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Total Beginner’s Guide to Lightroom – Step by Step

13 Jun

I had tried Lightroom in the past, but always preferred using Apple’s Aperture photo editing program. But in the spring of 2014, when it was announced that Apple was no longer supporting Aperture, I decided to make the leap to Lightroom. At first I found it difficult to use and not really intuitive, but I soon found my way around and I was a Lightroom convert.

beginners-guide-lightroom-blue-buds

If you are new to Lightroom and don’t know where to start, or have thought about using it but feel overwhelmed, then please know I feel your pain, and know where you’re coming from. I wrote this Beginner’s Guide to Lightroom to help you, and I wish I would have had something like this when I first got started. It’s designed to help you through a few basic steps from opening up Lightroom for the first time, making two basic edits, and exporting (saving) a final version of your picture.

What is Lightroom and what does it do?

In a nutshell, Lightroom is a program that can manage and edit your images. The catch, though, is that it doesn’t really edit your images, or actually manage anything either. Instead, the program works by looking at pictures you have stored on your computer, and allows you to create instructions for how you want to change them.

For example, let’s say you have a photo of a squirrel that’s a bit dark so you want to make it brighter. Lightroom doesn’t touch the original image! It doesn’t move it, copy it, rename it, or change it in any way. Instead Lightroom, is a non-destructive editing program, that allows you make changes to a preview or thumbnail version of the picture, which means you can see what the final image will look like after you make it brighter. When you are finished with your editing you export (or save as) a final image from Lightroom (again leaving the original file completely un-touched) and voilá, you now have a second, much brighter photo, to print or share with others.

beginners-guide-lightroom-squirrel-comparison

The Lightroom catalog is like a recipe book

Lightroom stores a record of all the changes you want to make to your images in a separate file called the Catalog, which is stored independent from your pictures. The best analogy I can think of is that of a kitchen: your original pictures are kind of like the raw ingredients in your cupboards, and the Lightroom Catalog is like a recipe book. Lightroom doesn’t do anything to your ingredients (your original files), but instead saves the instructions for transforming your supplies into actual finished products (in this case output edited images), just like recipes for your photos. When you are finished, your original image files still remain, but you have a new creation (i.e. an edited picture) that you can share with others.

The Importance of Adobe Camera Raw

Before we get too deep into the weeds here, it’s important to back up a bit and look at another program called Adobe Camera Raw (ACR), which allows you to perform all sorts of edits and changes to your Raw images – from simply making them brighter or darker, to selectively editing colors, or working with curves. You may already have it on your computer and not even know it, and it’s actually the engine that powers everything Lightroom does in terms of editing your images. Every change, adjustment, and tweak you do to one of your photos in Lightroom, is actually being done by ACR. Understanding how this fits in might seem a bit extraneous to the overall Lightroom discussion, but it’s important to know how all it works together if you want to make sense of Lightroom itself.

beginners-guide-lightroom-brothers

You and Lightroom: best buds for life.

Opening Lightroom for the First Time

When I initially launched my copy of Lightroom four years ago, things started to go south within a matter of seconds. It asked me about making a Catalog, and wanted to know where to store it, and I started channeling my inner Gob Bluth while muttering to myself, “I’ve made a huge mistake.” If this sounds like you, don’t worry – there’s really not much going on here that you need to worry about, and everything will be fine. Remember the kitchen analogy I mentioned earlier? All your computer wants to know right now is where to store the Catalog, or recipe book, that it will use to keep track of the changes you want to make to your pictures. You will need to create a new Catalog, and specify its location on your hard drive. I just keep mine within my Pictures folder.

beginners-guide-lightroom-catalog-dialogue

Lightroom wants to know where you would like to store its Catalog, or database of edits you want to make to pictures. If you’re not sure what to do here, just click the “Continue” button.

Some people are very specific about where they want this Catalog to be located, and professional photographers will often have multiple image collections and many catalogs as well. Honestly, if you just want to figure out how to use Lightroom you can just click the “Continue” button and go about your business. For casual photographers the exact location of the Catalog file is not all that important, so don’t sweat it.

Note: do not store your catalog on an external hard drive though, it will not run optimally or may not run at all. Keep it on your computer’s main drive. If in doubt just click Continue as noted above.

In terms of new-user-confusion, the next screen (the Library module) you see is not much better. Upon encountering it for the first time I felt like someone had quashed my photography enthusiasm with a scary dull grey veil. There are a few tutorial hints that pop up in the middle, which aren’t very helpful, and after you dismiss them you’re left staring at an empty dark wasteland, wondering why you didn’t just stick to using Instagram filters like everyone else.

If this screen doesn't make a new user run screaming from Lightroom, I don't know what would.

If this screen doesn’t make a new user run screaming from Lightroom, I don’t know what would.

What you’re looking at here is your entire library of photos, but it’s empty because none have actually been imported yet. There’s plenty of other options and buttons here as well – enough to confuse even the most experienced user – so for now just ignore the Catalog/Folders/Collections stuff on the left side, and all those Quick Develop options on the right side. And for heaven’s sake, don’t give a second thought to those strange chessboard-like icons at the bottom. Just take a breath, grab your memory card and your favorite beverage, and get ready to import some photos. Plug your memory card into your computer, then click the “Import” button in the lower-left corner to start transferring your pictures over to your hard drive. You can also import photos that are already sitting on your computer, but for now I want to focus on the kind of workflow you might encounter, as a photographer who just wants to figure out this program.

Importing Photos

The first thing you see once you have your memory card connected is a grid with tiny thumbnail previews of all the pictures on your memory card.

Note: You can also connect to your camera directly – however, it’s a better idea to use a card reader then plug in your camera directly. If the camera battery dies during import you can crash the card and damage or lose your images.

beginners-guide-lightroom-import

There are all sorts of options on this screen, but if you just want to get the basics down, here’s what you need to look at:

  1. At the top of your screen, select the option that says “Copy.” This will, as you may guess, copy the pictures over to your computer, and add them to the Lightroom catalog so you can make edits to them later.
  2. On the right-hand side you have to choose a Destination so the program knows where to put the original photos on your computer. You can select a specific destination or just let Lightroom figure this out for you. You can also do things like rename your pictures as they are imported, apply specific edits (called “Develop Settings”) to all of them, or give them keywords such as “Wedding” or “Camping.” For now don’t worry about any of this, and I promise everything will be just fine.
  3. Choose which pictures to import by making sure they have checkmarks in the top corner of each thumbnail preview. They should all be checked by default (if they aren’t just click Check All), but if there are any images you don’t want to import, you can just un-check the box next to them.

When you’re all set, click the Import button in the lower-right corner of your screen. Your computer will beep or chime when everything is done, and you’ll be ready to start editing your photos!

Organizing and Developing (Processing)

After your photos are imported things start to get really crazy, but once again just try to ignore all the new things that show up on the side of your screen, and focus on just a few of the essentials. First of all, don’t start making edits or changes to your pictures just yet.

Instead, look at the left side of your screen and find an area called “Collections.” beginners-guide-lightroom-collectionsRemember that Lightroom doesn’t actually do anything with the original pictures. When you clicked Import, it copied them over to a folder on your hard drive where they will remain, intact and untouched, until the end of time. What you can do is organize the pictures into Collections within Lightroom itself, in order to keep track of them more easily. Collections function just like playlists in iTunes or Spotify, and allow you to sort photos manually or automatically, based on how you want them to fit together. Click the + button on the right side to make a new Collection (i.e. Playlist), Smart Collection (where sorts your photos automatically based on criteria you specify) or Collection Set (a folder containing multiple Collections). Once you have a Collection created you can populate it by dragging and dropping your photos over to it, just like in iTunes. During this process the original images stay exactly where they are on your hard drive, you are just using Collections to help manage them a little easier.

Read more on collections and organizing here: How to Organize Your Photos in Lightroom

Once you have your images sorted into Collections it’s time to start editing them. (Or you can start editing without doing any sorting at all. It’s up to you.) Click the “Develop” option in the top-right corner of your screen to begin making changes (or click D on your keyboard). At first I was put off and confused by the term Develop, but Adobe used it to hearken back to the days of darkrooms and analog film photography. (which some photographers still use even today). Before digital cameras you had to actually get your film developed before you could see your pictures, and that’s essentially what Lightroom is trying to emulate here in the Develop module. If it doesn’t make sense to you yet, just pretend it says “Edit” instead of “Develop” and you’ll be fine.

beginners-guide-lightroom-develop

You are now in the Develop module, which is one of seven different working states available inside Lightroom, the rest being: Library (which you started in), Map, Book, Slideshow, Print, and Map. I ignore all the others, and spend about 98% of my time in either Library or Develop, and as a new user I would recommend the same for you.

