and there are a couple of specific Watercolor Apps that I like. They have a realistic effect and enough capability to allow you to tweak them and get some variety with your final efforts.

Waterlili

Waterlili turns your image into a watercolor and allows you to tweak color, contrast and saturation. It also has an built-in mask effect for adding some uniqueness to your image.

Waterlili is available for IOS.

How to Turn Your Photos into Painterly Style Watercolor Art - lilacs

Original photo before editing.

How to Turn Your Photos into Painterly Style Watercolor Art - lilacs

Lilac flowers done in Waterlili.

 

How to Turn Your Photos into Painterly Style Watercolor Art - lilacs

Same image as above, but have applied a watercolor mask effect in Waterlili for a different outcome.

Waterlogue

Waterlogue has several preset options to choose from, and some contrast options to apply. You can save your image in a variety of image file sizes (small files can be used in social media, large files could be printed).

Available for IOS, Android and Win10.

How to Turn Your Photos into Painterly Style Watercolor Art - cat photo

Original image before editing in Waterlogue.

How to Turn Your Photos into Painterly Style Watercolor Art - cat image painterly style

2. Creative Mobile Apps

A creative app is one that allows you more scope with your editing, and offers a variety of different creative and editing options. It isn’t a “one hit wonder” like the first options above. My weapon of choice here is called iColorama.

iColorama has several different ways of adding a painterly effect using its settings. But its real strength is the capability to layer and mask images (like in Photoshop) so you can blend elements of images together for a very creative and completely unique piece of art. It is a program with an impressive depth of capabilities.

It’s IOS only, but Android users could consider Snapseed.

How to Turn Your Photos into Painterly Style Watercolor Art

Original image before creative editing.

How to Turn Your Photos into Painterly Style Watercolor Art

After painterly effects applied in iColorama.

How to Turn Your Photos into Painterly Style Watercolor Art

In this third image, I took the second image with painterly effect into Waterlili, and then blended the two in iColorama for this final image.

3. Options using Photoshop

Actually most photo editing programs that support layers and masks will work here (Elements, Paint Shop Pro etc.). But you need to have Photoshop or similar installed to use these options.

Watercolor Brush and Mask

This is a fairly simple option, but you do need to know how to use layers and how to apply a mask. Also required are some watercolor brushes (these can be found free online or good quality ones can be purchased).

Load up your image, add a new white layer on top of the image. Working on the white layer, tap with your water color brush to reveal the image below. It can take a few goes to get it looking really watercolor, and tweaking the brush opacity up and down helps.

How to Turn Your Photos into Painterly Style Watercolor Art - birds

Photoshop Actions

Actions are where someone has recorded all the steps necessary to make the desired outcome in Photoshop for you. A bit of manual intervention at the beginning sets it up, click Play on the Action and it runs and does its thing.

The best Photoshop Action artist I know is sevenstyles, and he has an amazing library of effects available, including a Watercolor option. Once created you can tweak and edit many components to add your personal flourish if you want. An action can be used over and over again and does provide some variety in the results.

How to Turn Your Photos into Painterly Style Watercolor Art - cherries

Plugin Software

Plugins are separate programs that work within Photoshop to fulfill an additional requirement. Some will work as standalone programs, but many are only accessible from within Photoshop. My favorite painting plugin is Impression by Topaz Studio.

It has a huge range of different painting presets already loaded and you can tweak EVERYTHING – brush size and shape, direction, color, light contrast, add a vignette, and so on. It’s a very powerful tool and capable of beautiful painted effects. It does need a fairly powerful computer with a decent graphics card to run it, so check that your hardware will support it first.

How to Turn Your Photos into Painterly Style Watercolor Art - train

This image had the background replaced with a painted image and then it was run through Topaz Impression.

4. Dedicated Painting Software

For PC/Mac there are some options for software that is specifically designed to mimic painting effects. The most commonly known one is called Corel Painter. It’s expensive, complicated, and difficult to learn which is fine if you are an artist and that’s your thing. If you are someone who wants to dabble a bit for a really genuine watercolor effect then there is another option available called Rebelle.

Rebelle is a fraction of the price of Painter, much easier to use, and it has the most incredible realistic watercolor effect as well as other painting and drawing options. It’s also available for a free trial. I have no artistic background, so the realism of Rebelle was initially a bit of a hurdle for me, so I signed up to do an online watercolor course and work with real paints, which really helped.

You don’t need to do that, but I can tell you quite genuinely, there is little difference between dipping your brush into some real paint and doing it with Rebelle (except the digital version makes no mess!)

How to Turn Your Photos into Painterly Style Watercolor Art - lighthouse

Original photo.

How to Turn Your Photos into Painterly Style Watercolor Art - lighthouse

Painted image – the lighthouse, rocks, and sea painted in Rebelle, the sky done in Photoshop with watercolor brushes and the sketch effect done with Akvis Sketch.

Summary

This article barely dips its toe into the range of options available for doing painterly watercolor conversions of your images. Hopefully, these examples show you that there are many choices to suit all skill levels and budgets.

It can be as simple or as complicated as you want to make it. I am constantly surprised at how much mobile apps are capable of these days, seems like you don’t need Photoshop at all!

If you have other apps you use and would recommend for creating painterly style images, please put them in the comments below. Otherwise, go forth and be artistic!

The post How to Turn Your Photos into Painterly Style Watercolor Art by Stacey Hill appeared first on Digital Photography School.