At first when you click on the Develop module it might not seem like anything is different, but look again and you will see that all the metadata information that was on the right-hand side of your screen has been replaced with a series of panels like Basic, Tone Curve, Lens Corrections, and more. Don’t start hyperventilating! I promise this is easier than it may seem at first. There are a metric ton of tutorials and web pages online devoted to helping you understand the Develop module, but right now I just want you to focus on two simple things: Cropping and Exposure.

One of the most basic edits many people do, is to trim them down so just the important parts are in the frame, and get rid of things along the edge like trees, trash cans, bystanders, and the like. To do this click the square icon under the colorful graph called the Histogram, (or use the keyboard shortcut R) and you will see a nifty overlay appear on your image that you can use to crop it down how you want. Also read: How Cropping in Post-Production Can Improve Composition

beginners-guide-lightroom-crop-tool

Use the corners of the rectangle overlay to crop your picture down so it contains only what you want, then when you are done press the [enter] or [return] key to see the results. Remember what I said earlier about Lightroom being nondestructive? It might look like you have just removed part of your photo, but the original is entirely untouched, and remains fully intact on your computer. What you are actually editing here is a placeholder – a preview of what the final image will look like – not the actual image itself. None of your edits in Lightroom are permanent, and you can reverse or undo any editing decision you make, so don’t be afraid to play around with it, kick the tires, and just start trying things even if you’re not entirely sure what the result will be.

beginners-guide-lightroom-crop-tool-example

But your original file remains uncropped on your computer – Lightroom only shows how it will look if you apply this setting.

The other common edit that people make to their images is adjusting the brightness, often to fix an image that is too over or under-exposed. This can easily be done with the top panel on the right side of the Develop module, appropriately titled “Basic.” Look for the slider called “Exposure” and move it to the right or left in order to make your picture brighter or darker.

beginners-guide-lightroom-exposure-tool

Once again you will notice the changes you make reflected on the picture you see, but keep in mind you are not actually editing the original photo. Your instructions to crop, brighten, or otherwise change the picture are being stored in the Catalog file, while the original remains untouched. At this point you can go ahead and experiment with all the other options, tools, and sliders you see in the Develop module and take note of how they alter your photo. Even if you are not at all sure of what is happening just remember that Lightroom is nondestructive so you may as well play around with things to your heart’s content, since your original pictures will never be altered, and are safe.

Read more on the basic editing tools and sliders here:

  • Master These Five Lightroom Sliders and Your Photos Will Pop
  • Understanding the Basic Sliders in Adobe Camera Raw

Exporting (Save As)

Once you have made all the changes to a picture that you want, it’s time to export the final photo. This is again where the cooking analogy may come in handy, since this step is similar to putting your cake, casserole, or quiche, in the oven so it can bake. You still have the original ingredients on your counter and in your pantry, but once your timer beeps you will have an entirely new creation based on the recipe you used.

In Lightroom you edit photos instead of making pastries or pies, and the Export step is when you put them in your virtual oven to be processed. You may also think of this as opening up a document or spreadsheet, making some changes, and then choosing “Save As” instead of “Save.” This leaves the original document intact while creating a new one with your changes, much like exporting a picture in Lightroom leaves your original image as it was, and gives you a new edited version, complete with all the edits you made.

beginners-guide-lightroom-conversation

When you are ready to export a photo or multiple photos, select the ones you want while in the Library or Develop module and choose “File > Export”, which will bring up yet another confusing dialog box filled with head-spinning options and choices. Hopefully by now you are getting a little more used to this sort of thing when using Lightroom, but if not just focus on a few specific items on this screen.

On the left side you will see a few presets for exporting your photos, depending on whether you want to print them, email them, etc. You can also create your own presets for exporting, but for now don’t worry about that and just focus on a few specific settings.

Once you get the hang of the Export box you can create your own presets for saving pictures with specific parameters that you set.

Once you get the hang of the Export box you can create your own presets for saving pictures with specific parameters that you choose.

If you’re not sure which option to choose, start with “Full-Sized JPEGs” and then modify things just a bit by tweaking a couple settings (make sure Export To: is set to Hard Drive at the top of the box). Then find and adjust the following:

  • File Settings – Choose “JPEG” as the Image Format, set the quality slider to 85, and Color Space to sRGB.
  • Image Sizing – Tick off “Resize to Fit” then choose “Width & Height” and then enter 2048 in both the W (Width) and H (Height) boxes, (make sure it says “Pixels after Height, not In or Cm.). Leave the rest of the parameters alone.
  • Post-Processing – make sure After Export is set to:  Show in Finder (or Show in Windows Explorer if you use a PC).

These settings will give you pictures that are large enough to print up to about 5×7″ size, or share on social media sites, (for email use a slightly smaller size like 1200 or 800px). When you’re ready, click the “Export” button in the lower right corner and you’re all set. As long as you did the last part, Lightroom will open a Finder (or Windows Explorer) window showing you all your new images, and where they are on your harddrive. Lightroom will probably save the edited copies of your pictures to your Desktop (the default) but you can double check this using the “Export Location” option (at the top of the box) in the Export pop-up box if you want.

Read more here:

  • Organizing Images in Lightroom 5 (still applies in 6 and LR CC)
  • Photography Workflow Tips – From Memory Card to Computer and Beyond
The original photo was OK, but Lightroom helped me coax much more detail, color, and vibrance out of it.

The original photo was okay, but Lightroom helped me coax much more detail, color, and vibrance out of it.

Let’s Review

This all seems like a lot, but hopefully if you have made it this far, you now have a good understanding of a very basic Lightroom workflow. If you take away nothing else from this tutorial, remember these few precious nuggets of wisdom:

  • Lightroom does not edit your original images. They will always remain wherever you put them, and Lightroom does not change them in any way.
  • You are looking at preview versions when you are editing your photos in Lightroom, and not the actual images themselves.
  • A complete record of edits to your photos is kept in a database called the Catalog. Think of this like a recipe book, where you have instructions for how to cook your images, but you are not altering the original ingredients in the kitchen.
  • The editing process is not complete until you Export your images, which saves a new copy of your photos, complete with the changes you made in Lightroom.

I hope this Beginner’s Guide to Lightroom was helpful. Please leave any thoughts or questions in the comments section below. Good luck, and feel free to share some of your favorite images that you have edited in Lightroom too!

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Long Exposure Fire Photography – 5 Tips for Beginners

15 May
tips for long exposure fire photography

ISO 100, f/10, shutter speed 5.0 seconds

A long exposure photo can make flames look soft and feathery, capture spark trails, and be used to create a romantic or cozy mood. The tips in this article will help you get started with long exposure fire photography.

Long exposure fire photography: 5 tips for beginners

Remember to be careful as you practice your fire photography. Fire can be dangerous, and it’s easy to be careless when we’re thinking more about our photography than the fire. Maintaining a safe distance is important for you and your gear.

1. Use a slow shutter speed

To take a long exposure photo, the shutter in your camera needs to be open long enough to blur motion and light. Here are a couple of ways to ensure that the shutter stays open:

  • Shutter Priority: you choose the shutter speed
  • Aperture Priority: the camera chooses the shutter speed

Shutter Priority

Put your camera in Shutter Priority mode, choose your desired shutter speed, and let the camera do the rest.

This will force your camera to let in light for the amount of time you’ve chosen. This means your camera will be choosing your ISO (if it’s set to auto) and your aperture. This will give you varied results depending on how much light is available. Using Shutter Priority in this way can be fun. When you choose a shutter speed of five or six seconds, you can capture interesting flame shapes, and lots of spark trails. The bonfire and torch photos in this article were captured in Shutter Priority mode.

long exposure fire photo

ISO 100, f/11, shutter speed 6.0 seconds

Aperture Priority

You could also put your camera in Aperture Priority, choose a mid-range aperture (f/8 – f/11,) set a low ISO (100 – 200,) and let your camera choose the shutter speed. If you’re shooting at night (when it’s really dark) and the fire is your light source, your camera will choose a slow shutter speed. This should give you a photo with large depth of field, relatively free of grain (noise).

If this causes your shutter to be open for longer than you want, increase the ISO. This will start adding noise, which can be reduced during editing. The card game and match photos in this article were shot using Aperture Priority.

long exposure flame photo

ISO 100, f/11, shutter speed one second

Those are a couple of suggestions to get you started. Long exposure fire photography is all about playing around and having fun. Try lots of different apertures and shutter speeds. If you’re like me, you’ll get excited as you review each shot, and see the interesting shapes you’ve captured.