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Lensbaby Burnside 35: sample gallery and impressions

01 Mar

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Lensbaby’s newest offering, the Burnside 35, is a 35mm Petzval-inspired lens that features the swirly bokeh of the company’s Twist 60 in a wider angle 35mm lens plus additional creative control through a vignetting slider. As with the Twist 60, the amount of swirl is controlled by the aperture: maximum swirl at F2.8, with each subsequent stop down removing swirl and increasing the central area of sharp focus.

The additional “effect slider” on the barrel of the lens gives you another way to control swirl and bokeh – although the effect of the slider on those elements seems to be somewhat minimal compared to using the aperture – and adds up to four levels of vignetting to your images. Per Lensbaby’s description of the Burnside 35, it’s meant to be a versatile creative lens for street photography, landscapes, and environmental portraits.

I should give a quick disclosure here: I have been known to say that I don’t like shooting at 35mm. As a photographer who focuses on lifestyle, events and portraiture, I prefer wider (24mm to 28mm) for contextual scenes and longer (135mm and up) for portraits. 35mm always feels a little too ‘in between’ and the framing is never quite right for me. I can normally accommodate this preference of mine by cropping in post, but cropping images taken with a creative lens removes some of the intended effects. Using a new creative lens always requires a bit of a learning curve, and this one also required that I revisit shooting with a 35mm eye. I had varying levels of success with each of those challenges.

What I liked:

  • The bokeh, especially shooting open at F2.8 or F4. As long as I didn’t choose a background that was too busy, the swirly bokeh was pleasingly subtle and smooth. It gave the effect of a bit more subject isolation than I typically get when shooting a portrait at 35mm, which helped me overcome my wish for a longer lens.
  • The colors, straight out of camera. This is something that I like about most Lensbaby lenses and optics. There is a depth and contrast in the colors that means I have to do very little post-processing of the Raw images (although I did find the blues and greens to be a touch more saturated than I’d choose myself).
  • The vignetting effect. I don’t normally use a lot of vignetting in my editing so I wasn’t sure what I’d do with it here. And admittedly, this is what most of us questioned (or chuckled about) – is it just a built-in Instagram filter? It turns out that no, it’s not just an Instagram filter. Like most effects that Lensbaby offers, the vignetting in the Burnside 35 is a bit more clever than a simple vignette. Increasing the vignette darkens the edges, but it also deepens and amplifies the swirl in the bokeh. This means that you can use a smaller aperture to get more of your subject in focus and then dial up the swirl with the vignette, provided you don’t need the edges of your frame to be bright.

What I struggled with:

  • Centering my composition. The Burnside 35 is built for a bright central area of sharp focus, with the swirl and vignetting effects happening around the edges. This is similar to the Twist 60, but with the 60mm focal length of the Twist, I shoot more classic portraits and don’t mind centering my subject as much. When shooting wider, I tend to compose my shots with my subjects off-center, which was my instinct with the Burnside 35. But then I was not able to get my subject into focus and I was forced to reframe.
  • Balancing the swirl and vignette. I think this will come with practice, but in the time that I’ve been shooting with the Burnside 35 I have not found my sweet spot of swirl vs vignette. I had to do a lot of chimping to get the shot I wanted, which meant that I missed many of the street and documentary shots I was after. Normally this doesn’t bother me because I know there’s a learning curve for any creative lens, but since the 35mm focal length lends itself to more street and documentary style shooting, it was harder for me to set myself up for the success I could get with a more controlled environment.
  • Focus. This is actually an extension of my previous point. My hit rate for focus was remarkably low with the Burnside 35, and it was due mostly to user error. However, as someone who is quite comfortable with manual focus, I know that my errors were helped along by the same things I mentioned above: the wider angle lending itself to a certain way of shooting plus the focus area requiring more precision in the center of the frame. These are both errors I could have reduced by making better choices, so I’ll chalk most of this up to me.

Overall, I think the Burnside 35 is a versatile lens for a street or environment portrait photographer looking to expand their creative options. Yes, many of the effects can be approximated with software or by applying this material or that to a filter screwed onto a 35mm prime. But to me, the value of a creative lens is to enable, coax, and sometimes force myself to see and shoot familiar subjects differently, and to do it with consistent, repeatable results. Only then does it move from being a fun toy to becoming a part of my creative toolkit, and I can see the Burnside 35 fitting into my workflow quite nicely. Once I get a bit more proficient with the focus, of course.

Check out our Lensbaby Burnside 35
real-world sample gallery

Articles: Digital Photography Review (dpreview.com)

 
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How to do Wedding Day Portraits of the Bride and Groom in Under 20 Minutes

01 Mar

Wedding days are super hectic, there’s no doubt about it. My couples and I agree on a wedding day photography timeline so we know exactly what is expected at every hour of the wedding day. Yes, we are flexible but having the order of the day written down is a must for things to go smoothly. This timeline is discussed well before the day and all the key people in the bridal party and key suppliers are made aware of the plan so we are all on the same page.

How to do Wedding Day Portraits of the Bride and Groom in Under 20 Minutes

Plan it out

When I sit down with the couple to plan the day, I paint a picture of what a “normal” wedding day looks like and the expected timings allocated to each portion of the day. But I always explain to the couple that it is their wedding day and ultimately, they can do what they want and decide on the duration of each part.

This includes the portrait session of just the bride and groom, nobody else, which usually happens after all the other formals are done. Ideally, the portraits are done somewhere away from the guests so the couple doesn’t get distracted or pulled in different directions which only delays or extends the portrait session. Some couples opt for a “first look” which happens before the ceremony.