2. Set your camera on a tripod

When using a long exposure, you’ll want to reduce camera shake which results in blurry photos. Camera shake occurs when the camera moves while the shutter is open. Slow shutter speeds (of more than one second) make it impossible to hand-hold your camera, and still get sharp images. Using a tripod will keep your camera steady.

3. Use a remote shutter release or set the self-timer

Your remote (or the camera’s self-timed shutter release) can also help you cut down on camera shake. When you press the shutter release manually the camera moves a little, this could cause blur in your photo. But when you use a remote shutter release (or set your camera’s self-timer) you don’t have to worry about that. This may seem like a small thing, but it can make a big difference to your image sharpness.

long exposure fire spark trails

Spark trails. ISO 320, f/6.3, shutter speed 6.0 seconds

When capturing match flames the remote works best. It’s super frustrating trying to capture that flame burst while waiting for the camera’s self-timer.

4. Choose your subject

Do you want your main focus to be the fire itself? Or are you trying to capture more of the mood created by the fire? While capturing the mood, it can be tricky to focus on people. It’s not easy to sit still during a long exposure and any movement will create blur in your photo.

The following photos were shot in Aperture Priority mode, with an aperture of f/8. For the first photo, I set the ISO at 100, and my camera chose a shutter speed of 5 seconds. That was too long for my daughter to stay still, so the photo is blurry.

long exposure fire photography tips 3

ISO 200, f/8, shutter speed 5.0 seconds (blurry)

For the second photo, I set the ISO to 400 which cut the shutter speed in half = 2.5 seconds. That was a little easier for her, and the photo is clearer.

long exposure fire photography tips 2

ISO 400, f/8, shutter speed 2.5 seconds

5. Switch to manual focus

Sometimes auto focus doesn’t work well in the dark.

Here’s how to focus on something other than the fire: Shine your flashlight on the subject, and press the shutter release button halfway. When autofocus locks on, turn off the light and switch to manual focus. Without moving or adjusting anything on the camera, take your shot. Your camera will maintain the same focus point – as long as nothing is adjusted.

Note: you could also try back button focus.

Where will you practice?

Do you enjoy a cozy fire at your campsite, or having bonfires at the beach? Do you like candlelit dinners? Or what about backyard marshmallow roasts? All of these would be great places to practice long exposure fire photography.

long exposure bonfire

ISO 160, f/5.6, shutter speed 6.0 seconds

Experimenting with long exposures around a campfire can be a little addictive. I’ll bet the more you practice, the more fun you’ll have.

Don’t forget your flashlight! You’ll need it to see your camera controls, for help with focusing, and to get safely back to your car.

long exposure fire photography tips

ISO 100, f/16, shutter speed 5.0 seconds

Please share your tips and photos by commenting on this article.

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Beginner’s Guide to Buying Filters

14 Apr
Use of neutral density and graduated neutral density filters

Neutral density filters help you achieve extreme long exposures, while graduated neutral density filters help balance exposure between a bright sky and a dark foreground. Both were used in this image. The exposure time was three minutes.

For most photographers, their first experience with a filter is when it is suggested they purchase a UV or Skylight filter to protect their lens. It’s usually much later that beginning photographers find out about the other filters available to them, and what they can be used for.

Once you’ve decided to add a filter or filters to your camera bag, however, you’ll be faced with a myriad of choices regarding the various brands, materials, and types of filters that are available to you. Many times, the gut instinct is to purchase the cheapest filter that will do the job. The reality is, however, that there are many factors to consider when purchasing a filter, and buying the cheapest one on the rack that does what you want, it to is not usually a good idea. There is often a difference in the quality of the materials used, even when both filters appear to be made of the same things.

In An Introduction to Filters for DSLRs, you’ll find a breakdown of the different kinds of filters, and their uses. Here, I’d like to try and demystify the differences between filters, and why similar looking filters might have drastically different price points.

Screw-in versus drop-in filters

Drop-in and screw-in filters

First of all, there are two basic types of filters: screw-in and drop-in. The former mount directly onto the lens via the threads on the front, whereas the latter drop-in type are square or rectangular in shape, and require a filter holder and mounting ring that attaches to the front of the lens. Certain types of filters are available as both a screw-in and drop-in filter.

Screw-in filters are constructed of glass with a metal ring. The quality of the glass can vary, even within the same brand, depending on whether you’re going with a high end filter or a value priced one. The metal of the ring can vary as well, as they can be made of brass or aluminum. Cheaper filters usually have an aluminum ring. It’s a soft metal that is more easily dented if dropped, or bent if put under pressure. This could cause the filter to jam when mounting it to your lens. The most popular screw-in filters tend to be polarizers, UV, and neutral density filters.

The other type is what’s known as a drop-in filter. These are square or rectangular pieces of glass that are typically inserted in a holder that is mounted onto the lens. Often, the holder, or mounting ring, can also accommodate a screw-in polarizing filter, as well as two or three drop-in filters in front of that, allowing you to combine the effects of a polarizer, a neutral density filter, and/or a graduated neutral density filter.

While graduated neutral density filters are available as both a screw-in or a drop-in, the drop-in style allows for more precise placement of the gradation, and thus allows for more creativity. Drop-in filters are generally part of system, or have compatibility with one. Some examples include: the Lee filter system, Vü Sion Q system, Formatt-HItech, and Cokin P and Cokin Z filter systems. You’ll want to ensure that the system you invest in has the filters you need available, and that it’s compatible with your size camera.

Materials used

You may notice when shopping for filters, that there is a wide range of prices, for the same types of filters. The primary difference in cost is related to the material used in the filter. Other materials used to make filters include optical resin, which is more of a plastic material, and polyester. Polyester filters are generally used for color correction or soft focus effects, while optical resin is used as a more cost effective option compared to glass, especially in the case of drop-in filters such as graduated neutral density filters.

The more expensive filters often use a top quality glass, such German Schott Glass, which is generally color neutral and distortion free. Some filters by their nature need to be made from glass, such as polarizers. The differences in the material are related to the chemical makeup of the glass, thickness, and coatings used.  Where thickness is concerned, the thinner the filter the better, as thinner glass reduces any possible distortion.

Use of a polarizing filters

A polarizing filter not only helps make the sky bluer, but also controls reflections on shiny surfaces, such as buildings.

In the case of polarizers: in cheaper filters, the polarizing material is sandwiched between glass; while the polarizing material is bonded directly to the glass in more expensive ones. This reduces the chance for air pockets, and other irregularities that could affect the image quality in a negative way. Again, the quality of glass can vary widely between a budget-priced filter, and top quality one.

I have used both high quality glass filters, and optical resin ones. While the glass is more fragile if dropped, it tends to resist scratching more effectively than resin. However, optical resin can be considerably less costly than glass, for the same type of filter. For instance, a Formatt Hitech 3-stop soft edge graduated neutral density filter lists for about $ 80, while Vü Filters 3-stop Soft Edged Graduated Neutral Density Filter,  which is made of Ultra White German Schott glass, retails for $ 224. There are different grades to optical resin filters as well. This Lee 0.9 (3-stop) Soft ND Grad Filter, made from optical resin, lists at $ 146.

While any of these filter will provide good results, with higher end lenses, you may notice a distinct difference between a higher quality and thus higher priced filter, and one that cost less.

Coatings

In the days of film, filters did not need to be coated in the way they do for the digital age. Film was a more forgiving medium, which didn’t pick up flare or reflections the way a digital sensor does. For this reason, multi-coatings have become incredibly important in filter manufacturing. Higher quality filters will use these coatings to reduce flare, and increase light transmission. An uncoated filter will suffer from a loss of light. Some filters have a single coating, which is better than nonr, but not as good as a multi-coated filter. For digital if you were to take the same shot three different times, with an uncoated, a single coated, and a multi-coated filter, the difference should easily be visible in the image. In addition to minimizing flare and increasing light transmission, coatings also help maintain good contrast and color reproduction. Filter manufacturers will also use coatings that help make the filter easier to clean, and more scratch resistant.

Many photographers will debate whether or not filters are necessary, with those who say no doing so out of fear that the filter will degrade image quality. I use filters often, especially in my landscape work. There is no true digital substitute for a polarizing filter, and neutral density and graduated neutral density filters provide for effects not easily duplicated in post-processing. The key is to ensure you are using a quality filter, that is free from color shifts and distortion, and properly coated for digital. I’m not saying you have to spend top dollar on a filter, just understand what the differences are, so you can make an educated decision.

Drop-in filter system

A drop-in filter system allows use of square or rectangular filters. This is advantageous when using graduated ND filters, so you can adjust the placement of the gradation.

So do you own and use filters? What buying tips do you have for newbies? Which are your go-to and favorite filters? Please share in the comments below.