How to do Wedding Day Portraits of the Bride and Groom in Under 20 Minutes

How much time will the couple allow for portraits?

From experience, depending on their priorities, the time couples allow for their own portraits vary widely, some allow for an hour and a half, but many slot in only 15-20 minutes. A reason for the latter is usually because they wish to spend time saying hello to friends and family especially those who have come a long way to be at their wedding. This is completely understandable and even expected.

I do, however, encourage my couples to always spare some time for bride and groom portraits no matter how little. That is the only time during the day they can be alone and have photos done of just the two of them without anyone else in the vicinity, or worse, in the background.

This doesn’t have to be done at a grand venue or separate location. This could be anywhere that is private, semi-private, quiet, or at the very least away from the guests. It can even be done at the very same location as everyone else, you just need to separate them from the crowd for a few minutes.

Work efficiently by having a plan

On average, my couples allow 15-20 minutes for this portrait session so over the years, I have learned how to get things done very quickly. In this article, I will share with you my secret – have a formula.

Having a formula is not a bad thing. If you worry that all your weddings might end up looking exactly the same, don’t! Each couple is unique and their wedding is unique to them. Besides, if they have booked you after having looked at your portfolio, that probably means they like your style and your work and they expect their photos to have the same look and feel as your other weddings.

Here is my 5 step formula for wedding day portraits

#1 – The couple together

How to do Wedding Day Portraits of the Bride and Groom in Under 20 Minutes

I usually start the portrait session by taking photos of the couple together either holding hands, embracing, posed together for a natural look, or posed for a formal portrait. Being photographed with someone else is less daunting than solo and they have each other to hold on to or lean against in case they feel awkward especially at the start.

This part doesn’t have to be all posed either. It’s better if you can do some laughing and fun shots; just give them clear instructions or make them laugh if you are able.

#2 Just the bride

How to do Wedding Day Portraits of the Bride and Groom in Under 20 Minutes

How to do Wedding Day Portraits of the Bride and Groom in Under 20 Minutes

I then separate them and do portraits of just the bride. Usually, I ask the groom to help throw the veil or stand next to me so he can help make the bride laugh, have a natural smile, or look in his direction instead of straight at the camera.

Make sure you get close-ups of the bride as well as wide-angle shots showing the context or location (and her whole dress!) and a variety of angles if possible.

#3 Artistic shots

How to do Wedding Day Portraits of the Bride and Groom in Under 20 Minutes

Use the opportunity of having the bride in front of you to take artistic shots like close-ups of the bouquet or veil, shoes, details, or some creative compositions. I try to minimize moving the couple from place to place too much. Instead, I do the moving myself and walk around them, finding various angles from which to shoot and adjusting to the light that is available.

# Just the groom

How to do Wedding Day Portraits of the Bride and Groom in Under 20 Minutes

Now it’s the groom’s turn and this is simply a case of replicating what you have just done with the bride. Grooms are usually so much quicker to photograph and do not require a lot of posing. Just get them to stand naturally, lean on something, look at the bride, look at the camera, laugh, look sideways… done.

I find grooms tend to follow instructions quickly without worrying about how they look as they generally just want to get the portraits over and done with. Don’t forget to give them some indicators of time, letting them know you are nearly finished so they don’t worry about longer than they have allowed. This is important and reduces any worries about the timing of the day.

#5 Walking or do some action shots

I end the session with some walking or action photos. Be aware of your background for this as walking photos usually require being slightly further away. Be on the lookout for some nice light in the background and a suitable path they could walk on.

Ask them to walk slowly hand in hand for these photos. Position yourself behind them so you are photographing their backs. Then ask them both to stop in their tracks and look back at you, then again with just the bride looking, and finally just the groom looking.

How to do Wedding Day Portraits of the Bride and Groom in Under 20 Minutes

Ask them to turn around in the same spot so they are now looking at you and walking towards you. Always instruct them to walk slowly. Again ask them to stop in their tracks and hold hands but stand further apart. Then say to take a step closer to each other until they are holding each other close or kissing if they wish. Depending on the background, this is when I try to do a silhouette, especially if there is sky or an open expanse in the background.

Sometimes, I ask them to practice their first dance a bit or pull each other in for a quick kiss for some movement and natural laughter.

Conclusion

On a small patch of ground, you will be able to cover several poses, include a variety of angles, do some formal portraits, some casual looks, and lastly some walking and action shots. And that is it! Wedding day portraits done in 15-20 minutes!

How to do Wedding Day Portraits of the Bride and Groom in Under 20 Minutes

Don’t forget, just get on with it. Don’t stop to check your LCD for long or fuss about too many imperfections. You are under time pressure so have a formula and stick to it while allowing yourself wiggle room for some creative opportunities that may arise – as long as you are within the agreed upon timeframe.

As a side note, I always find that couples who have had an engagement shoot with me beforehand end up having a much easier and breezier portrait session. They know what to expect and what to do that they just do it without the need for a warm-up. They are quick to relax and be at ease in front of the camera and the best bit, they genuinely enjoy it!

The post How to do Wedding Day Portraits of the Bride and Groom in Under 20 Minutes by Lily Sawyer appeared first on Digital Photography School.


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How To Cook Great Tasting Food Like A Pro

01 Mar

 

Whether you’re a brand new cook or an experienced one, there are plenty of sources of frustration in the kitchen. No matter what your cooking skills are like, little annoyances can make preparing a meal much more stressful. Here are some cooking tips that will help preparing your meals go a little more smoothly.

When cooking any recipe, use the best ingredients that you can afford. Splurge a little on imported cheeses or better quality meats when you can, so that you can experience a restaurant, quality-tasting meal at home. To enhance the experience even further, try to creatively plate up the meal with a little thought, for something different every now and then.

Being properly prepared is key to success in cooking for your family and friends. Make sure you have everything you need to make your food. Plan out your cooking the day before. Make sure all the necessary utensils are clean and ready to use.
This will limit the amount of stress you experience when cooking the meal and help to ensure that you are able to cook the masterpiece you want.

Olive oil is one of the most important investments that you can make during the course of your cooking career. Find a high quality brand of olive oil and add this ingredient to a variety of different foods. This oil will help bring out the taste in pasta, fish and meat.

When you are seasoning a salad, add a small dose of olive oil in addition to natural sea salt. This will help to give your salad a crunchy appeal even after you add the dressing. Keeping your salad as crunchy as possible will create a feeling of freshness upon consumption.

There are plenty of things you can do to take the stress out of cooking. Now that you’ve read this article, you have plenty of advice you can apply the next time you head to the kitchen. Now that you have these tips, you may find you’re willing to try cooking something a little more challenging.

The post How To Cook Great Tasting Food Like A Pro appeared first on Photonovice.

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CP+ 2018: Hands-on with Sigma 105mm F1.4 Art ‘bokeh master’ & 70mm macro

01 Mar

CP+ 2018: Hands-on with Sigma 105mm F1.4 Art ‘bokeh master’

Sigma’s new 105mm F1.4 DG HSM is a beast, weighing in at 1.6 kilos. We’re at the CP+ tradeshow in Yokohama, Japan, where we just got our hands on what Sigma is calling the ‘bokeh master’.

CP+ 2018: Hands-on with Sigma 105mm F1.4 Art ‘bokeh master’

Even without the hood, the new 105mm is a large lens, with a front filter diameter of 105mm. It’s not particularly long, but as you can see from this shot, which shows the lens mounted on a Canon EOS 6D, it has a very wide diameter of 116mm (4.6 inches). The large tripod ring is included, and can be removed for hand-held shooting.

CP+ 2018: Hands-on with Sigma 105mm F1.4 Art ‘bokeh master’

With the hood attached, the 105mm gets even larger.

CP+ 2018: Hands-on with Sigma 105mm F1.4 Art ‘bokeh master’

The new 105mm is unstabilized, which means that the only controls on the lens are an AF/MF switch and a very broad, wide-diameter focus ring. Manual focus is a luxurious experience on all of Sigma’s ‘Art’ series and this lens is no different. Judging purely from our brief experience on the show floor, autofocus speed is similar to the 85mm F1.4: smooth and positive without being as quick and snappy as lenses with fewer pieces of glass to move around.

CP+ 2018: Hands-on with Sigma 105mm F1.4 Art ‘bokeh master’

And there is a lot of glass inside the 105mm. The new lens comprises 17 elements in 12 groups, including three FLD glass elements, two SLD glass elements, and one aspherical element.

Sigma claims that the lens creates a beautiful bokeh effect, and the well-controlled sagittal coma should make it excellent for capturing ‘starry skies’. A 105mm wouldn’t be our first choice for astrophotography, but we can’t wait to get hold of a shootable sample, and see what it can do.

CP+ 2018: Hands-on with Sigma 105mm F1.4 Art ‘bokeh master’

Also unveiled at the show was a new macro lens, – a first for the Art range. The 70mm F2.8 DG Macro offers true 1:1 reproduction, and a dust and splash-proof construction.

The lens features an extending, floating, two-group focus mechanism. Optical construction incorporates two FLD glass elements, two SLD glass elements, and one element with ‘a high rate of anomalous partial dispersion and a high index of refraction’. This should minimize axial chromatic aberration. Sigma claims that two aspherical elements ensure ‘razor-sharp’ images at close focusing distances.

CP+ 2018: Hands-on with Sigma 105mm F1.4 Art ‘bokeh master’

The 70mm macro is a pretty compact short-tele lens when focused at infinity, but gets bigger when the included hood is attached. The front filter diameter is a modest 49mm. Three focus limits can be set, for reducing autofocus ‘hunting’ at short working distances.

CP+ 2018: Hands-on with Sigma 105mm F1.4 Art ‘bokeh master’

When the lens is racked to its minimum focus distance of 26cm (10.2 inches) the lens itself grows considerably in size (but the hood stays put). Focus is ‘focus by wire’.

At 515g (18 oz) it’s reasonably lightweight, and balances well on our A7R III (with an adapter). We got our hands on a Canon-mount version, but the 70mm F2.8 is also available in Sony FE mount natively.

Articles: Digital Photography Review (dpreview.com)

 
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Hello world!

01 Mar

Welcome to WordPress. This is your first post. Edit or delete it, then start writing!

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Long Exposure Photography 101 – How to Create the Shot

01 Mar

It’s easy to get caught up in the fast nature of photography, technology, instant results, presets, etc. But what happens when you slow your photography right down?

This tutorial will introduce you to the 101s of daytime long exposure photography and share the exact steps you can follow to create your very own long exposure photographs.

01 Long Exposure Photography 101 How to create the shot

Long exposure seascape.