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How to Photograph Sun Flares: 14 Tips for Beginners

29 Mar

Sun flares can add beauty and drama to your photos. Cameras and lenses are designed to cut down on flare – so when it comes to sun flares, you are a rule breaker right from the start.

In this article, I share 14 tips to help you get started photographing sun flares:

photographing-sun-flares-tips-for-beginners

Photographing sun flares: 14 tips for beginners

There are no rules with sun flares, they’re all about creativity. You can capture them at any time of day, and with these easy tips you’ll be out experimenting in no time.

1. Try various aperture settings

Have you noticed that in some photos sun flares look soft and diffused, while in others they look bold and defined? That has a lot to do with which aperture setting was used.

If you use a fairly wide open aperture, like f/5.6, you’ll get soft flares. But, if you use a small aperture, like f/22, you’ll get stronger, more defined flares.

sun-flare-tips-wide-narrow-aperture

In the split image above, the f/5.6 shot is a softer looking flare, and the f/22 is more defined. The points of the flare are created by the blades of the aperture inside your lens. When they come closer together (as with narrow apertures like f/22) you get more defined points on your flares.

Using different apertures will give you a variety of looks to choose from when you’re editing. You’ll also learn which type of sun flare you prefer, depending on the setting and feel you want in your photo.

2. Use Aperture Priority Mode

The easiest way to use tip #1 is to put your camera in Aperture Priority Mode (AV on a Canon, or A on a Nikon). This way, you’ll be able to easily switch the aperture setting. With your camera set to auto ISO, it will automatically choose the ISO and shutter speed settings for you.

Now you’ll be able to quickly switch apertures and see the difference it makes to your sun flares. Learn more here: Aperture Priority and Shutter Priority: Exposure Lesson #1

3. Partially hide the sun

Use an object (such as a fence post, building, tree, etc.) to partially hide the sun. This will allow you to capture flare, and add an artistic touch to the object you’re shooting.

sun-flare-tips-for-beginners

Move around the object, let the sun peek out at different locations as you keep taking photos. I love doing this, and I always come away with something unique.

4. Move around and take lots of pictures

When shooting sun flares it really helps to move around – a lot. If you are partially hiding the sun (as mentioned above in #3) a slight movement to the right or left will cause a big change in the flare. Your photo could be flooded with too much light, or you might miss the flare altogether. Or it could reveal the flare in just the right spot, and create exactly the look you want.

sun-flare-tips-move-around

It’s important to take lots of pictures. You’ll learn how much sun to include, in relation to the amount of flare you want.

sun-flares-creative-photography-tips

Sun flares can be unpredictable, that’s part of what makes them fun to work with.

5. Try using some filters

When photographing sun flares, filters can also be helpful:

  • UV filter: This is a good idea because you will be shooting into the sun. Some photographers feel that a UV filter will protect your camera’s sensor.
  • Polarizing filter: This will help you get different effects as you rotate it. This filter can help increase color saturation and decrease reflections. If you have one, play around with it and see how it affects the flares.
  • Graduated neutral density filter: These filters are darker at the top, and become lighter near the bottom. They can prevent part of the image from looking blown-out, from shooting into the sun.

sun-flare-tip-graduated-neutral-density-filter

In the above image, I used a graduated neutral density filter for the photo on the right. It helped control the light, which kept the colors richer. Learn more about polarizing and graduated neutral density filters.

6. Shoot during different times of day

Around sunrise and sunset, the sunlight comes in at a unique angle. This creates a warmer, golden color., whereas during midday, there is a cooler (bluish) or more neutral color.

In the following image, two of the photos were taken around sunset, and the other two were taken a few hours after sunrise. Can you guess when each photo was taken?

sun-flare-tips

I bet you got it right – the ones on the left were taken near sunset. They have a warmer feel, don’t they?  The ones on the right have a cooler feel. Learn more here: Understanding Natural Light Part 2: Color of Light.

7. Divide the sun with your camera

You can get a softer, more diffused look by composing your photo so that the sun is not fully in your frame. Try cutting the sun in half, or only including its bottom third.

sun-flare-tips-for-beginners-2

Play with it. Create different effects and see which you prefer.

8. Use a tripod and a remote shutter release

As mentioned earlier, a smaller aperture setting (higher number) will give you a sharper, more defined flare. But, using a small aperture also means that your camera will require more time to take the photo. The longer it takes, the more chance there is for camera shake to cause blur in your photo.

If you are hand-holding your camera, this could be a problem. When your camera is on a tripod, there is much less chance of camera shake.

sun-flare-tips-use-a-tripod

Using a tripod will help keep your photos looking sharp and your sun flares crisp. By using a remote shutter release (or your camera’s self-timer) you’ll reduce camera shake even more.

9. Keep the sun at your model’s back

By keeping the sun at your model’s back, you’ll allow the light of the flare to spill out around them in interesting ways.

photographing-sun-flares-tips-2

Depending on the time of day, you might need to lay down, and have your model sit or lay down. The above image was taken around 3:00 p.m. in the afternoon, and I was laying on the ground.

The higher the sun is, the lower you’ll need to be in order to place the flare at your model’s head, or shoulder level. Having your model sit down will make it easier for you. When the sun is lower in the sky, positioning becomes easier for both of you.

10. Use a reflector

A reflector is used to reflect the light back onto your subject. Reflectors are usually made of fabric (white, silver or gold) and can be hand-held, hung from a freestanding base, or placed on the ground.

Using a reflector could be helpful if your model is in the shade. It would help to brighten their face, making the photo look more pleasing.

11. Cover the sun with your hand to focus

It can be hard to focus when shooting sun flares. There is so much light, that your camera may struggle to lock on where you want. When this happens, hold up your hand to cover the sun, compose your photo, and press your shutter release halfway. Once your camera focuses, take your hand down and press the shutter the rest of the way.

You may have to try this a number of times until you get exactly what you want.

12. Place the sun out of the frame

To get a really soft flare effect, without a bright point, try placing the sun out of your frame.

sun-flare-tips-3

I love how this adds soft light to the above photo, and how the eye is drawn up to the source of light.

13. Use Spot Metering

Spot Metering handles bright light really well, so if you’ve got the choice, go with this metering mode. All but one of the photos in this post were taken using it. If your camera does not have Spot Metering, then Partial Metering would be your next best choice. I use autofocus, with the focus point set to the center.

14. Have fun

This last tip is probably the most important. When photographing sun flares, it’s time to experiment and have fun.

Don’t be afraid to take tons of pictures, try different aperture settings, and move around. Sun flares are wild and unpredictable. Be creative and use different objects to block (or diffuse) the light. You’re bound to get lots of over, and under exposed photos, but you’ll get lots of gorgeous results as well.

Learn more about Using Sun Flares and Starbursts to Create Stunning Images.

Now it’s your turn

I would love to see your sun flare photos and hear your tips! Please share them below.

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A Beginner’s Guide to Focus Stacking

23 Mar

Other than for special effect, photographers generally do not want out-of-focus images. But sometimes, regardless of which camera settings are used, not every detail of an image can be captured tack sharp. Depth of field (DOF) can be so shallow, that interesting aspects of the photos are without sharpness. Setting to a smaller aperture may be used to increase DOF, but moving the aperture farther from a lens’s sweet spot introduces lens diffraction into the image, again resulting in some fuzziness. Also, if stopping down the camera’s aperture, shutter speed will need to be increased and blurry images may result. Increasing ISO to help with the exposure will introduce digital noise to the image.

So, how do you shoot with the best aperture and shutter speed combination, and get sharp images from front to back of an image? A technique that can help resolve this problem is called focus stacking. Here’s some helpful info about this technique.

13 image Focus Stack

13 image focus stack

What You Need

  • A tripod.
  • A DSLR camera, capable of shooting in manual mode. It is possible to use a point and shoot camera, but it must have manual mode and manual focus capabilities.
  • Depth of Field iPhone app (helpful but not required).
  • Photoshop or another focus stacking software.

How to Shoot for Focus Stacking

Focus stacking is similar in principle to HDR. However, with focus stacking, images are captured with different focus points, and later combined in Photoshop, to create an image with more DOF than would be possible with a single exposure. Landscape and macro photography are two genres of photography that benefit most from using this procedure. Be warned – calm winds and reasonably stationary objects are a must!

Before beginning to shoot, it is always helpful to know a lens’s sweet spot, defined as the aperture that the lens produces its sharpest image. (It is usually found about two to three stops from wide open.) Experiment until this important setting is determined.