What is long exposure photography?

long exposure photography can be defined in two ways. A traditional description would class it as taking photographs with the intent to deliberately capture the effect of time and display moving objects in a different way to how our eyes are used to seeing them.

But for those of a more literal-mindset, long exposure photography is a brilliant way of photographing atmospheric landscapes, whilst being able to enjoy a cup of tea and a biscuit – all at the same time.

Now, if that sounds like your type of photography, I encourage you to settle in and read on.

02 Long Exposure Photography 101 How to create the shot

Slow down

The very nature of long exposure photography is pretty slow paced. It forces you to take your time, which is excellent practice for your framing and compositional skills. And because you literally can’t rush the shot, it makes you think about the light, your subject, and your compositional techniques before you invest several minutes of your time capturing the image.

It’s worth noting that there is no specific shutter speed that defines the crossover from “typical photography” to long exposure photography. It’s not the duration of your shutter speed that defines your image as a long exposure photograph. Instead, it’s your intention to capture moving objects using longer exposure times than necessary that makes it a long exposure photograph.

03 Long Exposure Photography 101 How to create the shot

Generally speaking, long exposure photographs will use shutter speeds that can be measured in seconds or minutes instead of fractions of seconds.

Embrace the blur – add a sense of motion

“So, why should I take a photo using a slow shutter speed? Won’t that make it blurry?”

Yes, precisely. Using a long exposure technique is typically reserved for times when you want to selectively blur objects in your images. Common examples would be to capture flowing water, like the ocean or a waterfall. It’s also used to capture the movement of clouds or stars in the night sky.

04 Long Exposure Photography 101 How to create the shot

Long exposures are great for capturing motion and stillness in a single frame.

A long exposure photograph reveals the passing of time and conveys motion in a way that your eyes are simply unable to see at the time. Long exposures turn clouds into whispers, water into silky-looking glass, and people into otherworldly ghost-like beings.

Long exposure photography allows you to capture stillness and a sense of motion in a single frame. The contrast between these elements creates a sense of mystery and adds a surreal atmosphere to your images. It’s precisely this playful mix of the fluid and the still that makes long exposure photography beautiful, strong, and mildly addictive – or maybe that’s just the cup of tea.

Anyway, here’s what you need to know to take a long exposure photograph.

05 Long Exposure Photography 101 How to create the shot

Blocking out light with Neutral Density (ND) Filters

To capture those ethereal tones and silky motions in your images, you need to use a slow shutter speed. The trouble with using a slow shutter speed during the day is that it lets in a lot of light. So much light in fact, that it will inevitably overexpose your image.

To counter this, you will need to use a Neutral Density (ND) filter to make long exposure photographs during the day.

ND filters essentially sit in front of your lens and block out the light. Think of them as a fashionable set of sunglasses for your lens. And because the ND filters reduce the amount of light that hits your camera sensor, you can use shutter speeds up to several minutes long without overexposing your images – even in bright conditions.

06 Long Exposure Photography 101 How to create the shot

Rectangular ND Filters – otherwise known as “rectangular dark glass to block out the light”.

Using an ND Filter

The exact length of your exposure will depend on the lighting conditions and the strength of the ND filter you use. ND filters are typically measured by the stops of light they are able to block out and are usually available in increments of 3, 6, 10, or 16-stops.

Nisi, Lee Filters, and Formatt-Hitech are among the popular brands of ND filters, although there are many others available for a variety of budgets. ND filters come in either a circular format (these screw onto the front your lens) or a rectangular format, which requires the use of an additional filter holder to mount them to your lens.

As a general rule, the more light your ND filter is able to block out, the longer your exposure will need to be to achieve a balanced exposure. And the longer your exposure, the more dramatic the effect will be in your final image.

07 Long Exposure Photography 101 How to create the shot

Rectangular ND Filters attached to camera lens using a filter holder.

Don’t Move

You may be aware that when you use slow shutter speeds, the smallest bit of camera movement can throw your image out of focus and cause it to look a little blurry. This is especially true in long exposure photography.

Given that your camera will be taking several seconds or several minutes (if you’re using a 10 or 16 stop ND filter) to complete a single shot, it’s crucial to ensure it doesn’t move a millimeter during the exposure.

It would be nearly impossible to achieve this by hand. Therefore, it’s a good idea to get your hands on a sturdy tripod. This not only ensures your camera will remain still throughout the entire exposure but more importantly, it frees up your hands, so you can have a sip of your tea whilst your camera is hard at work.

In addition to your ND filters and tripod, here’s a checklist of essential equipment you’ll need for long exposure photography.

Essential Long Exposure Photography Equipment Checklist

08 Long Exposure Photography 101 How to create the shot

Essential long exposure photography gear – particularly #10.