6 image Focus Stack

Landscape

There are two basic scenarios when shooting landscapes, that may benefit from focus stacking. The first is when the subject is a close foreground object, with an interesting background, both desirable aspects to be in sharp focus. The second, is when using a telephoto lens (which typically has a shallow depth of field) and the subject covers multiple distances, that may be brought into sharper focus. (FYI: If shooting a landscape with a wide angle lens, the DOF may be adequate enough to capture a sharp image that has no benefit in being processed by focus stacking.)

Tip: Here is a little trick to find out if focus stacking will benefit an image when photographing a scene or subject. After composing the image, set the focus point about one third into the image. Then, using Live View, enlarge the image and check to see if the foreground and background are sharp or blurry. If either or neither are in focus as sharply as desired, the image could benefit from focus stacking.

Steps for Shooting Landscapes for Focus Stacking

  1. Place the camera on a sturdy tripod – a must!
  2. Frame the subject and compose the shot.
  3. Determine exposure for the scene, and set the camera to manual mode, to ensure that the exposure is constant for every image.
  4. Set the camera to Live View and aim the focus point on the nearest object desired to be in focus. Use the camera’s zoom (+ button, not zoom on the lens) to preview the focus through Live View. Then switch to manual focus and use the focus ring to fine tune for sharpness if necessary.
  5. Take the first exposure.
  6. Without moving the camera or adjusting any settings, move the focus point to an object mid-way in the image and refocus.
  7. Take the second exposure.
  8. Again, without changing anything, refocus on an object at the farthest point of the intended image.
  9. Take the third exposure.
    To capture landscapes, three images are generally all that is necessary to create sharp focus stacking images, but it’s completely fine to take extra images to make sure that the entire scenee is covered. A rule of thumb would be to add more images for longer focal lengths. Be aware that extra images will take longer to process in post-production. If available, check the DOF with a Smartphone app, in order to figure out how many images will be necessary, to get every aspect of the photo in focus.
Using three images focus stacking. The first image was focused on the fence, the second was focused mid-way into the image, and the third was focused on the front of the house.

The first image was focused on the fence, the second was focused mid-way into the image, and the third was focused on the front of the house.

Macro Photography

Macro photography can benefit from focus stacking more than any other type of photography, because a macro lens has an extremely shallow depth of field.

  1. Place the camera on a sturdy tripod – a must!
  2. Frame the subject and compose the shot.
  3. Determine the exposure for the subject, and set the camera to manual mode to ensure that the exposure remains constant for each and every image.
  4. Set the camera to Live View and aim the focus point on the nearest object desired to be in focus. Use the camera’s zoom (+ button, not zoom on the lens) to preview the focus through Live View. Then switch to manual focus and use the focus ring to fine tune for sharpness if necessary.
  5. Take the first exposure.
  6. Without moving the camera or adjusting any settings, move the focus point to a distance slightly farther away from the lens. Remember that DOF in macro will be measured in fractions of an inch, instead of feet, as in landscape photography.
  7. Repeat step 6 as many times as needed to cover every aspect of the subject’s DOF. This could range from as few as six images to 30+ images. Make sure the entire subject is covered or the results may be unusable. If available, check the DOF with the iPhone app (www.setmycamera.com), in order to figure out how many images will be necessary to get every aspect of the photo in focus.
By focus stacking the flowers only and leaving the background out of focus makes the flowers stand out in the final image.

Focus stacking the flowers only makes the flowers stand out from the background.

Image on right is a single image capture at 85mm focal length. Image on right is a 12 image focus stacked image. Each image had a DOF of less than one inch.

The image on right is a single image capture at 85mm focal length. The image on right is a 12 image focus stack. Each image had a DOF of less than one inch. Note the additional detail in the image on the right, compared to the single image.

Tip: As often used when capturing HDR images, take a shot with your hand in front of the camera before and after each series of images. When working with the images later, this will make it easier to tell where each series starts and ends.

Use you hand to mark the beginning of each series of images, this will make processing you images much easier.

Use your hand to mark the beginning of each series of images. This will make processing your images easier.

Processing the Final Images

Processing the files to accomplish the final image may seem like the most difficult part of creating a focus stacked image, but it’s really very simple to do in Photoshop. Here’s how:

  1. Open Photoshop
  2. Get each image on a separate layer: Under File, choose Scripts and Load files into stack. Click Browse and select all the images.
  3. Check the box for Attempts to Automatically Align Source Images.
  4. Click OK and each of the images will open into a new layer in Photoshop.
  5. Open the Layer palette and select All Layers.
  6. Under Edit, select Auto-Blend Layers.
  7. Check the box for Stack Images and Seamless Tones and Colors. Optionally, select Content Aware Fill Transparent Areas, which will fill any transparent areas generated by aligning images in step 3. (Be aware this will increase processing time. Generally, I do not choose this option; rather, I just crop the image slightly later, if necessary.)
  8. Click OK
  9. Flatten the image by selecting Layer/Flatten image and save.

Focus-stacking-1

Note: If you are using a Lightroom and Photoshop workflow, after importing your images into Lightroom, instead of following steps 2 through 5, you can simply add all your images into Photoshop layers by selecting all your images, then go to Photo/Edit in/Open as Layer In Photoshop. This will open all the selected images as layers. You will then have to Align your images by selecting all the layers in the layer palette, then go to Edit/Auto Align Layers. Then continue at step 6 above.

Summary

It is nearly every photographer’s intention to capture the sharpest images possible, and focus stacking can be another tool to help you achieve this goal. The trick to this whole process is to take enough focused images, to create a final photo that is in focus from foreground to background. The results can be amazing once you get the hang of it! Give it a try and post your results and any questions you have here.

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Beginner’s Guide to Water Droplet Photography

22 Mar

Have you ever looked at those great water droplet or splash images and found yourself scratching your head wondering how did they do that?

10

Well, those great images are usually done in studios, with electronically programmable eyedroppers, and motion triggers that fire the camera at an exact split second, allowing the photographer to freeze motion on that exact perfect moment. All that specialized gear makes all this process controllable, but if you own a camera and an external flash, you can also give this type of photography a try.

Water drops are an interesting subject to photograph, as it gives you the opportunity to explore techniques you wouldn’t normally do, and will probably give you some great images to add to your portfolio.

In this article, I will give you some interesting tips on how to get started with water droplet photography, with just some basic equipment.

Gear

Besides your camera and lenses of choice, you will need an off-camera flash, and a wireless trigger or dedicated extension cable.

01

Even though you can get great images without it, flashes with the high-speed sync (HSS) function will allow you to use shutter speeds above 1/250th, and freeze the motion much better.

02

A shutter cable release is also a good accessory to use, as it will allows you to fire your camera without touching it.

03

Finally you will need an eyedropper, or a wet sponge, with a system to hold it in place above a container with water. Usually I prefer to use a sponge, as it can produce bigger drop. I use a nano clamp and a gooseneck, attached to a tripod, to hold things in place.

Here is the complete setup:

04

Safety

Electronics and water don’t get along very well, so will need to be extra careful when doing this type of photography. Safety first, so a good piece of advice, is to protect your equipment with cellophane wrap, so any accidental water spillage won’t damage it.

05

Lighting

The first step is to keep in mind, that water is a specular surface, so you should not light the water but rather what the water reflects. Here I’m using white cardboard to bounce the light that reflects on the water surface.

06

Exposure: ISO 2000, 1/8000, f/11

The f/11 aperture allows me to have some depth of field, and the 1/8000 shutter speed, together with the flash at full power on HSS mode, allows me to freeze the action.

You can get a lot of different effects with slower shutter speeds and different apertures. This is a plain simple image, but you can get creative in a lot of ways here. One thing I use a lot is colored gels in front of the flash, to create some dynamics in the image.

07

Here I am mixing yellow and blue gels to create this colorful image.

08

Timing

The perfect timing to press the shutter release is something really hard to accomplish, as it’s humanly impossible to be that accurate. But, with some practice, and a little bit of luck, you will end up some great shots. To be honest, the random nature of the results is something that I really enjoy.

Here is a sequence of images that didn’t work as good as the last one.

09

Once you get the hang of it, you can experiment with food colorants and different liquids. Milk is a good choice, as it gives you drops with more consistency, and therefore best splashes.

10

You are only limited by your imagination here. With some basic Photoshop skills, you can take your images to the next level with some photo composites, like this image I created for a strawberry yogurt advertisement campaign.

11

So, there are some basic techniques to produce great water droplet images, without specialized equipment or motion triggers. Give it a try, I’m sure you’ll get great results!

This week on dPS we are featuring articles on special effects. Check out the others that have already been published here:

  • How to Photograph the Full Band of the Milky Way
  • Fire Spinning with Steel Wool – A Special Effects Tutorial
  • Special Effect – How to Create Multiple Flash Exposures in a Single Frame
  • Stacking Light Trails for Night Photography Special Effects
  • 26 Unique Special Effects Photos to Spark Your Creativity
  • Weekly Photography Challenge – Special Effects
  • Tips for Shooting Through Objects to Create a Special Effect
  • How to Add Vintage Frame Overlays Using Alien Skin Exposure X
  • 8 Steps to Great Long Exposure Landscape Photography
  • How to Create In-Camera Double Exposures

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11 Steps for Basic Portrait Editing in Lightroom – A Beginner’s Guide

16 Mar

I love Lightroom, and use it for the vast majority of my portrait editing. You can achieve a wide variety of portrait effects in Lightroom, from harsh and grungy, to soft and dreamy. My technique varies depending on the kind of portrait I’m editing, although the workflow remains consistent.

The photo I’ve selected for this exercise, is one you can easily replicate at home. It was shot indoors, with a large window as the only light source, and is one of a series shot in the same location.

Before and after

One of the great features of Lightroom is the ability to sync settings. It’s a huge time-saver when you have a series of images, all shot in similar conditions. Once you are happy with the general settings (white balance, shadow-highlight ratio, etc.) of one image, you can sync the rest of the images in the series, with the same settings. After that, you’ll only need to fine-tune the others.

This before image is too cool for my liking, and there is not enough separation between the model’s hair and the background. I am also going to smooth out her skin tone, and bring a bit more sparkle to her eyes.

As you work through each step on your own image, play around with the sliders to see what effect each one of them has.

Step #1: Import your file

Image showing basic portrait editing in Lightroom

Sharpening preset

In the LIBRARY module, import your image into Lightroom. I have created a custom sharpening preset (shown here), which I find works with the majority of my portraits. I apply this preset upon import – a handy shortcut, especially when you’re importing a large number of images at once. It’s easy to create your own presets in Lightroom, read this tutorial How to Create Your Own Lightroom Presets on dPS, that shows you how.

To apply a preset on import, go to the righthand panel in LR, to the tab labelled “Apply during import”. Go to Develop settings > user presets, then click on the preset you wish to apply.

Once you have imported your file, go to the DEVELOP module.

Image for basic portrait editing in Lightroom

Import your file.

Step #2: Adjust  the white balance

The colour tint in this photo is a bit cold. There are a number of ways to adjust the white balance. If there was a neutral wall or surface in this photo, you could use the eyedropper tool. In this case, there isn’t a neutral reference, so I have moved the sliders under the white balance section to give the image more warmth.

Image for basic portrait editing in Lightroom

Correct the white balance.

Step #3: Adjust highlights and shadows

The model’s skin tone is a little too light, and her hair and the background are too dark. To redress the imbalance, pull back the highlights and lighten the shadows. You can fine-tune this later if necessary.

Image showing basic portrait editing in Lightroom

Adjust highlights and shadows.

Step #4: Increase vibrance and saturation

The image still looks a little dull. Use the sliders under the presence tab to increase the vibrance and saturation, and move the whites slider up to give your portrait a nice clean look. Now it’s starting to look like my model’s real-life skin tone.

Image showing basic portrait editing in Lightroom

Increase vibrance and saturation.

tep #5: Crop your image

You can crop at any stage. I’ve cropped this image for a tighter, better-balanced headshot.

Image showing basic portrait editing in Lightroom

Crop your image.

Step #6: Soften the skin

Zoom in to take a closer look at the skin. This model is very young with almost flawless skin. Usually I wouldn’t do much, if any, softening with such great skin. However, for the purpose of this exercise, I will.

Select the brush tool. You can load your brush with any adjustments you want to apply. Although there are brush presets you can use for skin softening, teeth whitening, etc., I find them too heavy-handed.

Set the clarity slider down to around -35 to -40, and the (contrast to +35, and the Highlights to +15 or so – this will help maintain contrast and keep the face from looking flat) sharpness up to +20. This will vary according to your subject’s skin, and the kind of effect you want to achieve. In this example it will just even out the skin tone and give it a soft, glowing appearance. A mature person photographed in stronger light, will require a different treatment. The lower the clarity slider, the softer the skin will appear. For a grungy look, increase the clarity slider.

Reducing the clarity tends to flatten out the image, so you can increase the contrast, deepen the shadows and increase the highlights to balance this out. Keep the feather and flow at 100%, and brush all over the face with a large brush.

Image showing basic portrait editing in Lightroom

Zoom in close to look at the skin.

Image showing basic portrait editing in Lightroom

Brush all over the area with your adjustment brush.

Step #7: Fine-tune your adjustments

Underneath the image, check the box “Show selected mask overlay”  (or use the keyboard shortcut, O) to see exactly what parts of the image your brush adjustments have touched. Often you’ll find it has covered the eyes and mouth, which is not desirable. Still using the adjustment brush, click on the erase brush tool, and remove the brushed-on effect from around the eyes, mouth, and hair.

Image showing basic portrait editing in Lightroom

Brush off the adjustments from unwanted areas.

Image showing basic portrait editing in Lightroom

Here are the adjustments so far. Looking good.

Step #8: Brighten the eyes

Zooming in even closer, then use the Adjustment Brush to add clarity and sparkle to the eyes. Note that by increasing the clarity, you also make the affected part of the image darker. Compensate with your exposure slider.

In this photo, I also increased the saturation of the iris a little to enhance the blue of the model’s eyes. Be sparing with this technique to avoid an unnatural look.

Image showing basic portrait editing in Lightroom

Use the brush tool to sharpen the outline of the eyes.

Image showing basic portrait editing in Lightroom

Treat the iris separately.

Step #9: Add colour to the mouth

Moving on to the mouth area now. Again, this model doesn’t need any work on her lips or teeth; this is for the purpose of demonstration. Using the same technique as with the eyes, brush on clarity and increase saturation. I have also moved the temp and tint sliders up to alter the hue of her lips.

Image showing basic portrait editing in Lightroom

Brush over the lips to add colour and clarity.

Step #10: Whiten the teeth

To lighten teeth, use the brush tool with the saturation slider decreased, and the exposure slider increased just a little. As with the eyes, be sparing with this step.

Image showing basic portrait editing in Lightroom

Lighten or whiten the teeth.

Step #11: Lighten the hair and background

Finally for this image I have lightened the hair and background to reduce contrast between her face and the background, and to give separation between hair and background.

Image showing basic portrait editing in Lightroom

Finally, lighten the hair and background to give separation.

The final image is a vast improvement on the SOOC (straight out of camera) image.

Image showing basic portrait editing in Lightroom

Before Lightroom adjustments.

Image showing basic portrait editing in Lightroom

After all Lightroom adjustments.

Over to you!

Lightroom editing is as much about personal preference as your shooting style, and my workflow and style represents just one approach of many. Share your tips and tricks (and, of course, questions) in the comments section below.

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13 Snow Photography Tips: A Beginner’s Guide

09 Mar

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

snow photography tips a beginners guide

Are you ready to run outside and start shooting? I know how you feel, I love snow photography too. Here are a few things to keep in mind:

13 snow photography tips: a beginners guide

The tips in this article will help you get some great photos in the snow, and keep your camera safe.

beginners tips for photographing show

1. Focus on contrast

Autofocus can have a hard time locking on, when everything is white. It helps to focus on something dark, like the bark that’s just below a lump of snow on a tree branch. Your camera’s autofocus system needs contrast to focus on, so a plain white mound of snow may cause issues.

photographing snow beginners tips

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

2. Camera settings

Set your camera to shoot in RAW. When you take photos in RAW, you will have more to work with in editing. JEPG files are already condensed, and don’t allow for much editing. Learn about 5 reasons to shoot in RAW.

Choose Evaluative (Matrix for Nikon) metering. Evaluative metering will do a good job. That’s what I used for all the photos in this post. If it’s really sunny, you may also want to try Spot or Partial metering to see if it handles the light better.

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

3. Shoot in Aperture Priority Mode

Aperture Priority (AV on Canon, A on Nikon) will allow you to quickly change your depth of field. When shooting in Aperture Priority the camera will choose the ISO, (if the camera is set to auto ISO) and the shutter speed, so all you have to do is switch between aperture settings. This is great in cold weather, and allows for a lot of creativity.

4. Capture it fresh

There’s noting like a fresh snowfall.

snow photography tips

If you want footprint free snow, you might want to plan which photos you’re going to take, and what order you’ll take them in. This might also mean going out early, before the kids get up.

5. Keep your batteries warm

In cold weather your batteries won’t last long. Charge two, and keep one in an inside pocket. When the one in your camera runs low, replace it with the warm one. Then put the drained one in your pocket, you may be able to use it again once it warms up.