  1. Your ND filters.
  2. A sturdy tripod.
  3. Camera with bulb mode function – bulb mode allows you to take exposures longer than the camera’s default 30 seconds.
  4. Fully charged batteries – try to avoid the heart-breaking moment when your battery cuts out in the middle of an exposure.
  5. Lens – wide-angle lenses work very well with landscapes, seascapes, and architecture photography. If you’re just getting started, any lens that is compatible with your ND filters will work just fine.
  6. A shutter release cable with a locking functionality. Using a shutter release cable (remote trigger) allows you to lock the shutter open without having to touch the camera body. This reduces camera movement during your exposure.
  7. A viewfinder cover – during long exposures, light has a habit of finding its way into your camera through your viewfinder and ruining your images. You can prevent this from happening by using a viewfinder cover, some sticky-tac or even duct-tape.
  8. A dark cloth or hat – perhaps the most peculiar item on this list, however, it’s arguably one of the most important. Believe it or not, light doesn’t just find its way into your camera via the viewfinder. It also leaks in via the lens/body connection and also from the connection points on the side of your camera. Placing a dark cloth or hat over your camera works well to prevent light leaks.
  9. Smartphone – this will serve two purposes. First, it will help you to calculate your long exposure times via a handy long exposure calculator app that I’ll introduce you to shortly. Its second function will be to keep track of your exposure time using a simple timer.
  10. A flask of tea and a selection of biscuits – and you thought I was joking! By far my favorite item on the list. long exposure photography will typically have you sitting in a beautiful spot for several minutes, taking your time and soaking up your surroundings. It’s good for the soul and a creates the perfect opportunity to enjoy a well-deserved treat, particularly on cold mornings!
  11. Chargers, USB cables, and lens wipes. Ideal if you need to recharge your gear or remove your fingerprints from your ND filters when you’re out and about.

Every item on this list plays an important role in capturing a long exposure photograph. Now here’s precisely how you can capture one.

Step 1: Prepare at Home

Unlike a typical day of photography, long exposures don’t afford you the luxury of being able to rattle off 1,200 images in a few hours. Instead, you’re likely to return home with only a handful of good photographs after a day of long exposure photography.

So, before you grab your gear and set off in search of ethereal landscapes and mind-bending architecture, it’s well worth investing your time. Research the location and environment so you can make the most of your time in the field.

Weather Conditions

If you’re planning on shooting a landscape, cityscape, or architecture, take a look at your local weather forecast to see what the cloud cover will be like. Anything over 40% cloud cover should give you ideal conditions to capture a silky sky.

04 Long Exposure Photography 101 How to create the shot

The low clouds help to create a surreal atmosphere.

Creating a long exposure seascape, on the other hand, doesn’t necessarily need a lot of cloud coverage (although, cloudy conditions over water often produce great results). It’s worth researching the water conditions because – like the clouds – the greater the movement of the water, the greater the effect of your long exposure photographs.

10 Long Exposure Photography 101 How to create the shot

Cloudy and stormy conditions create dramatic long exposure photographs.

Location Scouting

Use Google Maps and street view to go for a “virtual walk” around your location. Doing so helps you to familiarize yourself with the area and scout out potential compositions for your images. Essentially, you should know precisely where you are going, how you will get there, where you will park, how much daylight you will have and in which direction you need to walk to ensure you take full advantage of your time and the conditions.

11 Long Exposure Photography 101 How to create the shot

Using Google Maps and Street View can help you with composition ideas before leaving your house.

Prepare Your Equipment

There is nothing more heart-breaking than spending the time to scout out the perfect location and setting up your camera only to realize that you have left your ND filters at home or your camera battery is at 27%. Be sure to charge up all of your batteries (including your smartphone) and pack your camera bag using the equipment checklist above.

Shoot RAW

Set your camera to shoot in RAW format. Long exposures tend to have a blue or magenta color cast caused by the ND filters. Shooting in RAW allows you to easily correct the white balance in post-processing.

12 Long Exposure Photography 101 How to create the shot

Ensure that your camera is set to record your images as RAW files.

Install Long Exposure Calculator Smartphone App

Spending your time trying to calculate what your exposure length should be with a 16-stop ND filter might not sound like much fun to you. Long exposure photography is all about taking time out to soak up your environment and enjoying the views – not solving algorithms.

Installing a “Long Exposure Calculator” app on your smartphone will save you time and make calculating your shutter speed much easier when you’re out in the field. Here are a couple of popular suggestions for IOS and Android users.

  • Exposure Calculator – Android
  • Long Exposure Calculator – IOS

It’s a good idea to install the app on your smartphone at home before heading out – just in case you later find yourself in an area with no mobile coverage to download the app.

Step 2: Work the Scene

By the time you’ve prepared your gear, researched the area, and arrived at your location, you’d be forgiven for wanting to unpack and get shooting straight away. Instead, you’ll find that holding off for just a few minutes and allowing yourself to explore the scene often produces more favorable results.

Pick up your camera (without the tripod) and work the shot. Take note of the weather, light, and direction of the water, clouds, lights, or traffic. What are the characteristics of the scene? How does the mood feel? What angle best captures all of this? What are you going to include in your frame?

Step 3: Compose the Shot

Once you have decided on the perfect angle, it’s time to set up your tripod and mount your camera (without the ND filter) to compose and frame the shot. Ensure your tripod is locked in place and your camera is tightly secured. Now is also a good time to attach your remote shutter release cable to your camera.

13 Long Exposure Photography 101 How to create the shot

Secure your camera to your tripod and attach the shutter release cable.

Step 4: Aperture, ISO, and Focus

Switch your camera into Aperture Priority mode and set your aperture to somewhere between f/7.1 and f/11. As a rule of thumb, this range will fall close to your lens’s sweet spot and provide you with a deep depth of field to ensure your image is sharp throughout.

As I’ve mentioned, noise and camera shake can be problematic in long exposure photography. Therefore, adjust your ISO to 100 to minimize the amount of noise and turn off Image Stabilization on your lens to reduce the amount of internal camera shake.

14 Long Exposure Photography 101 How to create the shot

Aperture Priority mode, ISO 100, f/8.0

Focus your lens, ensuring your subject is sharp from back to front. When you are happy with your focus point, switch your lens over to manual focus. This essentially safeguards your focus point and prevents accidental re-focusing when you trigger the shutter.