6. Bag your camera

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

When you are heading out, just bring along a large zip-lock bag. I usually keep one in my camera bag or jacket pocket. When you are ready to go inside, put your camera in the bag, and make sure it’s sealed tight. Then, once you’re in the house put your camera somewhere it can warm up slowly. Once it reaches room temperature, you can take it out of the bag and use it normally.

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

7. Don’t let the weather stop you

Snowy landscapes look good, in both sunny and cloudy weather.

On cloudy days, when everything is white, include elements that will break up the white, and add interest to your photo. If it’s snowing, use an umbrella to protect your camera. Or if it’s too cold to go out, roll down your car window, grab your shot, and roll it back up.

snow photography tips for beginners

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

8. Act fast

Snow can change quickly. It can start, or stop falling in an instant. When the sun comes out, snow can start melting really fast too. Those beautiful trees can go from dazzling to drab in no time.

snow photography tips for beginners 2

Don’t wait. Get out there and photograph it.

9. Be patient

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

photographing snow beginners guide

Sunshine and shadows, add beauty and drama to a snowy scene.

10. Keep all your images

Don’t delete any photos from your camera, wait until you’re warm and comfy, sitting in front of your computer. You’ll be able to see your photos more clearly, and your fingers won’t freeze.

11. Play with perspective

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

tips for photographing snow

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

12. Play with shutter speed

Shutter Priority allows you to choose your shutter speed, while the camera takes care of the rest. With a fast shutter speed, you can freeze falling snow in mid air. With a slow shutter speed, you can turn those flakes into long white streaks.

13. Capture some Bokeh

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

To create bokeh in your photos, look for a subject that has something bright or shiny in the background. This could be the light reflected off of ice, melting snow or some sunspots. Use a wide open aperture (a small number like f/3 or f/5), and make sure there is some distance between your subject, and the shiny background objects.

13 tips for photographing snow

With a shallow depth of field (from the wide aperture), your subject will be in focus, but the objects in the background won’t. This will create bokeh. See 28 wintery white snowy images.

Let it snow

Will you be out experimenting on the next snow day? I’m planning on it. Have fun with your snow photography. Experiment with different settings on your camera. Just remember to dress for the weather, and bag your camera.

If you have some snowy photos to share, I would love to see them. I hope you’ll share your tips too. Please add to this article by commenting below.

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Getting Started with Layer Masks in Photoshop – a Beginners Tutorial

09 Mar

Barn-DPSexample

Much of the power of Photoshop comes from its use of layers, which can best be thought of as transparency over your image. Layers have lots of benefits, like the fact that you can work on your image without affecting the pixels in the underlying image. But perhaps the most powerful aspect of layers, is your ability to affect exactly where, how, and how much of your changes will affect the underlying image. That is all done through layer masks. In fact, it might be fair to say that layers are really only effective because of layer masks.

What are layer masks? Think of them as filters that let you control the impact of the changes you make to your image. Just like you can change ordinary filters to determine what gets through them, so you can adjust a layer mask to control what changes. If that sounds confusing, don’t worry, and I will walk you through the basics of layer masks now.

How Layer Masks Work

To understand layer masks, it is best to start with the simplest form. A mask that does nothing – that is, it lets absolutely everything through from the layer you are working on, to the layer underneath – it is represented by solid white. This is referred to as a “reveal all” layer mask in Photoshop. When you look at your layers palette with a white/reveal-all layer mask, it will look like this:

Graphic1-WhiteLayerMask

When your mask is all white, any change you make on that layer, will apply to the underlying image. How do you create an all white image layer mask? Very often – as in the case of adjustment layers – one will automatically be created for you. Or, to add one yourself, just go to Layer > Layer Mask > Reveal All. You can also click on this button at the bottom of the layers palette to create one on the layer you have selected

Graphic2-LayerMaskButton2

An all-white layer mask is actually pretty useless. The utility of the layer mask comes when we start masking (hiding) things off. Before we get into that, however, let’s talk about how to create an all-black layer mask. As you might expect, a black layer mask works the opposite way as a white one, and lets absolutely nothing through to the layer underneath. You can make all the changes you want to this layer, and it will have no impact on your underlying image. Here is how it will look when you create one:

Graphic3-BlackLayerMask

To create an all-black layer mask, just go to Layer > Layer Mask > Hide All or press ALT while clicking on the same button used in the graphic above to make a white layer mask. Now that you know what layer masks are, and the basics, we can get into the real fun of them, which is where you have blacks, whites, and even tones of gray in the same mask.

Masking

Layer masks allow you to apply changes to some parts of the image, but not others. Just remember that wherever your layer mask is white, it will let the changes you made to the layer through, so that they apply to your image below. Wherever your layer mask is black, it will not let the changes through, so they will not apply to the image. Before we get into how to do that, let’s talk about when you might want apply changes to only part of your image.

Let’s take this picture of an old barn. I’m choosing this image because it will be simple to adjust using masks, as it only involves two main areas. As you can see, the sky is too bright, while the barn and foreground are too dark. In doing this for yourself for the first time, use a simple picture like this to get started.

Graphic4-BarnOriginal

As you probably know, you do not want to edit these two areas in the same way, so a global adjustment to the whole image won’t help. You can, however, use masks so that edits only apply to the areas you want. For example you might darken the sky like this:

Graphic5-SkyDarkened

Here I masked off the barn and foreground so that the darkening only applies to the sky. I used a quick Curves Adjustment layer to darken the image. As you can see, the mask of the sky is white (so the changes affect the image in that area), while the mask of the barn and foreground is black (so the changes do not affect that part of the image).

Now let’s do the opposite to brighten up the barn and the foreground. Once again, I’ll use a layer mask so that my changes only affect the barn and the foreground, so that it looks like this:

Graphic6-ForegroundBrightened

This is the same move I made above, but in reverse. I created another Curves adjustment layer to brighten up the image. Now the layer mask is white over the barn and foreground, which means the brightening effect shows through in those areas. The layer mask is black over the sky though, so the brightening effect does not impact the sky (which is already bright enough).

But how do you do go about creating these layers and masks? Let’s find out now.

Creating a Layer Mask with Defined Edges

There are different ways to mask off portions of your images. Sometimes you will want to create a mask with a hard or definite edge, while other times you will want to gently blend in the effect to a portion of your image. In this article I will cover how to create a mask on an image with a hard edge (I will get into blending in changes in a later article). The photo of the decaying barn used above will work just fine for this, so let’s stick with that photo as our example.

Step 1: Make Your Selection

To darken the sky in the image, the first thing you need to do is select the sky. To do so, click on the Quick Selection tool from your tools panel. Then click anywhere in the sky, and while holding the mouse button down, move around where you want to select pixels for your selection. Photoshop will automatically detect edges. To make the Quick Selection tool larger or smaller, use the square bracket ( [ and ] ) keys. If you end up selecting pixels you don’t want for your selection (and you inevitably will), press the ALT key (Option on a Mac) while clicking and it will remove them.

Graphic7-MarchingAnts

Photoshop is famous for providing several different ways of accomplishing the same thing. Making selections with hard edges is just such a case. You don’t have to use the Quick Selection tool. You can also use the Magic Wand tool, which will select similarly-toned pixels. Or you could use the Pen tool, or the Magnetic Lasso tool to draw the edges yourself. I could actually see a good case here for the Color Range command (Select > Color Range), which selects pixels of similar colors. Any one of those tools could work. While I want to point that out, I don’t want to get bogged down covering each of them. For now, just know that while I typically use the Quick Selection tool and did so here, there are other tools you can use to make the selection.

Step 2: Refine Your Selection

Once you make your selection, you can refine it a bit if you wish. Just bring up the Refine Edge dialog box and make adjustments there.

Graphic8-RefineEdge

If you do not like the selection, you can always clean it up a bit later. Once you have made the adjustments, you can use the Brush tool to add or subtract parts of the image from the mask (more about that in a minute).

Step 3: Apply the Effect

Now that your selection is created and refined, you are ready to put it into action. What we want to do is darken the sky. There are different ways to go about doing that, but what I’m going to use is a Curves adjustment layer. You don’t have to use this tool though, this same process will work when you create any sort of adjustment layer. If you are more comfortable using Levels or Brightness/Contrast, for example, use those.

In any case, all you will do now (with your selection still active) is click to create the Curves adjustment layer (or whatever type of adjustment layer you are comfortable with) and voila, the layer is created with a mask that has hidden the pixels you don’t want to change. It will look something like this:

Graphic9-HardEdgedLayerMask

If you use a Curves adjustment layer like I did, you just pull the line down to darken the picture. Pull it down to the left of the main cluster of pixels so that the curve is steepened through that main cluster. Of course, you may be using Levels or some other darkening tool, so just use those in whatever way you are comfortable.