15 Long Exposure Photography 101 How to create the shot

Switch your lens over to manual focus when you’re happy with your focus point.

Step 5: Test Shot

Use your viewfinder cover (duct-tape or sticky-tac will work) to cover up your viewfinder. This will prevent light from leaking into your camera and ensure that your camera gives you an accurate metering.

16 Long Exposure Photography 101 How to create the shot

Use a Viewfinder cover, duct-tape, sticky-tac or even some cardboard block out light leaks.

With your viewfinder covered and your camera still in Aperture Priority mode, take a test shot to obtain the base shutter speed. It’s the shutter speed from this test shot that will form the basis of your long exposure calculations.

It’s a good idea to review the test shot to ensure the exposure looks good and everything is perfectly in focus. When you’re happy with your test shot, check the metadata and make a mental note of the shutter speed.

17 Long Exposure Photography 101 How to create the shot

Aperture Priority test shot – In this case, the camera’s light metering used a shutter speed of 1/60th. This shutter speed will form the basis of the long exposure calculations.

Step 6: Bulb Mode

Switch your camera mode from Aperture Priority to Bulb Mode and set your ISO and aperture to mirror the exact same settings as your test shot.

18 Long Exposure Photography 101 How to create the shot

Bulb Mode – Set the ISO and aperture to match your test shot.

Bulb Mode allows you to keep your shutter open as long as you hold down your camera’s shutter button. However, standing next to your camera and keeping the shutter button held down with your finger isn’t ideal. Not only would this cause lots of camera shake, it would also make it nearly impossible to enjoy a cup of tea on the job (it’s clear where my priorities lie).

This is precisely why you’ll need a shutter release cable with a locking function. The lock plays the role of your finger and keeps the shutter button held down until you decide to release the lock, thus minimizing the possibility of camera shake.

Step 7: Calculate Your Long Exposure

Enter the shutter speed from your test shot into the long exposure calculator app you installed on your smartphone in step 1.

19 Long Exposure Photography 101 How to create the shot

Enter the shutter speed from your test shot into your Long Exposure Calculator mobile phone app.

You will then need to set the filter density to match your ND filter. For example, if you’re planning to use a 16-stop filter, you would enter 16-stops into the app.

The app will then calculate the length of your long exposure. It’s worth noting here that this time is approximate. It doesn’t account for a change in weather conditions during the exposure or the quality of your ND filters. I use Lee Filters and from experience, I find adding approximately 25% to the app’s suggested exposure time works well.

Step 8: Set a Timer

Load your long exposure time into your smartphone’s timer. You will trigger this at the same time you commence the long exposure to keep track of timing.

20 Long Exposure Photography 101 How to create the shot

With a 16-stop ND filter and a base shutter speed of 1/60th, The Long Exposure Calculator suggested that I will need an exposure time of 18 minutes. I added approximately 25% to allow for the changing light conditions and created a timer on my phone.

Step 9: ND Filters

Mount your ND filters to your camera. Be careful not to adjust the focus or zoom rings of your lens in the process. It’s a good idea to double check your lens is still set to manual focus.

21 Long Exposure Photography 101 How to create the shot

Mount your ND filters to the camera.

Step 10: Mirror Lock-up

If you’re using a DSLR, enable Live View or the mirror lock-up function. These features lock your camera’s mirror in the up position, which reduces internal camera vibrations when you trigger the shutter.

22 Long Exposure Photography 101 How to create the shot

Live View or the mirror lockup function will prevent camera vibration when you trigger the shutter.

Step 11: Cover the Camera

Carefully cover your camera with a dark cloth or a hat, being careful not to adjust the zoom or focus rings on your lens. This will help to prevent light from leaking into your camera during the exposure.

23 Long Exposure Photography 101 How to create the shot

Perhaps the most crucial step – use a dark cloth, hat, or an old pair of trousers to wrap around your camera to prevent light leaks.

Step 12: Trigger the Shutter

Now it’s time to create your ethereal masterpiece. The aim here is to simultaneously trigger your smartphone’s timer with one hand (this will keep track of your exposure time) and with your other hand, lock the shutter release cable to hold open your camera’s shutter. If you’re like me, and the mere thought of doing two things at once confuses you, you can simply trigger them one at a time.

All that’s left for you to do at this point is make yourself comfortable and enjoy that cup of tea! Finally! And because you set a countdown timer on your smartphone, its delightful little chime will alert you when it’s time to get up to release the lock on your shutter release cable. Thereby closing the shutter and completing your long exposure photograph.

The Result

So, what do you get after spending a leisurely afternoon in front of a beautiful scene sipping from your thermos and nibbling on a cookie? Well, it’s likely you’ll return home with an image that looks something like this.

24 Long Exposure Photography 101 How to create the shot

23-minute long exposure – processed in Lightroom and Photoshop.

Recap

The very nature of creating long exposure photographs is to slow down. It encourages you to step away from the rapid-fire approach and have fun creating something that you wouldn’t ordinarily be able to see. That’s what long exposure photography is all about.

By now, I’m hoping this article has you reaching for your ND filters and checking the weather forecast – I’m sure you’ll love giving it a try. In case you need a short reminder whilst you’re out in the field, here’s a snapshot of everything we’ve covered.

  1. Research your location, charge your gear and install the long exposure calculator app on your smartphone.
  2. Work the scene to find the best angle.
  3. Set up your tripod and compose your shot without the ND filters.
  4. Switch your camera to Aperture Priority mode. Set your aperture between f/7.1 – f/11.0 and your ISO to 100. Focus in on your subject and set your lens to manual focus.
  5. Cover your viewfinder and take a test shot.
  6. Switch your camera into Bulb Mode and set your aperture and ISO to match your test shot.
  7. Use the long exposure calculator app to calculate your exposure time.
  8. Set a timer on your smartphone.
  9. Mount your ND filters.
  10. Enable live view or your camera’s mirror lock-up feature.
  11. Cover the camera with a dark cloth or hat.
  12. Lock open the camera shutter and trigger your smartphone timer.

If you have any questions, please ask. And it would be great to see your long exposure photographs, so please share them in the comments below.

The post Long Exposure Photography 101 – How to Create the Shot by William Palfrey appeared first on Digital Photography School.


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Comparison: Cheap IKEA LADDA batteries beat Panasonic Eneloop Pro recycle speed

01 Mar

Good batteries aren’t cheap… or maybe they are. Putting that notion to the test is Martin Cheung, who recently published a video in which he tests the recycle speeds of inexpensive rechargeable IKEA LADDA batteries against more expensive Panasonic Eneloop Pro batteries using Godox TT685 flashes. The results are surprising: the LADDA batteries actually demonstrated a noticeably faster recycle speed versus the Eneloop Pros.

The test was performed using both flashes, meaning the batteries were swapped to the opposite unit for retesting to ensure the difference wasn’t due to the hardware rather than the energy cells. The one caveat is that this is a test of recycle speed only—as Cheung explains in the video, he did not test the number of flashes the batteries are capable of powering.

Looking at each battery model’s specs, the Eneloop Pros ($ 21 per AA 4-pack) boast a 2550mAh rating, while the Ikea LADDA ($ 7 per AA 4-pack) have a slightly lower 2450mAh capacity. Assuming the two sets are capable of powering a similar number of flashes, however, the faster recycling speed and one-third cost of IKEA’s batteries make them the clear winner in this comparison.

Articles: Digital Photography Review (dpreview.com)

 
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Tokina unveils ‘top premium’ Opera 50mm F1.4 FF lens for Canon and Nikon

01 Mar

Tokina has officially announced the Opera 50mm F1.4 FF lens for Canon EF and Nikon F mounts that was leaked last week. The lens—part of Tokina’s new ‘Opera’ series designed for ‘high-spec full-frame DSLR cameras’—will arrive on store shelves in Summer of 2018, and a prototype is being shown off this week at CP+ in Japan.

This lens, and the Opera series in general, are being billed as Tokina’s ‘premium’ line—sort of like the Sigma Art series. In fact, Tokina goes out of its way to connect the term Opera with ‘Art’ in its press release. But marketing word choice aside, Tokina promises that Opera branded lenses will be “designed to perfectly match recent high-spec full-frame DSLR cameras, which keep requiring high quality optics.”

The Opera 50mm F1.4 FF is the first in this lineup, and already Tokina has put more tech into the lens than you’re probably used to from the third-party manufacturer. The lens boasts a ring-shaped ultrasonic AF motor, weather sealing to protect internals from dust and moisture, an electric diaphragm mechanism for the Nikon version (a first for Tokina), and a focus ring that turns the same direction as your native Nikon and Canon glass.

Unfortunately, Tokina hasn’t revealed one of the most important details yet: price. But with the official release scheduled for summer 2018, it won’t be long before we find out if (or by how much) Tokina has undercut Nikon and Canon’s 50mm F1.4 options.

Press Release

Kenko Tokina Co., LTD. is Proud to Announce the New Tokina Opera 50mm F1.4 FF, a Premium Full-Frame Lens for High-End DSLR Cameras

February 28, 2018

About opera series

With the debut of opera 50mm F1.4 FF we are launching a new series of next generation premium full-frame lenses for high-end DSLR cameras called “opera” series.

Opera series is designed to perfectly match recent high-spec full-frame DSLR cameras, which keep requiring high quality optics to be used with. In addition to originally high-valued Tokina AT-X series, this new opera series is positioned as top premium series of full-frame size lenses and will be further expanded with other lenses of related specifications and performance.

In modern society the word “opera” is commonly used to express general genres of stage art. In Italian it means work or work of art. As an omitted art genre definition opera comes from “opera musicale” that means a piece of music work. In Latin opera comes from “opus” and in contemporary language “magnum opus”, “opera magna” still has a meaning of “great literary, artistic or intellectual work”. We chose the name “opera” for a new premium full-frame DSLR lens series thinking of a lens that will help photographer in creating real “work of art”.

About the product

The debuting premium full-frame lens for high-end DSLR cameras in opera series is 50mm F1.4 FF (FF – Full-Frame). Designed for full-frame format DSLR cameras, opera 50mm F1.4 FF adopts a ring-shaped ultrasonic motor for autofocus drive module. Weather sealing prevents from dust and moisture to come inside the lens body. For the first time in Tokina line up Nikon mount model incorporates an electric diaphragm mechanism. The direction of the focus ring rotation fits the genuine Nikon and Canon lens.

Mounts: Nikon F, Canon EF

Sensor size: full frame format

About sales release

Sales release: summer 2018

A prototype of Tokina opera 50mm F1.4 FF will be displayed at CP+2018 Kenko Tokina booth location: Exhibition Hall(1F), booth # G-57

Articles: Digital Photography Review (dpreview.com)

 
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