Step 4: Repeat for Other Areas

In our example, we have now darkened the sky, but there are other problems with the picture. In particular, the barn and foreground are still too dark. How do we go about changing that? Pretty much the same way we did for the sky.

Start by making the selection. You can do it the same way as you did for the sky if you want. Just grab the Quick Selection tool and click around in the dark areas to create the selection. In this case, you can also just create a selection that is the opposite of the selection we previously created. That is, you previously made a selection of the sky and left everything else alone. Now you want to make a selection of everything else and leave the sky alone. To do that, you can just call up your old selection (Select > Reselect) and then tell Photoshop to reverse it (Select > Inverse). You now have a selection of everything but the sky, which is what you want.

From there, just create a Curves adjustment layer (or whatever tool you prefer to use) and apply the effect. Once you brighten the foreground, here is how it looks:

Graphic10-Lightening

Step 5: Cleaning up Your Masks

You may find, when you are done, that there are parts of the image that don’t look quite right. Perhaps there are pixels included in one of your masks that you didn’t want, or conversely you missed pixels that should have been in the image. You can clean up the mask after the fact. I find that the easiest way is to use the Brush tool.

Graphic11-Brush

Select the Brush tool on the tools panel. Once you do so, pay attention to the foreground color, that which the brush will use. If you set the brush to white, it will add to a selection (show the layer through the mask). If you set the brush to black, it will remove pixels from the selection (hide the layer with the mask). Some keyboard shortcuts to keep in mind are B to bring up the Brush tool in the first place, then D to make sure the colors are set to the default (black and white), and finally X to switch between black and white.

Graphic12-BrushControls

The Brush tool is great because you can set the hardness of the edge. Start by keeping it at its softest setting, and just changing the size of the Brush by using the bracket keys [ and ]. Use it to touch up the selection (mask) where needed (make sure you are painting on the mask NOT on the actual layer). Another tip is to press ALT (option on a Mac) while clicking on the mask in your layers palatte, which will cause the screen to display the mask only. That way you can see exactly where your mask is being applied. Press ALT again while clicking on the mask to go back to normal view.

Moving on From Here

This exercise will get you started using layer masks to make adjustments to portions of your pictures. Once you have done this a few times and start to master it, there are a lot of other additional techniques you can add to further enhance your photos. For example, while this article showed you how to use masks where you have defined edges, you can gradually blend in effects using masks as well. Further, while in this article we only affected brightness, you can use layer masks to affect color, brightness, and contrast to a great degree.

Of course, masks are not just for adjustment layers either. You can make changes on layers and control where and to what extent, the change gets applied. For example, you might sharpen or blur a layer, and then use a mask to apply that effect to only a portion of the picture. It also works well by making changes with a plug-in to a duplicate layer, then creating a mask to control the application of that plug-in’s changes.

When you use layer masks, you are well on your way to unleashing the full power of Photoshop. Get started with the techniques in this article, then you can add on other aspects from there.

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Understanding the HSL Panel in Lightroom for Beginners

02 Mar

Understanding the HSLPanel for Beginners

There are many things involved in post-processing an image, that might seem a little bit daunting at first. That doesn’t mean that they are difficult to learn, or hard to understand. The HSL panel in Adobe Lightroom (or similar editing software that uses Adobe Camera Raw), tends to bring about feelings of anxiety, when it comes to making sense of all those sliders. Some photographers choose to pretend it doesn’t even exist, just because it looks a little complicated. Nothing could be further from the truth!

Simply put, those three little letters stand for Hue-Saturation-Luminance. What makes the HSL panel so powerful, is that it allows you to control different colors independently. HSL adjustments will enable you to brighten, or emphasize specific saturations, and control the hue of only certain colors. Like working with black and white? Then you should definitely make use of the HSL panel, and take your black and white conversions to a whole new level. Let’s get started!

HSL Dropdown

We’ve already talked about what the letter HSL stand for, so now let’s break it down, so that you will really understand how each one affects your image.

H – What is hue?

Admittedly, trying to discern the functional difference between the words hue and color, can form a little bit of a gray area (haha color humor). But generally, we think of hue in terms of the shade of a color on a gradient and is dependant on the wavelength of the light reflected. Don’t worry, that’s about as scientific as we will get.

Let’s say that I see a flower out in a field. The flower has beautiful yellow petals. What shade of yellow are the petals? Are they actually yellow, or are they maybe a dark yellow with a little bit of orange? Maybe a brighter, more greenish yellow? This subtle gradient of color is what we might describe as hue, and it varies infinitely across the color wheel. Controlling the hue of the colors in your image is a great way to bring realism to your photo, or even depart from it using psychedelic alternatives to the actual colors within the scene.

S – What is saturation?

Saturation is much simpler to comprehend. When we talk about saturation, we are referring to the intensity of a color. Saturation can play a central role in controlling the mood of a photograph. Highly saturated colors generally convey brighter emotions, whereas muted, desaturated color can lend a sense of brooding or sadness. What the HSL panel allows you to do is control the saturation of only the colors you choose, which will really expand your creative range.

L – What is luminance?

This may very well be the most easy part about HSL to understand, and requires the least amount of explaining. Luminance is simply the reflective brightness of colors. It is extremely useful when there are certain colors within the image that you feel should be either darker, or brighter. This comes in handy, especially when working with black and white images (converted from color), but more on that in just a moment.

There are a couple of ways to configure the HSL panel, but I prefer to leave each adjustment section open while I work. True, it takes up a fair amount of space in the develop module, but it also let’s me make quick adjustments as I go without switching back and forth between the dedicated hue, saturation, and luminance panels.

HSL All

Adjusting specific saturations

Let’s say you have an image that you want to bring out only certain colors. You can do this by using the saturation slider. An easy way to select the color you want to adjust, is by using the color picker. It eliminates the guesswork of deciding what color is actually which. In this case I want to increase the saturation, brightness, and hue of the leaves, without affecting the blues of the background.

Original Image

Find the saturation section of the HSL panel, and select the picker tool (see red arrow below to locate it).

Color Picker

Hover over the color you want to saturate or desaturate. Notice that this will subtly highlight the corresponding color values in the saturation section of the HSL panel. Then simply click and hold while you drag up or down.

Saturation Image

The change here is barely perceptible for the time being, but after some more adjustments, it will be obvious.

Adjusting specific luminance

Next, we will make the leaves a little bit brighter, so that they stand out from the blue background even more. They mainly consist of oranges and yellows. Go to the luminance section, and again select the color picker tool. This time it will control the brightness of the selected color.

Click and drag (up to lighten, down to darken).

Luminance Image

Adjusting specific hues

I like saving the hue adjustments for last, because it’s easier (for me at least) to decide the final color tone, after it has reached the desired brightness and saturation. For this picture, I want to make the leaves more orange than yellow in hue. As above, locate the hue adjustment section and the color picker and then…you guessed it, click and drag.

Hue Image

After you finish, make sure to go back and perform any fine tuning using the sliders, in order to get everything just right.

Original Image

Before adjustments

Final Image

After – final image

HSL with Black and White

When it comes to black and white, the HSL panel can work wonders. Of course, seeing as the image is black and white, there won’t be any effect on the hue or saturation of the colors. Rather, Lightroom gives you a completely different set of controls, which is virtually a stand-alone luminance adjustment panel.

BW Panel

Even though you are working with a monochromatic image, the color information is still stored, so the program knows what color was there, before the conversion to black and white. Keep in mind, this does not apply to images shot in non-RAW format (like JPG) using your camera’s black and white setting, or images which you previously converted to grayscale in Photoshop. Doing so removes all the color information from the image file, making the option for working with individual color luminance in Lightroom unavailable.

By being able to selectively adjust the brightness of each color, you will now be possible to adjust the luminance of your black and whites very creatively. This way, you can really control the contrast and mood of your image much better and easier. Adjusting the luminance of certain colors, within a converted black and white image, can drastically change the way the photo appears to the viewer. Here is color image after being converted to black and white.

Black and White

Here you see the same image, after some selective adjustments in the black and white section of the HSL panel.

HSL Black and White 2

Working with the HSL panel may look overwhelming, but once you understand how each adjustment affects your photo, it becomes a lot less scary. By being able to adjust the hue, saturation, and luminance of colors, independently of one another, will allow to take a huge amount of creative control over your post-processing. Don’t be reluctant to experiment with HSL and have fun with your photography!

Have you used the HSL panel before? What other tips or tricks to you have for using it? Please share in the comments below.

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